Reflecting on Art: The Eight Best Things I Saw in 2015
Theater Junkie: The Wildest Theatrical Moments of 2015
A Love Song to Freedom Fighters: 2015’s Radical Movements
Listening to the Year: Your Music Editor's Top 25 Albums of 2015
Do Your Part: Support the Local Music Scene With These 2015 Releases
Holiday Theater Guide: 'Tis the Season for Good Times
The Top 10 Bay Area Jazz Releases of 2015
Hidden Treasures: The Indie Guide to Holiday Shopping in San Jose
A Special Gift: 5 Pieces of Affordable Art that Everyone Can Enjoy
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He was the Artistic Director of Last Planet Theatre for ten years and teaches in the Writing and Literature program at CCA. Follow him on Twitter @johnrwilkins2","avatar":"https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]}],"headData":{"title":"John Wilkins | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/jwilkins"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_11184597":{"type":"posts","id":"arts_11184597","meta":{"index":"posts_1591205157","site":"arts","id":"11184597","score":null,"sort":[1451318407000]},"guestAuthors":[],"slug":"the-8-best-things-i-saw-in-2015","title":"Reflecting on Art: The Eight Best Things I Saw in 2015","publishDate":1451318407,"format":"standard","headTitle":"Reflecting on Art: The Eight Best Things I Saw in 2015 | KQED","labelTerm":{"term":1309,"site":"arts"},"content":"\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" rel=\"attachment wp-att-11126413\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the Bay Area visual arts community, 2016 can’t come fast enough. There’s so much to look forward to — and thankfully, that long period of deprivation is almost over. For example, \u003ca href=\"http://500cappstreet.org/\" target=\"_blank\" rel=\"noopener\">500 Capp Street\u003c/a>, otherwise known as conceptual artist David Ireland’s house, reopens to the public on Jan. 16. The \u003ca href=\"http://www.sfartscommission.org/gallery/2015/we-are-on-the-move/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission Gallery\u003c/a> celebrates its new, much larger, space with an opening on Jan. 22. The \u003ca href=\"http://press.bampfa.berkeley.edu/building/\" target=\"_blank\" rel=\"noopener\">Berkeley Art Museum and Pacific Film Archive\u003c/a> opens in its brand new — and more conveniently located — home on Jan. 31. Jump ahead to March, when the much-anticipated \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a> opens its doors. And \u003ca href=\"http://ww2.kqed.org/arts/2015/10/22/sfmoma-makes-it-official-date-for-reopening-set-for-next-year/\">then something’s happening in May\u003c/a>, but I can’t remember quite what.\u003c/p>\n\u003cp>In the vacuum created by these temporary (and other, more permanent) closures, certain local institutions, alternative arts spaces, galleries and independent curators stepped up to the proverbial plate. To put it bluntly, 2015 had some remarkable moments. My favorites, in no particular order:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184600\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RootDivision400-400x267.jpg\" alt=\"Root Division's new home at 1131 Mission Street.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184600\">\u003cfigcaption class=\"wp-caption-text\">Root Division’s new home at 1131 Mission Street. \u003ccite>(Photo: Mido Lee Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Comeback Story: Root Division\u003c/h3>\n\u003cp>In 2014, when Root Division announced they’d be unable to stay in their 17th Street location (their home for the past 10 years), things didn’t look good; they were just one of too many arts spaces ousted by costly rent hikes. But thanks to the help of the Nonprofit Displacement Mitigation Fund, a city grant, a benevolent new landlord and the tenacity of the Root Division staff, they now have 13,000 square feet on Mission Street all to themselves. The best part of the move is that it expands Root Division’s work on all fronts: they now have subsidized studio space for 25 artists, an expanded roster of class offerings and even more gallery space for their ever-ambitious exhibition program. \u003ca href=\"https://www.rootdivision.org/\" target=\"_blank\" rel=\"noopener\">More on Root Division\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11077357\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Cardiff640-400x267.jpg\" alt=\"Janet Cardiff, 'The Forty Part Motet' (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11077357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Janet Cardiff, ‘The Forty Part Motet’ (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015. \u003ccite>(Photo: JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Exhibition that Made Me Feel Real Feelings: Janet Cardiff’s \u003ci>Forty Part Motet\u003c/i> at Fort Mason Center\u003c/h3>\n\u003cp>Janet Cardiff’s sound piece might be the most recommended Bay Area art experience of the year — and not just by me. A spare arrangement of 40 black speakers plays the soaring sounds of English Renaissance composer Thomas Tallis’ 1573 choral work \u003ci>Spem in alium nunquam habui\u003c/i>. I’m now verging on nagging territory, but I’m doubling down: Please, for the sake of your ears, mind and heart, \u003ca href=\"http://motettickets.org/#tickets\" target=\"_blank\" rel=\"noopener\">visit this free installation\u003c/a>. Don’t be discouraged by the “Sold Out” blocks on the calendar: same-day walkup tickets are often available. \u003ca href=\"http://ww2.kqed.org/arts/2015/11/13/janet-cardiffs-forty-part-motet-almost-made-me-cry/\" target=\"_blank\" rel=\"noopener\">Read my full review\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184721\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DawsonB400-400x267.jpg\" alt=\"Rachel Dawson, interior view of 'Between Here and There,' 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184721\">\u003cfigcaption class=\"wp-caption-text\">Rachel Dawson, interior view of ‘Between Here and There,’ 2015. \u003ccite>(Photo: Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Installation You Didn’t See: Rachel Dawson, \u003ci>Between Here and There\u003c/i> at Alter Space\u003c/h3>\n\u003cp>Chances are you missed the 15-day run of Oakland-based artist Rachel Dawson’s subterranean sculptural installation. The project was the culmination of a three-month residency in Alter Space’s wooden jail cell (left over from the building’s former leatherwear tenant). Inside a mirrored, five-sided structure, phosphorescent porcelain sculptures resembling ghostly ectoplasm covered the walls, ceiling and floor. Their greenish glow was the only illumination, reflected infinitely as a series of hovering, gooey manifestations from the world beyond. I really hope this piece gets a second life so more people can step inside a vertigo-inducing chamber with booties over their shoes. \u003ca href=\"http://alterspace.co/exhibitions/rachel-dawson-between-here-and-there/\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Between Here and There\u003c/i>\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184602\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Moulton400-400x267.jpg\" alt=\"Shana Moulton performing at YBCA's ConVerge.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184602\">\u003cfigcaption class=\"wp-caption-text\">Shana Moulton performing at YBCA’s ConVerge. \u003ccite>(Photo: Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Live Performance: Shana Moulton at YBCA\u003c/h3>\n\u003cp>At April’s ConVerge, Yerba Buena Center for the Arts’ monthly live event, artist Shana Moulton (and collaborator Nick Hallett) performed in conjunction with the opening of her solo show, \u003ci>Picture Puzzle Pattern Door\u003c/i>. Dressed as her alter ego “Cynthia,” Moulton cannily and wordlessly interacted with projected video and sound in a hilarious sendup of women’s wellness products and New Age questing. Wearing a bowl-cut wig and something the internet wants me to call either a “magic bubble shirt” or a “popcorn blouse,” Moulton’s emotive facial expressions were possibly the greatest part of the entire night. \u003ca href=\"http://ybca.org/shana-moulton\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Picture Puzzle Pattern Door\u003c/i>\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184603\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Capital400-400x300.jpg\" alt=\"View from Sacramento Street of CAPITAL.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-11184603\">\u003cfigcaption class=\"wp-caption-text\">View from Sacramento Street of CAPITAL. \u003ccite>(Courtesy: CAPITAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best New Gallery: CAPITAL\u003c/h3>\n\u003cp>It seems like ages since CAPITAL \u003ca href=\"http://ww2.kqed.org/arts/2015/02/11/fall-under-the-spell-at-capital/\" target=\"_blank\" rel=\"noopener\">opened with their first show\u003c/a>. But no, it was less than a year ago. Eight exhibitions, one art fair and two editioned objects later, the year ahead looks equally bright. Visiting shows at CAPITAL is often more like hanging out on the sidewalk of Sacramento Street with co-directors Jonathan Runcio and Bob Linder. The space itself is so small, I have to focus intensely on the art just to prevent myself from wreaking havoc with my long arms. But focusing intensely on art is never, ever a bad thing. \u003ca href=\"http://capital.gallery/index.html\" target=\"_blank\" rel=\"noopener\">More on CAPITAL\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10881977\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SkyBridge1-400x267.jpg\" alt=\"The artist and volunteers laying out 'Sky Bridge,' 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10881977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The artist and volunteers laying out ‘Sky Bridge,’ 2015. \u003ccite>(Photo: Lydia Han/CCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Public Art Installation: \u003ci>Sky Bridge\u003c/i> at the Chinese Culture Center\u003c/h3>\n\u003cp>For the month of August, Chinatown’s Portsmouth Square pedestrian bridge transformed into a gleaming causeway between the increasingly outward-facing CCC and the neighborhood’s most active public space. Austin-based artist Beili Liu adhered 50,000 brick-sized pieces of mirrored Mylar to the bridge with the help of a small army of volunteers. The result was dazzling. Just a few weeks ago, the CCC announced its next project on the bridge: a mini-park with landscape design by Jennifer Ng and Chris Hardy, and \u003ci>Sunrise\u003c/i>, a tile installation by local artist Mik Gaspay. \u003ca href=\"http://ww2.kqed.org/arts/2015/08/11/dazzling-sky-bridge-transforms-chinatown-pedestrian-bridge/\" target=\"_blank\" rel=\"noopener\">Read my full review of \u003ci>Sky Bridge\u003c/i>\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184604\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PLAF400-400x286.jpg\" alt=\"Announcing the location of the Parking Lot Art Fair.\" width=\"400\" height=\"286\" class=\"size-thumbnail wp-image-11184604\">\u003cfigcaption class=\"wp-caption-text\">Announcing the location of the Parking Lot Art Fair. \u003ccite>(Courtesy: Parking Lot Art Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Unsanctioned Art Event: Parking Lot Art Fair, outside Fort Mason Center\u003c/h3>\n\u003cp>Timed to coincide with artMRKT and the stARTup Art Fair, the Parking Lot Art Fair clung to conventional capitalization, but little else. Early on the morning of May 2, artists, art spaces and MFA students commandeered the prime parking spaces outside Fort Mason Center with vehicles tricked-out as galleries, blankets displaying wares, or an entire boat-turned-installation, complete with live fish. I’m not one to talk about energy, but the energy was great. Organizers Jenny Sharaf and Emily Reynolds pulled together an event that was equal parts rogue happening, zany flea market and a big middle finger to the neighboring art fairs, with their entrance fees and hefty booth costs. \u003ca href=\"http://parkinglotartfair.tumblr.com/\" target=\"_blank\" rel=\"noopener\">More on the Parking Lot Art Fair\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184605\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Fusco400-400x267.jpg\" alt=\"Coco Fusco, still from 'The Empty Plaza/La Plaza Vaca,' 2012.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184605\">\u003cfigcaption class=\"wp-caption-text\">Coco Fusco, still from ‘The Empty Plaza/La Plaza Vaca,’ 2012. \u003ccite>(Courtesy: Alexander Gray Associates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Video I’m Glad I Watched All the Way Through: Coco Fusco, \u003ci>The Empty Plaza/La Plaza Vaca\u003c/i>\u003c/h3>\n\u003cp>Tucked into a screening space in the back corner of \u003ci>Public Works: Artists’ Interventions 1970s-Now\u003c/i> at the Mills College Art Museum, I almost didn’t have the patience for \u003ci>The Empty Plaza/La Plaza Vaca\u003c/i>. The video is a 12-minute rumination on Havana’s Plaza de la Revolución, a site of legendary gatherings in Cuban history. Today the treeless expanse is an obligatory stop for tourists, while locals hurry through it if they must be there at all. Narration by Cuban journalist Yoani Sanchez overlays long, still shots of the darkening plaza interspersed with historical footage. This piece reminded me of the power of text combined with image, and of the equal importance of what is \u003ci>not\u003c/i> said and \u003ci>not\u003c/i> shown. \u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Public Works\u003c/i>\u003c/a>.\u003c/p>\n\u003c/div>\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"KQED Arts' Sarah Hotchkiss shares the Bay Area artworks that were the most moving mentally, physically and emotionally in 2015.","status":"publish","parent":0,"modified":1705045588,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1308},"headData":{"title":"Reflecting on Art: The Eight Best Things I Saw in 2015 | KQED","description":"KQED Arts' Sarah Hotchkiss shares the Bay Area artworks that were the most moving mentally, physically and emotionally in 2015.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11184597/the-8-best-things-i-saw-in-2015","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" rel=\"attachment wp-att-11126413\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the Bay Area visual arts community, 2016 can’t come fast enough. There’s so much to look forward to — and thankfully, that long period of deprivation is almost over. For example, \u003ca href=\"http://500cappstreet.org/\" target=\"_blank\" rel=\"noopener\">500 Capp Street\u003c/a>, otherwise known as conceptual artist David Ireland’s house, reopens to the public on Jan. 16. The \u003ca href=\"http://www.sfartscommission.org/gallery/2015/we-are-on-the-move/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission Gallery\u003c/a> celebrates its new, much larger, space with an opening on Jan. 22. The \u003ca href=\"http://press.bampfa.berkeley.edu/building/\" target=\"_blank\" rel=\"noopener\">Berkeley Art Museum and Pacific Film Archive\u003c/a> opens in its brand new — and more conveniently located — home on Jan. 31. Jump ahead to March, when the much-anticipated \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a> opens its doors. And \u003ca href=\"http://ww2.kqed.org/arts/2015/10/22/sfmoma-makes-it-official-date-for-reopening-set-for-next-year/\">then something’s happening in May\u003c/a>, but I can’t remember quite what.\u003c/p>\n\u003cp>In the vacuum created by these temporary (and other, more permanent) closures, certain local institutions, alternative arts spaces, galleries and independent curators stepped up to the proverbial plate. To put it bluntly, 2015 had some remarkable moments. My favorites, in no particular order:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184600\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RootDivision400-400x267.jpg\" alt=\"Root Division's new home at 1131 Mission Street.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184600\">\u003cfigcaption class=\"wp-caption-text\">Root Division’s new home at 1131 Mission Street. \u003ccite>(Photo: Mido Lee Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Comeback Story: Root Division\u003c/h3>\n\u003cp>In 2014, when Root Division announced they’d be unable to stay in their 17th Street location (their home for the past 10 years), things didn’t look good; they were just one of too many arts spaces ousted by costly rent hikes. But thanks to the help of the Nonprofit Displacement Mitigation Fund, a city grant, a benevolent new landlord and the tenacity of the Root Division staff, they now have 13,000 square feet on Mission Street all to themselves. The best part of the move is that it expands Root Division’s work on all fronts: they now have subsidized studio space for 25 artists, an expanded roster of class offerings and even more gallery space for their ever-ambitious exhibition program. \u003ca href=\"https://www.rootdivision.org/\" target=\"_blank\" rel=\"noopener\">More on Root Division\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11077357\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Cardiff640-400x267.jpg\" alt=\"Janet Cardiff, 'The Forty Part Motet' (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11077357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Cardiff640.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Janet Cardiff, ‘The Forty Part Motet’ (installation view, Gallery 308, Fort Mason Center for Arts & Culture), 2015. \u003ccite>(Photo: JKA Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Exhibition that Made Me Feel Real Feelings: Janet Cardiff’s \u003ci>Forty Part Motet\u003c/i> at Fort Mason Center\u003c/h3>\n\u003cp>Janet Cardiff’s sound piece might be the most recommended Bay Area art experience of the year — and not just by me. A spare arrangement of 40 black speakers plays the soaring sounds of English Renaissance composer Thomas Tallis’ 1573 choral work \u003ci>Spem in alium nunquam habui\u003c/i>. I’m now verging on nagging territory, but I’m doubling down: Please, for the sake of your ears, mind and heart, \u003ca href=\"http://motettickets.org/#tickets\" target=\"_blank\" rel=\"noopener\">visit this free installation\u003c/a>. Don’t be discouraged by the “Sold Out” blocks on the calendar: same-day walkup tickets are often available. \u003ca href=\"http://ww2.kqed.org/arts/2015/11/13/janet-cardiffs-forty-part-motet-almost-made-me-cry/\" target=\"_blank\" rel=\"noopener\">Read my full review\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184721\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DawsonB400-400x267.jpg\" alt=\"Rachel Dawson, interior view of 'Between Here and There,' 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184721\">\u003cfigcaption class=\"wp-caption-text\">Rachel Dawson, interior view of ‘Between Here and There,’ 2015. \u003ccite>(Photo: Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Installation You Didn’t See: Rachel Dawson, \u003ci>Between Here and There\u003c/i> at Alter Space\u003c/h3>\n\u003cp>Chances are you missed the 15-day run of Oakland-based artist Rachel Dawson’s subterranean sculptural installation. The project was the culmination of a three-month residency in Alter Space’s wooden jail cell (left over from the building’s former leatherwear tenant). Inside a mirrored, five-sided structure, phosphorescent porcelain sculptures resembling ghostly ectoplasm covered the walls, ceiling and floor. Their greenish glow was the only illumination, reflected infinitely as a series of hovering, gooey manifestations from the world beyond. I really hope this piece gets a second life so more people can step inside a vertigo-inducing chamber with booties over their shoes. \u003ca href=\"http://alterspace.co/exhibitions/rachel-dawson-between-here-and-there/\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Between Here and There\u003c/i>\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184602\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Moulton400-400x267.jpg\" alt=\"Shana Moulton performing at YBCA's ConVerge.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184602\">\u003cfigcaption class=\"wp-caption-text\">Shana Moulton performing at YBCA’s ConVerge. \u003ccite>(Photo: Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Live Performance: Shana Moulton at YBCA\u003c/h3>\n\u003cp>At April’s ConVerge, Yerba Buena Center for the Arts’ monthly live event, artist Shana Moulton (and collaborator Nick Hallett) performed in conjunction with the opening of her solo show, \u003ci>Picture Puzzle Pattern Door\u003c/i>. Dressed as her alter ego “Cynthia,” Moulton cannily and wordlessly interacted with projected video and sound in a hilarious sendup of women’s wellness products and New Age questing. Wearing a bowl-cut wig and something the internet wants me to call either a “magic bubble shirt” or a “popcorn blouse,” Moulton’s emotive facial expressions were possibly the greatest part of the entire night. \u003ca href=\"http://ybca.org/shana-moulton\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Picture Puzzle Pattern Door\u003c/i>\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184603\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Capital400-400x300.jpg\" alt=\"View from Sacramento Street of CAPITAL.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-11184603\">\u003cfigcaption class=\"wp-caption-text\">View from Sacramento Street of CAPITAL. \u003ccite>(Courtesy: CAPITAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best New Gallery: CAPITAL\u003c/h3>\n\u003cp>It seems like ages since CAPITAL \u003ca href=\"http://ww2.kqed.org/arts/2015/02/11/fall-under-the-spell-at-capital/\" target=\"_blank\" rel=\"noopener\">opened with their first show\u003c/a>. But no, it was less than a year ago. Eight exhibitions, one art fair and two editioned objects later, the year ahead looks equally bright. Visiting shows at CAPITAL is often more like hanging out on the sidewalk of Sacramento Street with co-directors Jonathan Runcio and Bob Linder. The space itself is so small, I have to focus intensely on the art just to prevent myself from wreaking havoc with my long arms. But focusing intensely on art is never, ever a bad thing. \u003ca href=\"http://capital.gallery/index.html\" target=\"_blank\" rel=\"noopener\">More on CAPITAL\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10881977\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/SkyBridge1-400x267.jpg\" alt=\"The artist and volunteers laying out 'Sky Bridge,' 2015.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10881977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/SkyBridge1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The artist and volunteers laying out ‘Sky Bridge,’ 2015. \u003ccite>(Photo: Lydia Han/CCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Public Art Installation: \u003ci>Sky Bridge\u003c/i> at the Chinese Culture Center\u003c/h3>\n\u003cp>For the month of August, Chinatown’s Portsmouth Square pedestrian bridge transformed into a gleaming causeway between the increasingly outward-facing CCC and the neighborhood’s most active public space. Austin-based artist Beili Liu adhered 50,000 brick-sized pieces of mirrored Mylar to the bridge with the help of a small army of volunteers. The result was dazzling. Just a few weeks ago, the CCC announced its next project on the bridge: a mini-park with landscape design by Jennifer Ng and Chris Hardy, and \u003ci>Sunrise\u003c/i>, a tile installation by local artist Mik Gaspay. \u003ca href=\"http://ww2.kqed.org/arts/2015/08/11/dazzling-sky-bridge-transforms-chinatown-pedestrian-bridge/\" target=\"_blank\" rel=\"noopener\">Read my full review of \u003ci>Sky Bridge\u003c/i>\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184604\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PLAF400-400x286.jpg\" alt=\"Announcing the location of the Parking Lot Art Fair.\" width=\"400\" height=\"286\" class=\"size-thumbnail wp-image-11184604\">\u003cfigcaption class=\"wp-caption-text\">Announcing the location of the Parking Lot Art Fair. \u003ccite>(Courtesy: Parking Lot Art Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Unsanctioned Art Event: Parking Lot Art Fair, outside Fort Mason Center\u003c/h3>\n\u003cp>Timed to coincide with artMRKT and the stARTup Art Fair, the Parking Lot Art Fair clung to conventional capitalization, but little else. Early on the morning of May 2, artists, art spaces and MFA students commandeered the prime parking spaces outside Fort Mason Center with vehicles tricked-out as galleries, blankets displaying wares, or an entire boat-turned-installation, complete with live fish. I’m not one to talk about energy, but the energy was great. Organizers Jenny Sharaf and Emily Reynolds pulled together an event that was equal parts rogue happening, zany flea market and a big middle finger to the neighboring art fairs, with their entrance fees and hefty booth costs. \u003ca href=\"http://parkinglotartfair.tumblr.com/\" target=\"_blank\" rel=\"noopener\">More on the Parking Lot Art Fair\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11184605\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Fusco400-400x267.jpg\" alt=\"Coco Fusco, still from 'The Empty Plaza/La Plaza Vaca,' 2012.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11184605\">\u003cfigcaption class=\"wp-caption-text\">Coco Fusco, still from ‘The Empty Plaza/La Plaza Vaca,’ 2012. \u003ccite>(Courtesy: Alexander Gray Associates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Best Video I’m Glad I Watched All the Way Through: Coco Fusco, \u003ci>The Empty Plaza/La Plaza Vaca\u003c/i>\u003c/h3>\n\u003cp>Tucked into a screening space in the back corner of \u003ci>Public Works: Artists’ Interventions 1970s-Now\u003c/i> at the Mills College Art Museum, I almost didn’t have the patience for \u003ci>The Empty Plaza/La Plaza Vaca\u003c/i>. The video is a 12-minute rumination on Havana’s Plaza de la Revolución, a site of legendary gatherings in Cuban history. Today the treeless expanse is an obligatory stop for tourists, while locals hurry through it if they must be there at all. Narration by Cuban journalist Yoani Sanchez overlays long, still shots of the darkening plaza interspersed with historical footage. This piece reminded me of the power of text combined with image, and of the equal importance of what is \u003ci>not\u003c/i> said and \u003ci>not\u003c/i> shown. \u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">More on \u003ci>Public Works\u003c/i>\u003c/a>.\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11184597/the-8-best-things-i-saw-in-2015","authors":["61"],"series":["arts_1309"],"categories":["arts_70"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_11184959","label":"arts_1309"},"arts_11169683":{"type":"posts","id":"arts_11169683","meta":{"index":"posts_1591205157","site":"arts","id":"11169683","score":null,"sort":[1450815334000]},"guestAuthors":[],"slug":"theater-junkie-the-wildest-theatrical-moments-of-2015","title":"Theater Junkie: The Wildest Theatrical Moments of 2015","publishDate":1450815334,"format":"standard","headTitle":"Theater Junkie: The Wildest Theatrical Moments of 2015 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Every end-of-year-theater list is a lie and a dream. A lie because they’re always wrong, and a dream because you forget almost everything. What we’re left with are the shards and fragments of lasting feelings — the stuff that you can’t shake months, years or even a lifetime later. And that’s why these lists should always be rough, as well as full of gratitude for all these stunning moments that happened and then passed.\u003c/p>\n\u003cp>Here are my top five shows of 2015 in descending order:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11182450\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11182450 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RightRussianPlay-800x450.jpg\" alt=\"RightRussianPlay\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nora el-Samahy in ‘Russian Play.’ (Photo: Robbie Sweeny/Affinity Project).\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Affinity Project’s \u003cem>Russian Play\u003c/em>\u003c/h3>\n\u003ch5>CounterPulse at ODC Studio B, Nov. 22-24\u003c/h5>\n\u003cp>It took on about 15 seconds of Anton Chekhov’s \u003cem>The Three Sisters\u003c/em> and relentlessly attempted to find the perfect rendition of that brief moment. Under Emily Hoffman’s sharp direction, Atosa Babaoff, Beatrice Basso, and Nora el-Samahy spoke and moved with such precision that they seemed to be one entity, a true examination of the pleasures and terrors of what it means to be a third of three sisters. Alternately exhilarating and exasperating, \u003ca href=\"http://counterpulse.org/?tribe_events=arc-2015/\" target=\"_blank\" rel=\"noopener\">the Affinity Project\u003c/a> cut to the heart of Chekhov and stayed there for one mesmerizing hour.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11182451\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11182451 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RightMethodGun-800x450.jpg\" alt=\"RightMethodGun\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Graves in the Rude Mechs’ ‘The Method Gun.’ (Photo: Kathi Kacinski/Rude Mechs).\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Rude Mechs’ \u003cem>The Method Gun\u003c/em>\u003c/h3>\n\u003ch5>Z Space, Nov. 20-22\u003c/h5>\n\u003cp> \u003ci>The Method Gun\u003c/i> followed a group of actors putting on one of the most famous plays in the western theatrical repertoire — \u003cem>A Streetcar Named Desire\u003c/em> — without any of the show’s main parts (Stanley, Blanche, Stella, and Mitch.) What at first seemed to be a rueful backstage farce about a troupe of fools somehow became a primer on how idiocy can turn transcendent. After \u003ca href=\"http://zspace.org/new-work/the-method-gun\" target=\"_blank\" rel=\"noopener\">\u003cem>The Method Gun\u003c/em>\u003c/a>, you’ll never look at your stupid artist friends in the same way.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11182452\" class=\"wp-caption alignleft\" style=\"max-width: 536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11182452 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RightBerkeleyRep.jpg\" alt=\"RightBerkeleyRep\" width=\"536\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightBerkeleyRep.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightBerkeleyRep-400x225.jpg 400w\" sizes=\"(max-width: 536px) 100vw, 536px\">\u003cfigcaption class=\"wp-caption-text\">(From Left) Sophia Jean Gomez and Steven Epp in ‘Tartuffe.’ (Photo: Kevin Berne/Berkeley Repertory Theatre).\u003c/figcaption>\u003c/figure>\n\u003ch3>3. The Berkeley Repertory Theatre’s production of Moliere’s \u003cem>Tartuffe\u003c/em>\u003c/h3>\n\u003ch5>The Berkeley Repertory Theatre, March 13-April 12\u003c/h5>\n\u003cp>\u003ca href=\"http://www.berkeleyrep.org/season/1415/8244.asp\" target=\"_blank\" rel=\"noopener\">The Berkeley Repertory Theatre’s production of Moliere’s \u003cem>Tartuffe\u003c/em>\u003c/a> was masterfully directed by Dominique Serrand and featured an impossible-to-describe performance by Steven Epp. This 17th century farce has more to say about ISIS, state power, and the incredible lack of will in our culture than a thousand articles in \u003cem>The Nation\u003c/em>, \u003cem>Mother Jones\u003c/em>, \u003cem>The New Yorker\u003c/em>, and \u003cem>Dissent\u003c/em>. Turning the standard Tartuffe-is-a-hypocrite reading on its head, Serrand and company came to a more terrifying conclusion. Instead of acting the hypocrite, Epp’s Tartuffe did and said exactly what he wanted. That no one tried to stop him was where the terror began. I didn’t laugh once.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11182453\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11182453 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-800x450.jpg\" alt=\"RightGhostQuartet\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From Left) Brittain Ashford, Gelsey Bell, and Dave Malloy in ‘Ghost Quartet.’ (Photo: Ryan Jensen/Curran Theatre).\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Dave Malloy’s song cycle \u003cem>Ghost Quartet\u003c/em> \u003c/h3>\n\u003ch5>Curran: Under Construction, Oct. 23-31\u003c/h5>\n\u003cp> \u003ca href=\"http://sfcurran.com/event/ghost-quartet/\" target=\"_blank\" rel=\"noopener\">Dave Malloy’s song cycle \u003ci>Ghost Quartet\u003c/i>\u003c/a> was never anything less than stunning. Malloy’s a brilliant storyteller who has somehow managed to take his obsessions—17th century Japan, astronomy, drinking, subways, Thelonious Monk, to name a few—and give them artistic and emotional coherence. For such a subtle composer and writer, there’s nothing subtle about what Malloy does to us: Every time I step on BART, witness a family\u003cstrong> \u003c/strong>erupt in anger, or happen upon a fragment of bone, his music comes flooding back.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11182457\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11182457 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/LasttryWooster.jpeg\" alt=\"LasttryWooster\" width=\"640\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LasttryWooster.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LasttryWooster-400x199.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(From Left) Frances McDormand and Suzzy Roche in ‘Early Shaker Spirituals.’ (Photo: Paula Court/Wooster Group).\u003c/figcaption>\u003c/figure>\n\u003ch3>1. The Wooster Group’s \u003cem>Early Shaker Spirituals\u003c/em>\u003c/h3>\n\u003ch5>Z Space, Feb. 5-8\u003c/h5>\n\u003cp>\u003ca href=\"http://zspace.org/new-work/the-wooster-groups-early-shaker-spirituals\">The Wooster Group’s \u003ci>Early Shaker Spirituals\u003c/i>\u003c/a> made me question if there’s a difference between demonic and artistic possession. The seminal American theater company’s performance/recreation of the 1976 album \u003cem>Early Shaker Spirituals\u003c/em> existed somewhere outside of time, making the audience feel happy to just sit back and listen to these beautiful, entrancing hymns. And then the production exploded into dance and myth in an unlikely and ecstatic union of older women and younger men. It was no less than a reordering of what we expect from the world. That the Wooster Group accomplished all this in just shy of an hour was the wildest, nuttiest, and loveliest moment of 2015.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Our theater critic's top productions include 'Tartuffe' at Berkeley Rep and 'The Method Gun' at Z Space.","status":"publish","parent":0,"modified":1705045619,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":787},"headData":{"title":"Theater Junkie: The Wildest Theatrical Moments of 2015 | KQED","description":"Our theater critic's top productions include 'Tartuffe' at Berkeley Rep and 'The Method Gun' at Z Space.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11169683/theater-junkie-the-wildest-theatrical-moments-of-2015","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Every end-of-year-theater list is a lie and a dream. A lie because they’re always wrong, and a dream because you forget almost everything. What we’re left with are the shards and fragments of lasting feelings — the stuff that you can’t shake months, years or even a lifetime later. And that’s why these lists should always be rough, as well as full of gratitude for all these stunning moments that happened and then passed.\u003c/p>\n\u003cp>Here are my top five shows of 2015 in descending order:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11182450\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11182450 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RightRussianPlay-800x450.jpg\" alt=\"RightRussianPlay\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightRussianPlay-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nora el-Samahy in ‘Russian Play.’ (Photo: Robbie Sweeny/Affinity Project).\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Affinity Project’s \u003cem>Russian Play\u003c/em>\u003c/h3>\n\u003ch5>CounterPulse at ODC Studio B, Nov. 22-24\u003c/h5>\n\u003cp>It took on about 15 seconds of Anton Chekhov’s \u003cem>The Three Sisters\u003c/em> and relentlessly attempted to find the perfect rendition of that brief moment. Under Emily Hoffman’s sharp direction, Atosa Babaoff, Beatrice Basso, and Nora el-Samahy spoke and moved with such precision that they seemed to be one entity, a true examination of the pleasures and terrors of what it means to be a third of three sisters. Alternately exhilarating and exasperating, \u003ca href=\"http://counterpulse.org/?tribe_events=arc-2015/\" target=\"_blank\" rel=\"noopener\">the Affinity Project\u003c/a> cut to the heart of Chekhov and stayed there for one mesmerizing hour.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11182451\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11182451 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RightMethodGun-800x450.jpg\" alt=\"RightMethodGun\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightMethodGun-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Graves in the Rude Mechs’ ‘The Method Gun.’ (Photo: Kathi Kacinski/Rude Mechs).\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Rude Mechs’ \u003cem>The Method Gun\u003c/em>\u003c/h3>\n\u003ch5>Z Space, Nov. 20-22\u003c/h5>\n\u003cp> \u003ci>The Method Gun\u003c/i> followed a group of actors putting on one of the most famous plays in the western theatrical repertoire — \u003cem>A Streetcar Named Desire\u003c/em> — without any of the show’s main parts (Stanley, Blanche, Stella, and Mitch.) What at first seemed to be a rueful backstage farce about a troupe of fools somehow became a primer on how idiocy can turn transcendent. After \u003ca href=\"http://zspace.org/new-work/the-method-gun\" target=\"_blank\" rel=\"noopener\">\u003cem>The Method Gun\u003c/em>\u003c/a>, you’ll never look at your stupid artist friends in the same way.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11182452\" class=\"wp-caption alignleft\" style=\"max-width: 536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11182452 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RightBerkeleyRep.jpg\" alt=\"RightBerkeleyRep\" width=\"536\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightBerkeleyRep.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightBerkeleyRep-400x225.jpg 400w\" sizes=\"(max-width: 536px) 100vw, 536px\">\u003cfigcaption class=\"wp-caption-text\">(From Left) Sophia Jean Gomez and Steven Epp in ‘Tartuffe.’ (Photo: Kevin Berne/Berkeley Repertory Theatre).\u003c/figcaption>\u003c/figure>\n\u003ch3>3. The Berkeley Repertory Theatre’s production of Moliere’s \u003cem>Tartuffe\u003c/em>\u003c/h3>\n\u003ch5>The Berkeley Repertory Theatre, March 13-April 12\u003c/h5>\n\u003cp>\u003ca href=\"http://www.berkeleyrep.org/season/1415/8244.asp\" target=\"_blank\" rel=\"noopener\">The Berkeley Repertory Theatre’s production of Moliere’s \u003cem>Tartuffe\u003c/em>\u003c/a> was masterfully directed by Dominique Serrand and featured an impossible-to-describe performance by Steven Epp. This 17th century farce has more to say about ISIS, state power, and the incredible lack of will in our culture than a thousand articles in \u003cem>The Nation\u003c/em>, \u003cem>Mother Jones\u003c/em>, \u003cem>The New Yorker\u003c/em>, and \u003cem>Dissent\u003c/em>. Turning the standard Tartuffe-is-a-hypocrite reading on its head, Serrand and company came to a more terrifying conclusion. Instead of acting the hypocrite, Epp’s Tartuffe did and said exactly what he wanted. That no one tried to stop him was where the terror began. I didn’t laugh once.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11182453\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11182453 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-800x450.jpg\" alt=\"RightGhostQuartet\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RightGhostQuartet-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From Left) Brittain Ashford, Gelsey Bell, and Dave Malloy in ‘Ghost Quartet.’ (Photo: Ryan Jensen/Curran Theatre).\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Dave Malloy’s song cycle \u003cem>Ghost Quartet\u003c/em> \u003c/h3>\n\u003ch5>Curran: Under Construction, Oct. 23-31\u003c/h5>\n\u003cp> \u003ca href=\"http://sfcurran.com/event/ghost-quartet/\" target=\"_blank\" rel=\"noopener\">Dave Malloy’s song cycle \u003ci>Ghost Quartet\u003c/i>\u003c/a> was never anything less than stunning. Malloy’s a brilliant storyteller who has somehow managed to take his obsessions—17th century Japan, astronomy, drinking, subways, Thelonious Monk, to name a few—and give them artistic and emotional coherence. For such a subtle composer and writer, there’s nothing subtle about what Malloy does to us: Every time I step on BART, witness a family\u003cstrong> \u003c/strong>erupt in anger, or happen upon a fragment of bone, his music comes flooding back.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11182457\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11182457 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/LasttryWooster.jpeg\" alt=\"LasttryWooster\" width=\"640\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LasttryWooster.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LasttryWooster-400x199.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">(From Left) Frances McDormand and Suzzy Roche in ‘Early Shaker Spirituals.’ (Photo: Paula Court/Wooster Group).\u003c/figcaption>\u003c/figure>\n\u003ch3>1. The Wooster Group’s \u003cem>Early Shaker Spirituals\u003c/em>\u003c/h3>\n\u003ch5>Z Space, Feb. 5-8\u003c/h5>\n\u003cp>\u003ca href=\"http://zspace.org/new-work/the-wooster-groups-early-shaker-spirituals\">The Wooster Group’s \u003ci>Early Shaker Spirituals\u003c/i>\u003c/a> made me question if there’s a difference between demonic and artistic possession. The seminal American theater company’s performance/recreation of the 1976 album \u003cem>Early Shaker Spirituals\u003c/em> existed somewhere outside of time, making the audience feel happy to just sit back and listen to these beautiful, entrancing hymns. And then the production exploded into dance and myth in an unlikely and ecstatic union of older women and younger men. It was no less than a reordering of what we expect from the world. That the Wooster Group accomplished all this in just shy of an hour was the wildest, nuttiest, and loveliest moment of 2015.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11169683/theater-junkie-the-wildest-theatrical-moments-of-2015","authors":["8668"],"programs":["arts_140"],"series":["arts_1309"],"categories":["arts_1003","arts_967"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_11182455","label":"arts_140"},"arts_11174074":{"type":"posts","id":"arts_11174074","meta":{"index":"posts_1591205157","site":"arts","id":"11174074","score":null,"sort":[1450800056000]},"guestAuthors":[],"slug":"a-love-song-to-freedom-fighters-2015s-radical-movements","title":"A Love Song to Freedom Fighters: 2015’s Radical Movements","publishDate":1450800056,"format":"standard","headTitle":"A Love Song to Freedom Fighters: 2015’s Radical Movements | KQED","labelTerm":{"term":1309,"site":"arts"},"content":"\u003cp>Columbia University professor Todd Gitlin recently wrote \u003ca href=\"http://www.nytimes.com/2015/11/22/opinion/sunday/why-are-student-protesters-so-fearful.html\" target=\"_blank\" rel=\"noopener\">an op-ed\u003c/a> in \u003cem>The New York Times\u003c/em> that asked, “Why are student protesters so fearful?” Conceding that young people have much to fear — briefly ticking off rape culture, the “grotesque proportions” of police brutality towards black people and rising hatred toward immigrants — Gitlin proceeded to bemoan a supposed lack of courage among today’s young people, compared to their 1960s counterparts.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Setting aside the fact that laws limiting public expression have increased exponentially in the last 50 years and that violence against protesters is swift and severe, I read Gitlin’s screed with the same bewilderment that accompanies any conversation with someone who refuses to acknowledge progress in favor of propping up memories of their youth. It charitably occurred to me that maybe he’s been trapped under something heavy in recent years — perhaps an old boulder-style PC with dial-up internet. That might explain how much he’s missed.\u003c/p>\n\u003cp>The truth is that today’s radical actions are far more nuanced, organized and networked than in any other period in history — with young people and visual culture driving much of it. I don’t need to write a list here of the terrible things that happened in 2015. Violence, bigotry and hate seemed to reign. The news was often an onslaught, leaving us with barely enough time to recover from the previous week’s brutality before being tossed into greater horrors.\u003c/p>\n\u003cp>Thankfully it was also an amazing year of resistance. Deciding to embrace this moment as a movement unto itself is one way to shift away from narrow thinking, and recognizing the bold new territories of resistance is another. This is a mere sample of highlights from a year of radical actions and global movements that kept my faith in the future alive.\u003c/p>\n\u003cfigure id=\"attachment_11181883\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181883\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Istanbul640.jpg\" alt=\"Turkish men wearing skirts demonstrate in Istanbul, to support women's rights in memory of 20-year-old Ozgecan Aslan.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Istanbul640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Istanbul640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Turkish men wearing skirts demonstrate in Istanbul, to support women’s rights in memory of 20-year-old Ozgecan Aslan. \u003ccite>(Photo: BULENT KILIC/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Feminist Action\u003c/h3>\n\u003cp>2015 was a decidedly powerful year for dismantling the patriarchy. Women tech workers took out \u003ca href=\"http://www.businessinsider.com/thanks-ellen-pao-full-page-ad-in-palo-alto-daily-post-2015-3\" target=\"_blank\" rel=\"noopener\">a full-page ad\u003c/a> in the \u003cem>Palo Alto Daily Post\u003c/em> to thank Ellen Pao for her gender discrimination lawsuit against Kleiner Perkins Caufield & Byers. Following the jury’s verdict against Pao, the Twitterverse likewise erupted with its support via \u003ca href=\"https://twitter.com/search?q=%23ThankYouEllenPao&src=typd\" target=\"_blank\" rel=\"noopener\">#ThankYouEllenPao\u003c/a>. A win in the courtroom, it would seem, is not the only measure of victory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In May, the Oakland-based BlackOut Collective answered a national call to action with \u003ca href=\"http://fusion.net/story/137976/say-her-name-topless-protesters/\" target=\"_blank\" rel=\"noopener\">a topless demonstration\u003c/a> in San Francisco’s Financial District during morning rush hour, protesting state violence against black women and girls. Later in the year, after an anti-domestic violence \u003ca href=\"http://remezcla.com/features/moriviv-mural-vandalized-puerto-rico/\" target=\"_blank\" rel=\"noopener\">mural was vandalized and censored for nudity\u003c/a>, Puerto Rican women bared their breasts in protest.\u003c/p>\n\u003cp>Turkish men took to the streets of Istanbul in skirts \u003ca href=\"http://time.com/3718618/turkey-men-miniskirts-ozgecan-aslan/\" target=\"_blank\" rel=\"noopener\">for women’s rights\u003c/a> and to honor Ozgecan Aslan, a 20-year-old student who was brutally murdered after fighting off a bus driver’s assault. \u003ca href=\"https://twitter.com/hashtag/ozgecanicinminietekgiy?src=hash\" target=\"_blank\" rel=\"noopener\">#ozgecanicinminietekgiy\u003c/a> (“wear a miniskirt for Ozgecan”) went viral overnight.\u003c/p>\n\u003cfigure id=\"attachment_11181882\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181882\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Columbia640.jpg\" alt=\"Emma Sulkowicz carries a mattress in protest of Columbia University's lack of action.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Columbia640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Columbia640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Sulkowicz carries a mattress in protest of Columbia University’s lack of action. \u003ccite>(Photo: Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was the year former Columbia University student Emma Sulkowicz \u003ca href=\"http://www.nytimes.com/2015/05/20/nyregion/mattress-protest-at-columbia-university-continues-into-graduation-event.html\" target=\"_blank\" rel=\"noopener\">carried her dorm mattress at graduation\u003c/a>. It was the culmination of her yearlong protest performance centered on her own complaints of assault, a performance that prompted national dialogue around the college rape epidemic.\u003c/p>\n\u003cp>This was also the year Los Angeles-based violinist Mia Matsumiya \u003ca href=\"http://www.cosmopolitan.com/lifestyle/news/a47967/mia-matsumiya-perv-magnet-instagram/\" target=\"_blank\" rel=\"noopener\">leveraged Instagram to expose ten years of lewd messages\u003c/a> sent to her online.\u003c/p>\n\u003cp>And in an awesome show of intersectional feminism, the Girl Scouts of Western Washington \u003ca href=\"http://www.people.com/article/girl-scouts-donation-transgender-crowdfund\" target=\"_blank\" rel=\"noopener\">opted to return a $100,000 donation\u003c/a> when the donor stipulated that the money could not be used for transgender girls. Instead, they launched \u003ca href=\"https://www.indiegogo.com/projects/girl-scouts-is-foreverygirl#/story\" target=\"_blank\" rel=\"noopener\">an Indiegogo campaign\u003c/a> that raised three times as much in less than 48 hours.\u003c/p>\n\u003cfigure id=\"attachment_11181885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ConcernedStudents640.jpg\" alt=\"Concerned Student 1950 group supporters chant during a march through University of Missouri campus on November 13, in Columbia, Missouri.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ConcernedStudents640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ConcernedStudents640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Concerned Student 1950 group supporters chant during a march through University of Missouri campus on November 13, in Columbia, Missouri. \u003ccite>(Photo: Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Beyond #BlackLivesMatter\u003c/h3>\n\u003cp>Few images of determination have been more inspiring than that of artist activist Bree Newsome \u003ca href=\"http://www.democracynow.org/2015/7/3/this_flag_comes_down_today_bree\" target=\"_blank\" rel=\"noopener\">scaling a flagpole at the South Carolina Capitol\u003c/a> to take down the Confederate flag. (The title of this essay is borrowed from a \u003ca href=\"https://soundcloud.com/breenewsome/staystrong\" target=\"_blank\" rel=\"noopener\">song\u003c/a> Newsome recorded, inspired by events in Ferguson and dedicated to younger organizers.)\u003c/p>\n\u003cp>Similarly inspiring images came out of the student-led movement against racism at the University of Missouri, initiated by \u003ca href=\"https://twitter.com/CS_1950?lang=en\" target=\"_blank\" rel=\"noopener\">#ConcernedStudent1950\u003c/a>, and from the \u003ca href=\"http://www.newsweek.com/berkeley-high-school-students-walk-out-protest-against-discovered-racial-391262\" target=\"_blank\" rel=\"noopener\">thousands of students who walked out of Berkeley High\u003c/a> in November after racist threats were found on a library computer.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Blklivesmatter\" target=\"_blank\" rel=\"noopener\">#BlackLivesMatter\u003c/a> persists as a rallying cry for systemic change in numerous ways. San Francisco teacher librarians created a \u003ca href=\"http://archives.sfexaminer.com/sanfrancisco/sf-teacher-librarians-create-black-lives-matter-resource-guide-for-classrooms/Content?oid=2915809\" target=\"_blank\" rel=\"noopener\">Black Lives Matter Resource Guide\u003c/a> for classrooms. Following the discovery that Florida police used mugshots of black men for target practice, white clergy responded with \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2015/01/25/florida-police-used-mugshots-of-black-men-for-target-practice-clergy-responded-usemeinstead/\" target=\"_blank\" rel=\"noopener\">#UseMeInstead\u003c/a> and offered up their own images for the shooting range. \u003c/p>\n\u003cp>https://twitter.com/PastorJoelle/status/556411872769896448\u003c/p>\n\u003cp>On the anniversary of the police shooting and killing of Michael Brown in Ferguson, MO, \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2015/08/10/ferguson-activists-deray-mckesson-johnetta-elzie-among-those-arrested-in-st-louis/\" target=\"_blank\" rel=\"noopener\">activists raised a banner\u003c/a> reading “Racism Still Lives Here,” in front of the St. Louis Arch, using oversized balloons.\u003c/p>\n\u003cp>Artist and writer Chris Cobb successfully \u003ca href=\"http://blogs.artinfo.com/artintheair/2015/07/07/de-blasio-inaugurates-wall-street-plaque-commemorating-slave-market/\" target=\"_blank\" rel=\"noopener\">lobbied\u003c/a> to memorialize the site of New York’s historic municipal slave market on Wall Street. Paramount \u003ca href=\"http://time.com/3833493/selma-dvd-high-schools/\" target=\"_blank\" rel=\"noopener\">sent free DVDs of \u003cem>Selma\u003c/em>\u003c/a> to every high school in America, while Dylan Marron’s \u003ca href=\"http://everysinglewordspoken.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Every Single Word\u003c/a> project cataloged every word spoken by a person of color in numerous mainstream films. It was recently named Tumblr’s number one blog of the year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q6tWJ4u4aB4\u003c/p>\n\u003ch3>Tenacity and Resilience\u003c/h3>\n\u003cp>Throughout 2015, hate speech, terrorism and intolerance were quickly met with images of tenacity and resilience. San Francisco arts activist group Street Cred \u003ca href=\"http://www.dailydot.com/geek/kamala-khan-graffiti-anti-islamic-bus-ad/\" target=\"_blank\" rel=\"noopener\">altered anti-Muslim ads\u003c/a> on city buses paid for by right-wing organizations with messages featuring fictional Marvel super heroine Kamala Khan and summoning “all bigotry busters” to denounce hate speech. Following the murders of three Muslim students in Chapel Hill, Mohammad Alsalti, a design student at the University of Cincinnati instinctively took to Instagram with \u003ca href=\"http://www.colorlines.com/articles/one-image-captures-loss-muslim-student-killings\" target=\"_blank\" rel=\"noopener\">a memorial image\u003c/a> that swiftly went viral.\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:50% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" margin:8px 0 0 0; padding:0 4px;\"> \u003ca href=\"https://www.instagram.com/p/y951eplvKf/\" style=\" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;\" target=\"_blank\" rel=\"noopener\">Inna lilah wa inna ilayhi rajioon. Rest in peace Deah, Yusor, and Razan. Amazing people gone way too soon. *Original Design*\u003c/a>\u003c/p>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">A photo posted by Mohammad Alsalti (@teddycreates) on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2015-02-11T16:15:46+00:00\">Feb 11, 2015 at 8:15am PST\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>\u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\u003c/p>\n\u003cp>After so much carnage without hard data in many areas, \u003cem>The Guardian\u003c/em> launched an online initiative called \u003ca href=\"http://www.theguardian.com/us-news/ng-interactive/2015/jun/01/the-counted-police-killings-us-database\" target=\"_blank\" rel=\"noopener\">The Counted\u003c/a> to document people killed by law enforcement in the U.S. (1,103 as of press time). Rapper Calvin Broadus, otherwise known as Snoop Dogg, initiated a \u003ca href=\"http://money.cnn.com/2015/03/10/investing/snoop-dogg-guns/\" target=\"_blank\" rel=\"noopener\">campaign to urge investors to dump gun stocks\u003c/a>. Banksy protest posters \u003ca href=\"http://www.hexjam.com/uk/news/banksy-protest-posters-are-being-plastered-all-over-london\" target=\"_blank\" rel=\"noopener\">objecting to a local arms fair\u003c/a> appeared all over London in September. \u003c/p>\n\u003cp>https://twitter.com/allinwithchris/status/672274114644606976\u003c/p>\n\u003cp>Following the San Bernardino massacre, Igor Volsky, a contributing editor at ThinkProgress.org, used \u003ca href=\"http://www.forbes.com/sites/katiesola/2015/12/04/igor-volsky-twitter/\" target=\"_blank\" rel=\"noopener\">Twitter to expose the hypocrisy of government officials\u003c/a> who express sorrow after gun massacres while simultaneously accepting money from the NRA. It was one the most provocative uses of social media reportage seen this year.\u003c/p>\n\u003cfigure id=\"attachment_11181881\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Baghdad640.jpg\" alt=\"Karim Wasfi, former director for the Iraqi National Symphony Orchestra, plays on his cello next to debris in Baghdad's Sunni Adhamiya district on May 15, 2015, in a symbolic act of protest against violence.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11181881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Baghdad640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Baghdad640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Karim Wasfi, former director for the Iraqi National Symphony Orchestra, plays on his cello next to debris in Baghdad’s Sunni Adhamiya district on May 15, 2015, in a symbolic act of protest against violence. \u003ccite>(Photo: SABAH ARAR/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Peaceful Resistance\u003c/h3>\n\u003cp>Elsewhere, generosity offered a form of peaceful resistance. In \u003ca href=\"http://www.npr.org/2015/06/08/412284066/amid-violence-in-baghdad-a-musician-creates-a-one-man-vigil\" target=\"_blank\" rel=\"noopener\">the aftermath of violence in Baghdad\u003c/a>, Iraqi musician Karim Wasfi, former director of the Iraqi National Symphony Orchestra, could be seen in a suit playing his cello on top of smoldering ash and rubble. In the same spirit, a German musician \u003ca href=\"http://www.nydailynews.com/news/world/german-pianist-plays-imagine-paris-le-bataclan-article-1.2435047\" target=\"_blank\" rel=\"noopener\">towed his piano with his bike\u003c/a> through the streets of Paris to play John Lennon’s “Imagine” outside the Bataclan theater where so many people had been killed the night before. \u003c/p>\n\u003cp>Meanwhile, Parisians flocked to Twitter \u003ca href=\"http://www.independent.co.uk/news/world/europe/attack-in-paris-free-taxis-and-open-doors-how-france-responded-to-an-act-of-barbarity-with-acts-of-a6734526.html\" target=\"_blank\" rel=\"noopener\">to offer their homes to strangers\u003c/a> stranded throughout the night with the hashtag \u003ca href=\"https://twitter.com/hashtag/PorteOuverte?src=hash\" target=\"_blank\" rel=\"noopener\">#PorteOuverte\u003c/a> (“open door”). Following the attacks in Paris, France announced plans to \u003ca href=\"http://hyperallergic.com/255230/in-wake-of-terrorist-attacks-france-looks-to-fight-isis-with-cultural-preservation/\" target=\"_blank\" rel=\"noopener\">invest in cultural preservation\u003c/a> as a strategy to thwart ISIS’ goal of cultural destruction.\u003c/p>\n\u003cfigure id=\"attachment_11181884\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RefugeesSticker640.jpg\" alt='Design for \"Refugees Welcome Sticker Set.\"' width=\"640\" height=\"752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640-511x600.jpg 511w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Design for “Refugees Welcome Sticker Set.” \u003ccite>(Courtesy: Burlesque of North America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plight of migrants spurred a global dialogue around racism, otherness and colonialism. More than 200 British activists \u003ca href=\"http://magazine.good.is/articles/body-bag-protest-migrants\" target=\"_blank\" rel=\"noopener\">staged a body bag protest\u003c/a> to raise awareness around the issue. More than 11,000 Icelanders organized on Facebook \u003ca href=\"http://www.independent.co.uk/news/world/europe/more-than-11000-icelanders-offer-to-house-syrian-refugees-to-help-european-crisis-10480505.html\" target=\"_blank\" rel=\"noopener\">to offer housing for Syrian refugees\u003c/a>. Students at London’s Goldsmiths College, a respected art school (and my alma mater), rallied to raise funds to launch \u003ca href=\"https://news.artnet.com/art-world/goldsmiths-art-school-refugee-scholarships-348245\" target=\"_blank\" rel=\"noopener\">scholarships for refugees and asylum seekers\u003c/a>.\u003c/p>\n\u003cp>In response to the current crisis and rising anti-refugee sentiment, independent brand consultant Veda Partalo collaborated with design studio Burlesque of North America to produce a \u003ca href=\"http://blogs.walkerart.org/design/2015/12/09/refugees-welcome-burlesque-mike-davis-of-burlesque-of-north-america-and-veda-partalo\" target=\"_blank\" rel=\"noopener\">storefront sticker campaign to welcome refugees\u003c/a> into businesses. Most recently, a Chicago group of \u003ca href=\"http://www.occupydemocrats.com/non-islamic-chicago-schoolgirls-don-headscarves-in-show-of-support-for-muslim-classmates/\" target=\"_blank\" rel=\"noopener\">non-Islamic schoolgirls donned scarves in solidarity with their Muslim classmates.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11181886\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640.jpg\" alt='Olafur Eliasson and Minik Rosing, \"Ice Watch,\" 2015.' width=\"640\" height=\"480\" class=\"size-full wp-image-11181886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Olafur Eliasson and Minik Rosing, “Ice Watch,” 2015. \u003ccite>(Photo: Rebecca Solnit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Climate Activism\u003c/h3>\n\u003cp>Climate activism rocked the internet with righteous rage all year long, from \u003ca href=\"http://www.theguardian.com/world/2015/jun/13/climate-change-activists-occupy-tate-moderns-turbine-hall\" target=\"_blank\" rel=\"noopener\">covering the floor of the Tate Modern in charcoal script\u003c/a>, to \u003ca href=\"http://www.nbcnews.com/news/us-news/activists-hang-oregon-bridge-protest-shells-arctic-oil-drilling-n400306\" target=\"_blank\" rel=\"noopener\">dangling from the Portland Bridge\u003c/a> (who doesn’t love the word “kayaktivist?”), to \u003ca href=\"http://www.theguardian.com/business/2015/sep/13/activists-occupy-british-museum-over-bp-sponsorship\" target=\"_blank\" rel=\"noopener\">occupying the British Museum\u003c/a> and spelling out “NO” with umbrellas, to numerous acts of poetic civil disobedience during the Paris Climate summit. Media favorites included images of Olafur Eliasson and Minik Rosing’s \u003cem>Ice Watch\u003c/em>, \u003ca href=\"https://news.artnet.com/art-world/ice-watch-olafur-eliasson-climate-summit-384704\" target=\"_blank\" rel=\"noopener\">a melting installation of glacial ice\u003c/a> set in front of Place du Panthéon.\u003c/p>\n\u003cfigure id=\"attachment_11181998\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450.png\" alt=\"Joe Viex's meta Indiegogo campaign.\" width=\"640\" height=\"450\" class=\"size-full wp-image-11181998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450-400x281.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joe Veix’s meta Indiegogo campaign. \u003ccite>(Courtesy: Death and Taxes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>New Tactics\u003c/h3>\n\u003cp>Around the world, people looked for ways to amplify gestures of solidarity, creating a composite of resistance images that have expanded tactical possibilities. San Francisco-based writer Joe Veix slyly \u003ca href=\"http://www.deathandtaxesmag.com/244314/how-to-swiftly-torpedo-a-racist-crowdfunding-campaign/\" target=\"_blank\" rel=\"noopener\">culture jammed Indiegogo\u003c/a> and tanked efforts to raise money in support of the South Carolina police officer who murdered Walter Scott. A group of artists and activists used \u003ca href=\"http://hyperallergic.com/238667/artists-and-activists-trace-bostons-historic-red-line-on-the-streets/\" target=\"_blank\" rel=\"noopener\">red chalk to directly demonstrate Boston’s 1930s history of redlining\u003c/a> neighborhoods to limit home ownership. Protestors \u003ca href=\"http://www.theguardian.com/us-news/2015/nov/02/airbnb-san-francisco-headquarters-occupied-housing-protesters?CMP=share_btn_fb\" target=\"_blank\" rel=\"noopener\">occupied San Francisco’s Airbnb headquarters\u003c/a>, lifting anti-gentrification messages into the atrium with balloons.\u003c/p>\n\u003cp>Rounding out the year, the University of California \u003ca href=\"http://dailynexus.com/2015-12-17/uc-divests-from-private-prisons-after-pressure-from-black-student-unions/\" target=\"_blank\" rel=\"noopener\">divested roughly $25 million of investments in private prison corporations\u003c/a> after the Afrikan Black Coalition, UC’s network of nine Black Student Unions, revealed these holdings in the University’s investment portfolios.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As our concepts of public space and freedom of assembly evolve, so do the tactical responses to resistance. There are still, of course, peopled protests — and when they are peaceful without police conflict, they are amazing, moving sights to see. But also moving are the newer modes of resistance and demonstration we see unfolding online every day, knitting solidarity within dispersed communities working toward inevitable change. Even if it looks nothing like the past, the future looks bright — not because young people are replicating the tactics of bygone eras, but precisely because they are expanding them in new and unfamiliar ways. Here’s to ever more in the new year.\u003c/p>\n\n","blocks":[],"excerpt":"It was a year of brutality and horrors, but it was also an amazing year of resistance.","status":"publish","parent":0,"modified":1705045620,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1891},"headData":{"title":"A Love Song to Freedom Fighters: 2015’s Radical Movements | KQED","description":"It was a year of brutality and horrors, but it was also an amazing year of resistance.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11174074/a-love-song-to-freedom-fighters-2015s-radical-movements","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Columbia University professor Todd Gitlin recently wrote \u003ca href=\"http://www.nytimes.com/2015/11/22/opinion/sunday/why-are-student-protesters-so-fearful.html\" target=\"_blank\" rel=\"noopener\">an op-ed\u003c/a> in \u003cem>The New York Times\u003c/em> that asked, “Why are student protesters so fearful?” Conceding that young people have much to fear — briefly ticking off rape culture, the “grotesque proportions” of police brutality towards black people and rising hatred toward immigrants — Gitlin proceeded to bemoan a supposed lack of courage among today’s young people, compared to their 1960s counterparts.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Setting aside the fact that laws limiting public expression have increased exponentially in the last 50 years and that violence against protesters is swift and severe, I read Gitlin’s screed with the same bewilderment that accompanies any conversation with someone who refuses to acknowledge progress in favor of propping up memories of their youth. It charitably occurred to me that maybe he’s been trapped under something heavy in recent years — perhaps an old boulder-style PC with dial-up internet. That might explain how much he’s missed.\u003c/p>\n\u003cp>The truth is that today’s radical actions are far more nuanced, organized and networked than in any other period in history — with young people and visual culture driving much of it. I don’t need to write a list here of the terrible things that happened in 2015. Violence, bigotry and hate seemed to reign. The news was often an onslaught, leaving us with barely enough time to recover from the previous week’s brutality before being tossed into greater horrors.\u003c/p>\n\u003cp>Thankfully it was also an amazing year of resistance. Deciding to embrace this moment as a movement unto itself is one way to shift away from narrow thinking, and recognizing the bold new territories of resistance is another. This is a mere sample of highlights from a year of radical actions and global movements that kept my faith in the future alive.\u003c/p>\n\u003cfigure id=\"attachment_11181883\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181883\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Istanbul640.jpg\" alt=\"Turkish men wearing skirts demonstrate in Istanbul, to support women's rights in memory of 20-year-old Ozgecan Aslan.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Istanbul640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Istanbul640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Turkish men wearing skirts demonstrate in Istanbul, to support women’s rights in memory of 20-year-old Ozgecan Aslan. \u003ccite>(Photo: BULENT KILIC/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Feminist Action\u003c/h3>\n\u003cp>2015 was a decidedly powerful year for dismantling the patriarchy. Women tech workers took out \u003ca href=\"http://www.businessinsider.com/thanks-ellen-pao-full-page-ad-in-palo-alto-daily-post-2015-3\" target=\"_blank\" rel=\"noopener\">a full-page ad\u003c/a> in the \u003cem>Palo Alto Daily Post\u003c/em> to thank Ellen Pao for her gender discrimination lawsuit against Kleiner Perkins Caufield & Byers. Following the jury’s verdict against Pao, the Twitterverse likewise erupted with its support via \u003ca href=\"https://twitter.com/search?q=%23ThankYouEllenPao&src=typd\" target=\"_blank\" rel=\"noopener\">#ThankYouEllenPao\u003c/a>. A win in the courtroom, it would seem, is not the only measure of victory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In May, the Oakland-based BlackOut Collective answered a national call to action with \u003ca href=\"http://fusion.net/story/137976/say-her-name-topless-protesters/\" target=\"_blank\" rel=\"noopener\">a topless demonstration\u003c/a> in San Francisco’s Financial District during morning rush hour, protesting state violence against black women and girls. Later in the year, after an anti-domestic violence \u003ca href=\"http://remezcla.com/features/moriviv-mural-vandalized-puerto-rico/\" target=\"_blank\" rel=\"noopener\">mural was vandalized and censored for nudity\u003c/a>, Puerto Rican women bared their breasts in protest.\u003c/p>\n\u003cp>Turkish men took to the streets of Istanbul in skirts \u003ca href=\"http://time.com/3718618/turkey-men-miniskirts-ozgecan-aslan/\" target=\"_blank\" rel=\"noopener\">for women’s rights\u003c/a> and to honor Ozgecan Aslan, a 20-year-old student who was brutally murdered after fighting off a bus driver’s assault. \u003ca href=\"https://twitter.com/hashtag/ozgecanicinminietekgiy?src=hash\" target=\"_blank\" rel=\"noopener\">#ozgecanicinminietekgiy\u003c/a> (“wear a miniskirt for Ozgecan”) went viral overnight.\u003c/p>\n\u003cfigure id=\"attachment_11181882\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181882\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Columbia640.jpg\" alt=\"Emma Sulkowicz carries a mattress in protest of Columbia University's lack of action.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Columbia640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Columbia640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Sulkowicz carries a mattress in protest of Columbia University’s lack of action. \u003ccite>(Photo: Andrew Burton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was the year former Columbia University student Emma Sulkowicz \u003ca href=\"http://www.nytimes.com/2015/05/20/nyregion/mattress-protest-at-columbia-university-continues-into-graduation-event.html\" target=\"_blank\" rel=\"noopener\">carried her dorm mattress at graduation\u003c/a>. It was the culmination of her yearlong protest performance centered on her own complaints of assault, a performance that prompted national dialogue around the college rape epidemic.\u003c/p>\n\u003cp>This was also the year Los Angeles-based violinist Mia Matsumiya \u003ca href=\"http://www.cosmopolitan.com/lifestyle/news/a47967/mia-matsumiya-perv-magnet-instagram/\" target=\"_blank\" rel=\"noopener\">leveraged Instagram to expose ten years of lewd messages\u003c/a> sent to her online.\u003c/p>\n\u003cp>And in an awesome show of intersectional feminism, the Girl Scouts of Western Washington \u003ca href=\"http://www.people.com/article/girl-scouts-donation-transgender-crowdfund\" target=\"_blank\" rel=\"noopener\">opted to return a $100,000 donation\u003c/a> when the donor stipulated that the money could not be used for transgender girls. Instead, they launched \u003ca href=\"https://www.indiegogo.com/projects/girl-scouts-is-foreverygirl#/story\" target=\"_blank\" rel=\"noopener\">an Indiegogo campaign\u003c/a> that raised three times as much in less than 48 hours.\u003c/p>\n\u003cfigure id=\"attachment_11181885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ConcernedStudents640.jpg\" alt=\"Concerned Student 1950 group supporters chant during a march through University of Missouri campus on November 13, in Columbia, Missouri.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ConcernedStudents640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ConcernedStudents640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Concerned Student 1950 group supporters chant during a march through University of Missouri campus on November 13, in Columbia, Missouri. \u003ccite>(Photo: Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Beyond #BlackLivesMatter\u003c/h3>\n\u003cp>Few images of determination have been more inspiring than that of artist activist Bree Newsome \u003ca href=\"http://www.democracynow.org/2015/7/3/this_flag_comes_down_today_bree\" target=\"_blank\" rel=\"noopener\">scaling a flagpole at the South Carolina Capitol\u003c/a> to take down the Confederate flag. (The title of this essay is borrowed from a \u003ca href=\"https://soundcloud.com/breenewsome/staystrong\" target=\"_blank\" rel=\"noopener\">song\u003c/a> Newsome recorded, inspired by events in Ferguson and dedicated to younger organizers.)\u003c/p>\n\u003cp>Similarly inspiring images came out of the student-led movement against racism at the University of Missouri, initiated by \u003ca href=\"https://twitter.com/CS_1950?lang=en\" target=\"_blank\" rel=\"noopener\">#ConcernedStudent1950\u003c/a>, and from the \u003ca href=\"http://www.newsweek.com/berkeley-high-school-students-walk-out-protest-against-discovered-racial-391262\" target=\"_blank\" rel=\"noopener\">thousands of students who walked out of Berkeley High\u003c/a> in November after racist threats were found on a library computer.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Blklivesmatter\" target=\"_blank\" rel=\"noopener\">#BlackLivesMatter\u003c/a> persists as a rallying cry for systemic change in numerous ways. San Francisco teacher librarians created a \u003ca href=\"http://archives.sfexaminer.com/sanfrancisco/sf-teacher-librarians-create-black-lives-matter-resource-guide-for-classrooms/Content?oid=2915809\" target=\"_blank\" rel=\"noopener\">Black Lives Matter Resource Guide\u003c/a> for classrooms. Following the discovery that Florida police used mugshots of black men for target practice, white clergy responded with \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2015/01/25/florida-police-used-mugshots-of-black-men-for-target-practice-clergy-responded-usemeinstead/\" target=\"_blank\" rel=\"noopener\">#UseMeInstead\u003c/a> and offered up their own images for the shooting range. \u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"556411872769896448"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On the anniversary of the police shooting and killing of Michael Brown in Ferguson, MO, \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2015/08/10/ferguson-activists-deray-mckesson-johnetta-elzie-among-those-arrested-in-st-louis/\" target=\"_blank\" rel=\"noopener\">activists raised a banner\u003c/a> reading “Racism Still Lives Here,” in front of the St. Louis Arch, using oversized balloons.\u003c/p>\n\u003cp>Artist and writer Chris Cobb successfully \u003ca href=\"http://blogs.artinfo.com/artintheair/2015/07/07/de-blasio-inaugurates-wall-street-plaque-commemorating-slave-market/\" target=\"_blank\" rel=\"noopener\">lobbied\u003c/a> to memorialize the site of New York’s historic municipal slave market on Wall Street. Paramount \u003ca href=\"http://time.com/3833493/selma-dvd-high-schools/\" target=\"_blank\" rel=\"noopener\">sent free DVDs of \u003cem>Selma\u003c/em>\u003c/a> to every high school in America, while Dylan Marron’s \u003ca href=\"http://everysinglewordspoken.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Every Single Word\u003c/a> project cataloged every word spoken by a person of color in numerous mainstream films. It was recently named Tumblr’s number one blog of the year.\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/Q6tWJ4u4aB4'\n title='//www.youtube.com/embed/Q6tWJ4u4aB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Tenacity and Resilience\u003c/h3>\n\u003cp>Throughout 2015, hate speech, terrorism and intolerance were quickly met with images of tenacity and resilience. San Francisco arts activist group Street Cred \u003ca href=\"http://www.dailydot.com/geek/kamala-khan-graffiti-anti-islamic-bus-ad/\" target=\"_blank\" rel=\"noopener\">altered anti-Muslim ads\u003c/a> on city buses paid for by right-wing organizations with messages featuring fictional Marvel super heroine Kamala Khan and summoning “all bigotry busters” to denounce hate speech. Following the murders of three Muslim students in Chapel Hill, Mohammad Alsalti, a design student at the University of Cincinnati instinctively took to Instagram with \u003ca href=\"http://www.colorlines.com/articles/one-image-captures-loss-muslim-student-killings\" target=\"_blank\" rel=\"noopener\">a memorial image\u003c/a> that swiftly went viral.\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:50% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" margin:8px 0 0 0; padding:0 4px;\"> \u003ca href=\"https://www.instagram.com/p/y951eplvKf/\" style=\" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;\" target=\"_blank\" rel=\"noopener\">Inna lilah wa inna ilayhi rajioon. Rest in peace Deah, Yusor, and Razan. Amazing people gone way too soon. *Original Design*\u003c/a>\u003c/p>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">A photo posted by Mohammad Alsalti (@teddycreates) on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2015-02-11T16:15:46+00:00\">Feb 11, 2015 at 8:15am PST\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>\u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\u003c/p>\n\u003cp>After so much carnage without hard data in many areas, \u003cem>The Guardian\u003c/em> launched an online initiative called \u003ca href=\"http://www.theguardian.com/us-news/ng-interactive/2015/jun/01/the-counted-police-killings-us-database\" target=\"_blank\" rel=\"noopener\">The Counted\u003c/a> to document people killed by law enforcement in the U.S. (1,103 as of press time). Rapper Calvin Broadus, otherwise known as Snoop Dogg, initiated a \u003ca href=\"http://money.cnn.com/2015/03/10/investing/snoop-dogg-guns/\" target=\"_blank\" rel=\"noopener\">campaign to urge investors to dump gun stocks\u003c/a>. Banksy protest posters \u003ca href=\"http://www.hexjam.com/uk/news/banksy-protest-posters-are-being-plastered-all-over-london\" target=\"_blank\" rel=\"noopener\">objecting to a local arms fair\u003c/a> appeared all over London in September. \u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"672274114644606976"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Following the San Bernardino massacre, Igor Volsky, a contributing editor at ThinkProgress.org, used \u003ca href=\"http://www.forbes.com/sites/katiesola/2015/12/04/igor-volsky-twitter/\" target=\"_blank\" rel=\"noopener\">Twitter to expose the hypocrisy of government officials\u003c/a> who express sorrow after gun massacres while simultaneously accepting money from the NRA. It was one the most provocative uses of social media reportage seen this year.\u003c/p>\n\u003cfigure id=\"attachment_11181881\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Baghdad640.jpg\" alt=\"Karim Wasfi, former director for the Iraqi National Symphony Orchestra, plays on his cello next to debris in Baghdad's Sunni Adhamiya district on May 15, 2015, in a symbolic act of protest against violence.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11181881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Baghdad640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Baghdad640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Karim Wasfi, former director for the Iraqi National Symphony Orchestra, plays on his cello next to debris in Baghdad’s Sunni Adhamiya district on May 15, 2015, in a symbolic act of protest against violence. \u003ccite>(Photo: SABAH ARAR/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Peaceful Resistance\u003c/h3>\n\u003cp>Elsewhere, generosity offered a form of peaceful resistance. In \u003ca href=\"http://www.npr.org/2015/06/08/412284066/amid-violence-in-baghdad-a-musician-creates-a-one-man-vigil\" target=\"_blank\" rel=\"noopener\">the aftermath of violence in Baghdad\u003c/a>, Iraqi musician Karim Wasfi, former director of the Iraqi National Symphony Orchestra, could be seen in a suit playing his cello on top of smoldering ash and rubble. In the same spirit, a German musician \u003ca href=\"http://www.nydailynews.com/news/world/german-pianist-plays-imagine-paris-le-bataclan-article-1.2435047\" target=\"_blank\" rel=\"noopener\">towed his piano with his bike\u003c/a> through the streets of Paris to play John Lennon’s “Imagine” outside the Bataclan theater where so many people had been killed the night before. \u003c/p>\n\u003cp>Meanwhile, Parisians flocked to Twitter \u003ca href=\"http://www.independent.co.uk/news/world/europe/attack-in-paris-free-taxis-and-open-doors-how-france-responded-to-an-act-of-barbarity-with-acts-of-a6734526.html\" target=\"_blank\" rel=\"noopener\">to offer their homes to strangers\u003c/a> stranded throughout the night with the hashtag \u003ca href=\"https://twitter.com/hashtag/PorteOuverte?src=hash\" target=\"_blank\" rel=\"noopener\">#PorteOuverte\u003c/a> (“open door”). Following the attacks in Paris, France announced plans to \u003ca href=\"http://hyperallergic.com/255230/in-wake-of-terrorist-attacks-france-looks-to-fight-isis-with-cultural-preservation/\" target=\"_blank\" rel=\"noopener\">invest in cultural preservation\u003c/a> as a strategy to thwart ISIS’ goal of cultural destruction.\u003c/p>\n\u003cfigure id=\"attachment_11181884\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11181884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RefugeesSticker640.jpg\" alt='Design for \"Refugees Welcome Sticker Set.\"' width=\"640\" height=\"752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RefugeesSticker640-511x600.jpg 511w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Design for “Refugees Welcome Sticker Set.” \u003ccite>(Courtesy: Burlesque of North America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plight of migrants spurred a global dialogue around racism, otherness and colonialism. More than 200 British activists \u003ca href=\"http://magazine.good.is/articles/body-bag-protest-migrants\" target=\"_blank\" rel=\"noopener\">staged a body bag protest\u003c/a> to raise awareness around the issue. More than 11,000 Icelanders organized on Facebook \u003ca href=\"http://www.independent.co.uk/news/world/europe/more-than-11000-icelanders-offer-to-house-syrian-refugees-to-help-european-crisis-10480505.html\" target=\"_blank\" rel=\"noopener\">to offer housing for Syrian refugees\u003c/a>. Students at London’s Goldsmiths College, a respected art school (and my alma mater), rallied to raise funds to launch \u003ca href=\"https://news.artnet.com/art-world/goldsmiths-art-school-refugee-scholarships-348245\" target=\"_blank\" rel=\"noopener\">scholarships for refugees and asylum seekers\u003c/a>.\u003c/p>\n\u003cp>In response to the current crisis and rising anti-refugee sentiment, independent brand consultant Veda Partalo collaborated with design studio Burlesque of North America to produce a \u003ca href=\"http://blogs.walkerart.org/design/2015/12/09/refugees-welcome-burlesque-mike-davis-of-burlesque-of-north-america-and-veda-partalo\" target=\"_blank\" rel=\"noopener\">storefront sticker campaign to welcome refugees\u003c/a> into businesses. Most recently, a Chicago group of \u003ca href=\"http://www.occupydemocrats.com/non-islamic-chicago-schoolgirls-don-headscarves-in-show-of-support-for-muslim-classmates/\" target=\"_blank\" rel=\"noopener\">non-Islamic schoolgirls donned scarves in solidarity with their Muslim classmates.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11181886\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640.jpg\" alt='Olafur Eliasson and Minik Rosing, \"Ice Watch,\" 2015.' width=\"640\" height=\"480\" class=\"size-full wp-image-11181886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Olafur-Eliasson_Ice-Watch_Photo-Rebecca-Solnit640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Olafur Eliasson and Minik Rosing, “Ice Watch,” 2015. \u003ccite>(Photo: Rebecca Solnit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Climate Activism\u003c/h3>\n\u003cp>Climate activism rocked the internet with righteous rage all year long, from \u003ca href=\"http://www.theguardian.com/world/2015/jun/13/climate-change-activists-occupy-tate-moderns-turbine-hall\" target=\"_blank\" rel=\"noopener\">covering the floor of the Tate Modern in charcoal script\u003c/a>, to \u003ca href=\"http://www.nbcnews.com/news/us-news/activists-hang-oregon-bridge-protest-shells-arctic-oil-drilling-n400306\" target=\"_blank\" rel=\"noopener\">dangling from the Portland Bridge\u003c/a> (who doesn’t love the word “kayaktivist?”), to \u003ca href=\"http://www.theguardian.com/business/2015/sep/13/activists-occupy-british-museum-over-bp-sponsorship\" target=\"_blank\" rel=\"noopener\">occupying the British Museum\u003c/a> and spelling out “NO” with umbrellas, to numerous acts of poetic civil disobedience during the Paris Climate summit. Media favorites included images of Olafur Eliasson and Minik Rosing’s \u003cem>Ice Watch\u003c/em>, \u003ca href=\"https://news.artnet.com/art-world/ice-watch-olafur-eliasson-climate-summit-384704\" target=\"_blank\" rel=\"noopener\">a melting installation of glacial ice\u003c/a> set in front of Place du Panthéon.\u003c/p>\n\u003cfigure id=\"attachment_11181998\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450.png\" alt=\"Joe Viex's meta Indiegogo campaign.\" width=\"640\" height=\"450\" class=\"size-full wp-image-11181998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/indiegogo-billboard-page-640x450-400x281.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joe Veix’s meta Indiegogo campaign. \u003ccite>(Courtesy: Death and Taxes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>New Tactics\u003c/h3>\n\u003cp>Around the world, people looked for ways to amplify gestures of solidarity, creating a composite of resistance images that have expanded tactical possibilities. San Francisco-based writer Joe Veix slyly \u003ca href=\"http://www.deathandtaxesmag.com/244314/how-to-swiftly-torpedo-a-racist-crowdfunding-campaign/\" target=\"_blank\" rel=\"noopener\">culture jammed Indiegogo\u003c/a> and tanked efforts to raise money in support of the South Carolina police officer who murdered Walter Scott. A group of artists and activists used \u003ca href=\"http://hyperallergic.com/238667/artists-and-activists-trace-bostons-historic-red-line-on-the-streets/\" target=\"_blank\" rel=\"noopener\">red chalk to directly demonstrate Boston’s 1930s history of redlining\u003c/a> neighborhoods to limit home ownership. Protestors \u003ca href=\"http://www.theguardian.com/us-news/2015/nov/02/airbnb-san-francisco-headquarters-occupied-housing-protesters?CMP=share_btn_fb\" target=\"_blank\" rel=\"noopener\">occupied San Francisco’s Airbnb headquarters\u003c/a>, lifting anti-gentrification messages into the atrium with balloons.\u003c/p>\n\u003cp>Rounding out the year, the University of California \u003ca href=\"http://dailynexus.com/2015-12-17/uc-divests-from-private-prisons-after-pressure-from-black-student-unions/\" target=\"_blank\" rel=\"noopener\">divested roughly $25 million of investments in private prison corporations\u003c/a> after the Afrikan Black Coalition, UC’s network of nine Black Student Unions, revealed these holdings in the University’s investment portfolios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As our concepts of public space and freedom of assembly evolve, so do the tactical responses to resistance. There are still, of course, peopled protests — and when they are peaceful without police conflict, they are amazing, moving sights to see. But also moving are the newer modes of resistance and demonstration we see unfolding online every day, knitting solidarity within dispersed communities working toward inevitable change. Even if it looks nothing like the past, the future looks bright — not because young people are replicating the tactics of bygone eras, but precisely because they are expanding them in new and unfamiliar ways. Here’s to ever more in the new year.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11174074/a-love-song-to-freedom-fighters-2015s-radical-movements","authors":["58"],"series":["arts_1309"],"categories":["arts_835"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_11182110","label":"arts_1309"},"arts_11168560":{"type":"posts","id":"arts_11168560","meta":{"index":"posts_1591205157","site":"arts","id":"11168560","score":null,"sort":[1450454421000]},"guestAuthors":[],"slug":"top-25-albums-of-2015","title":"Listening to the Year: Your Music Editor's Top 25 Albums of 2015","publishDate":1450454421,"format":"image","headTitle":"Listening to the Year: Your Music Editor’s Top 25 Albums of 2015 | KQED","labelTerm":{"term":1309,"site":"arts"},"content":"\u003cp>I turned 40 this year, and instead of throwing in the towel and giving up on new music, I found that I sought out more new sounds than ever. I also put together a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/23/keep-listening-notes-on-turning-40-and-still-seeking-out-new-music/\" target=\"_blank\" rel=\"noopener\">list of tips\u003c/a> for staying excited about new bands and artists, and organized a \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-25/how-we-listen-music\" target=\"_blank\" rel=\"noopener\">Commonwealth Club panel\u003c/a> about the ways we consume recorded music. All of this resulted in weekly surprises on my stereo.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Of the 25 albums I loved the most in 2015, most, I find, are mysteries that are a joy to unravel. I liked them all for different reasons, and sorting the top three, in particular, took weeks. For background reference, see my top album lists from the years \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">2014\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2013/12/31/gabes-top-25-albums-of-2013/\" target=\"_blank\" rel=\"noopener\">2013\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2012/12/13/top-25-albums-of-2012/\" target=\"_blank\" rel=\"noopener\">2012\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2011/12/14/top-25-albums-of-2011/\" target=\"_blank\" rel=\"noopener\">2011\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2010/12/14/top-25-albums-of-2010/\" target=\"_blank\" rel=\"noopener\">2010\u003c/a>, and lo and behold, the \u003ca href=\"http://citysound.bohemian.com/2009/12/15/the-top-albums-of-the-decade-2000-2009/\" target=\"_blank\" rel=\"noopener\">entire decade from 2000-2009\u003c/a>.\u003c/p>\n\u003cp>Here’s what I loved the most in 2015.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kehlani.jpg\" alt=\"Kehlani\" width=\"400\" height=\"400\">\n\u003ch3>1. Kehlani – \u003cem>You Should Be Here\u003c/em>\u003c/h3>\n\u003ch5>(Tsunami Mob/Self-Released)\u003c/h5>\n\u003cp>Originally released as a free download in April, Kehlani’s \u003cem>You Should Be Here\u003c/em> commanded exponential adoration throughout the year, not just from me but from a committed, growing base of fans. With an Oakland upbringing that wasn’t always easy — at a young age, her father was murdered, and later, her mother bounced in and out of jail with drug problems — Kehlani, age 20, brings a no-nonsense realism to her songwriting that feels intimate without being “confessional,” backed by music that feels wholly fresh without falling into the languid trap of “weird R&B.” Most of the songs on \u003cem>You Should Be Here\u003c/em> explore the tenuousness of relationships, be they with friends, lovers, or family: “Jealous” involves a boyfriend who won’t stop posting pictures of their dates, “How That Taste” indicts old friends who believed she wouldn’t make it, and “Bright” is a swing-rhythm affirming message of self-love for young girls and boys alike. But it’s “The Letter,” a song addressed to Kehlani’s absent mother, that cuts the deepest here. “And if you weren’t gonna guide me, why bring me into the light?” she sings, over a spare piano figure, “Must have done something to make you want to run and hide.” By the album’s end, “Alive” feels like jubilant release, a celebration of overcoming all that came before. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">saw her in July\u003c/a>, I witnessed a room full of young fans communing with one of their own in a way I haven’t seen in years. Kehlani is human. She’s honest. In many ways, this has been her year, and I love more songs on this album than any album I heard in 2015.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Future.jpg\" alt=\"Future\" width=\"400\" height=\"400\">\n\u003ch3>2. Future – \u003cem>DS2\u003c/em> (and \u003cem>56 Nights\u003c/em>)\u003c/h3>\n\u003ch5>(Freebandz/Epic)\u003c/h5>\n\u003cp>The sound of a lost soul pushing through the haze to grasp at any glimmer of light, Future’s \u003cem>DS2\u003c/em> is also the album I listened to more times than any other in 2015. (Make of the connection what you will.) Coming off a string of three mixtapes, and in the wake of his separation from Ciara, Future crafted his first official album since 2014’s \u003cem>Honest\u003c/em> as a delicate balancing act between turn-up mayhem and bubbling-under sorrow. \u003cem>DS2\u003c/em> has his detractors (“It’s terrible,” a colleague told me yesterday, “he’s just mumbling”), and taken at face value, Future’s references to codeine and liquor and sex seem like textbook rap braggadocio — until you listen for the fourth or fifth time and realize they’re escapist props in an ongoing drama against his inner demons. “Tried to make me a pop star, and they made a monster,” Future raps in his gutteral rasp, “I gave up on my conscience, gotta live with it.” The production throughout by Metro Boomin buzzes and clangs as the anxious clamor of the outside world, while Future rattles in his creaking monotone just trying to make it through intact. After the phenomenal mixtape \u003cem>\u003ca href=\"http://www.hotnewhiphop.com/future-and-dj-esco-56-nights-new-mixtape.115764.html\" target=\"_blank\" rel=\"noopener\">56 Nights\u003c/a>\u003c/em>, which yielded songs so resonant they were \u003ca href=\"https://www.youtube.com/watch?v=NktN7GMjNyg\" target=\"_blank\" rel=\"noopener\">covered by university marching bands\u003c/a>, I didn’t know how Future could outdo himself, but he did. I \u003ca href=\"https://twitter.com/MetroBoomin/status/625770497956036610\" target=\"_blank\" rel=\"noopener\">put this album on tape\u003c/a> and listened to it on repeat for months and got lost.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick-1.jpg\" alt=\"Kendrick Lamar\" width=\"400\" height=\"400\">\n\u003ch3>3. Kendrick Lamar – \u003cem>To Pimp a Butterfly\u003c/em>\u003c/h3>\n\u003ch5>(Top Dawg/Interscope)\u003c/h5>\n\u003cp>We music writers arrange these dumb lists each year by many competing factors. While \u003cem>You Should Be Here\u003c/em> gave me the most hope and \u003cem>DS2\u003c/em> the most repeated listening, objectively \u003cem>To Pimp a Butterfly\u003c/em> is the hands-down album of the year. Riding high from \u003cem>good kid, m.A.A.d city\u003c/em>, Kendrick could have easily made an accessible follow-up with singalong hooks; instead, he employed wild jazz, crying spoken-word, swampy funk and \u003ca href=\"https://youtu.be/afk5PBBM-h8?t=4m27s\" target=\"_blank\" rel=\"noopener\">missives to Oprah about the n-word\u003c/a> into a record that \u003cem>sounds\u003c/em> like 2015 felt — anxious, reflective, confused, angry, and hopeful. Much in the same way film critics know “Oscar contender” when they see it, I walked into the office in March after being blown away by its sheer scope and immediately declared it the album of the year — simultaneously knowing that \u003ca href=\"https://twitter.com/gmeline/status/578280368890982400\" target=\"_blank\" rel=\"noopener\">it’d take a while to process\u003c/a>. The album sparked more serious conversation than any other, and in a year where names like Freddie Gray, Sandra Bland, Terrence Walker and Laquan McDonald populated our Facebook feeds, those conversations are necessary — even while, as I witnessed during his \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">performance at Outside Lands\u003c/a>, they occur in the midst of a giant unifying party. Everything about this album is ambitious: lyrically, musically, and in the ambition it has for all of us to be better. \u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CourtneyBarnett.jpg\" alt=\"Courtney Barnett\" width=\"400\" height=\"400\">\n\u003ch3>4. Courtney Barnett – \u003cem>Sometimes I Sit and Think, Sometimes I Just Sit\u003c/em>\u003c/h3>\n\u003ch5>(Mom + Pop)\u003c/h5>\n\u003cp>Artists do this thing sometimes where they try to sequence a record with a song for each mood, and they usually either fail or the record is unlistenable. \u003cem>Sometimes I Sit and Think\u003c/em> works for every mood, probably because its subject matter is so often seemingly mundane. “I stare at the lawn. It’s Wednesday morning. It needs a cut. But I’ll leave it growing,” opens the seven-minute dirge “Small Poppies” — and then Barnett launches into an indictment of an exploitative lover, a blood-curdling guitar solo, and the line “I used to hate myself but now I think I’m alright.” (The song is only two chords, over and over, a fact that took me months to notice.) But then there’s songs like “Depreston,” which are so evocative of sitting on the porch and drinking tea on an overcast morning that a strange calm comes over me each time I hear it. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">saw her play this summer\u003c/a>, her fingers skittered around the guitar like fireflies, somehow producing sound but decidedly \u003cem>not\u003c/em> in the usual way. Whenever I couldn’t decide what to put on the stereo at home, I reached for this record, and it never let me down.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KamasiWashington.jpg\" alt=\"Kamasi Washington\" width=\"400\" height=\"400\">\n\u003ch3>5. Kamasi Washington – \u003cem>The Epic\u003c/em>\u003c/h3>\n\u003ch5>(Brainfeeder)\u003c/h5>\n\u003cp>As a huge fan of the soaring spiritual jazz of the late 1960s and early 1970s, I balked when I heard that \u003cem>The Epic\u003c/em> was “just like an Impulse Records album from 1969.” But the assessment is correct. Revisiting eras of jazz can be dicey: when the new traditionalists of the 1980s led by Wynton Marsalis recreated early bebop, the effect felt like a tribute band. Washington succeeds in this appropriately-titled album (the thing’s almost three hours long) because, along with the sound, he captures the \u003cem>spirit\u003c/em> of a radical jazz revolution of fifty years ago. Probing into outer reaches of the possible, Washington’s 12-piece band is like a thunderstorm, and his compositions are rich and surprising. Released on the Brainfeeder label — home to progressive electronic acts like Flying Lotus and Thundercat — \u003cem>The Epic\u003c/em> has hence turned up on more indie-rock sites and lists than any other jazz record, a crossover album without the watered-down music normally associated with the term. Kudos to Washington for turning on a new generation to what Archie Shepp called “fire music”; this is heat, indeed.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kreng.jpg\" alt=\"Kreng\" width=\"400\" height=\"400\">\n\u003ch3>6. Kreng – \u003cem>The Summoner\u003c/em>\u003c/h3>\n\u003ch5>(Miasmah)\u003c/h5>\n\u003cp>Pepijn Caudron is a modern Belgian composer whose career has been largely tied to the theatre; specifically, the dark surrealist company \u003ca href=\"http://abattoirferme.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Abattoir Fermé\u003c/a>, based in Mechelen. Recording under the name Kreng, his music has a highly visual quality not unlike Richard Strauss’ tone poems, meant to evoke specific scenes or events. Caudron lost three friends in 2014, all to suicide, and with \u003cem>Summoner\u003c/em> he writes a tone poem for the Kübler-Ross model, commonly known as the five stages of grief. Each track is named accordingly: Denial, Anger, Bargaining, Depression, and Acceptance, and the music matches these stages with alarming precision. “Denial,” for example, is a gloomy soundscape interrupted by occasional bursts of the small orchestra, fingers flailing on the strings and rattling percussion signaling a mourner’s confused realization that their loved one is gone. Within the stages, Kreng adds a sixth: “The Summoning,” which turns into a loud, guitar-drenched blast from doom-metal band Amenra, representative of “an imaginary last talk with my loved lost ones,” as Caudron \u003ca href=\"http://soundsofatiredcity.com/kreng-interview/\" target=\"_blank\" rel=\"noopener\">has stated\u003c/a>. “Acceptance,” a piano elegy, closes the cycle. If Strauss’ \u003cem>Death and Transformation\u003c/em> is about the stages of dying, \u003cem>The Summoner\u003c/em> is its sequel for the living left behind. Each time I listened to this album in 2015, it floored me.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VinceStaples.jpg\" alt=\"Vince Staples\" width=\"400\" height=\"400\">\n\u003ch3>7. Vince Staples – \u003cem>Summertime ’06\u003c/em>\u003c/h3>\n\u003ch5>(Def Jam)\u003c/h5>\n\u003cp>As a kid growing up in the 1980s, I had to hear adults tell me on a near-daily basis that the rock revolution of the 1960s was the greatest thing to happen in history, and that the invasion of rap was destroying music. I loved 1960s rock music, of course, but something seemed off, like the adults in my world hadn’t heeded their own hero’s advice that the times were a-changin’ and to get out of the new road if they can’t lend a hand. In 2015, of course, we have the next generation of this tiresome cycle instructing us that the so-called “golden era” of rap — the 1990s — is the best era of rap, and the Wolf Gangs and Young Thugs and Fetty Waps of the world are ruining everything. In October, Vince Staples had the guts to \u003ca href=\"http://time.com/4084942/vince-staples-90s-hip-hop-interview/\" target=\"_blank\" rel=\"noopener\">call out this remedial thinking\u003c/a> to \u003cem>Time\u003c/em> magazine, and was subsequently eviscerated for having the gall to be born the year before \u003cem>Ready to Die\u003c/em> came out. I rule in favor of Vince Staples, and his young fearlessness propels \u003cem>Summertime ’06\u003c/em>. In addition to Staples’ smart writing, the production by hip-hop veteran No I.D. knocks hard, bridging the generation gap. I listened to this album in the car and thought about being 22 and hungry.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Disasterpeace.jpg\" alt=\"Disasterpeace\" width=\"400\" height=\"400\">\n\u003ch3>8. Disasterpeace – \u003cem>It Follows OST\u003c/em>\u003c/h3>\n\u003ch5>(Milan)\u003c/h5>\n\u003cp>I ordinarily don’t place soundtracks on these lists, but then this is no ordinary soundtrack. Anyone who’s seen \u003cem>It Follows\u003c/em> knows how \u003ca href=\"https://www.youtube.com/watch?v=W2d4_TgwZQc\" target=\"_blank\" rel=\"noopener\">instrinsic the music is to the film\u003c/a>, the story of a sexually-transmitted virus that manifests intermittently in the form of a slowly pursuing naked body intent on killing its host. (It’s more psychologically harrowing than it sounds.) Scored by Disasterpeace, a.k.a. Berkeley musician Richard Vreeland, the soundtrack stands finely on its own, a combination of electronic pulses and surging, eerie wave forms that call to mind John Carpenter and Trent Reznor. Prior to the film, Vreeland primarily scored video games, and his 8-bit–inspired soundtrack to \u003cem>Fez\u003c/em> caught the attention of writer-director David Robert Mitchell. Interestingly, \u003cem>Fez\u003c/em> often sounds \u003ca href=\"https://www.youtube.com/watch?v=76GnOwHorn0\" target=\"_blank\" rel=\"noopener\">peppy and lively\u003c/a>, while \u003cem>It Follows\u003c/em> plunges head-on into darkness. Between Kreng and Disasterpeace, there’s two first-time film composers on this list. Here’s hoping they land future projects and get the attention they deserve.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SleaterKinney.jpg\" alt=\"Sleater Kinney\" width=\"400\" height=\"400\">\n\u003ch3>9. Sleater-Kinney – \u003cem>No Cities Left to Love\u003c/em>\u003c/h3>\n\u003ch5>(Sub Pop)\u003c/h5>\n\u003cp>I saw two reunion shows on Nob Hill this year: first, the Replacements, whose reunion was as improbable as it was majestic, and then, after a 10-year absence, Sleater-Kinney, who picked up as if nothing had happened since I last saw them in 2005 at the Great American Music Hall. Of course, plenty had happened (solo projects, \u003cem>Portlandia\u003c/em>, Wild Flag), and in a lot of ways, \u003cem>No Cities Left to Love\u003c/em> sounds like a band starting over again. In a distinct musical language Sleater-Kinney created during their original run, which culminated in the furiously creative 2005 album \u003cem>The Woods\u003c/em>, the songs here are relatively simple and straightforward. That’s not a bad thing, and they get stuck in my head more frequently than anything from \u003cem>The Woods\u003c/em>, much as I love that album too. I sometimes pride myself on not clinging to the music of my past, but I’ll admit that it’s just plain \u003cem>nice\u003c/em> to hear Sleater-Kinney again, and I believe the world is a better place with them around.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Miguel.jpg\" alt=\"Miguel\" width=\"400\" height=\"400\">\n\u003ch3>10. Miguel – \u003cem>Wildheart\u003c/em>\u003c/h3>\n\u003ch5>(RCA)\u003c/h5>\n\u003cp>Miguel’s \u003cem>Kaleidoscope Dream\u003c/em> floored me so hard in 2012 that I bought a last-minute $100 ticket to see him \u003cem>open\u003c/em> for Trey Songz at the Oakland Arena, and friends, it was worth every cent. In the times I’ve seen the R&B singer since, he has a propensity for dazzling up his songs with so many musical rearrangements, drum fills, ad-libs and improvised melodies that the original songs are buried in showmanship. (Granted, it’s showmanship of the highest order, and comparisons to James Brown and Prince are not off the mark.) \u003cem>Wildheart\u003c/em> operates against that process, so intimate that when I first pressed play on album opener “A Beautiful Exit” I thought I must be hearing a demo recording. As evident from the cover, this is a hypersexual record (with “The Valley” and the fantastic “Waves”), but songs like “What’s Normal Anyway” speak to the struggle everyone faces to fit in, and “Hollywood Dreams” picks apart the quest for fame in L.A.’s parasitic atmosphere. I kept returning to \u003cem>Wildheart\u003c/em>, even though it isn’t \u003cem>Kaleidoscope Dream Pt. II\u003c/em> at all, and it’s precisely because of his ever-changing nature that it’s always exciting thinking about what Miguel will do next.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ch2>More From the Year:\u003c/h2>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/HollyHerndon.jpg\" alt=\"HollyHerndon\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>11. Holly Herndon – \u003cem>Platform\u003c/em>\u003c/h3>\n\u003cp>Scattered and glorious, an electronic pastiche of lost memories from yet another San Francisco artist who moved to L.A.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/YoungThug.jpg\" alt=\"YoungThug\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>12. Young Thug – \u003cem>Barter 6, Slime Season 1 & 2\u003c/em>, the leaks, etc.\u003c/h3>\n\u003cp>When he’s on, he’s on (see Exhibits \u003ca href=\"https://www.youtube.com/watch?v=HCLT1aJLF4I\" target=\"_blank\" rel=\"noopener\">A\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=xzIGVKEGL1s\" target=\"_blank\" rel=\"noopener\">B\u003c/a>), and following his constant output is thrilling.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FKATwigsEP.jpg\" alt=\"FKATwigsEP\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>13. FKA Twigs – \u003cem>M3LL155X\u003c/em>\u003c/h3>\n\u003cp>A natural continuation of \u003cem>LP1\u003c/em>, my \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">favorite album of 2014\u003c/a>, it pushes all the boundaries beautifully.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ChanceSurf.jpg\" alt=\"ChanceSurf\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>14. Donnie Trumpet & the Social Experiment – \u003cem>Surf\u003c/em>\u003c/h3>\n\u003cp>Chance the Rapper gives his band the spotlight, with “\u003ca href=\"https://www.youtube.com/watch?v=KMPTDBbsPnc\" target=\"_blank\" rel=\"noopener\">Wanna Be Cool\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=i4ooH8frBWg\" target=\"_blank\" rel=\"noopener\">Sunday Candy\u003c/a>,” songs your mama could love.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Vijay.jpg\" alt=\"Vijay\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>15. Vijay Iyer – \u003cem>Break Stuff\u003c/em>\u003c/h3>\n\u003cp>Drawing inspiration from techno and hip-hop, Iyer explores the “break” and applies it to his fantastic trio.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FettyWap.jpg\" alt=\"FettyWap\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>16. Fetty Wap – \u003cem>Fetty Wap\u003c/em>\u003c/h3>\n\u003cp>No one could escape these songs in 2015 (“Trap Queen,” “My Way,” “679,” “Again”), but I swear, I never got sick of hearing them.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DrYenLo.jpg\" alt=\"DrYenLo\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>17. Dr. Yen Lo – \u003cem>Days With Dr. Yen Lo\u003c/em>\u003c/h3>\n\u003cp>A rapper/firefighter from Brooklyn who toned down his already-subdued hip-hop sound for this near-drumless album.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CecileMclorin.jpg\" alt=\"CecileMclorin\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>18. Cécile McLorin Salvant – \u003cem>For One to Love\u003c/em>\u003c/h3>\n\u003cp>A tremendous jazz vocalist who’s not afraid to wear her influences on her sleeve, with unexpected song choices arranged vividly.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg\" alt=\"EzraFurman\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>19. Ezra Furman – \u003cem>Perpetual Motion People\u003c/em>\u003c/h3>\n\u003cp>Simple rock ‘n’ roll, one of the more memorable live shows I saw this year, and “\u003ca href=\"https://www.youtube.com/watch?v=fvfI6Q5WFT0\" target=\"_blank\" rel=\"noopener\">Lousy Connection\u003c/a>” is a Violent Femmes-meets-Phil Spector gem.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CarlyRae.jpg\" alt=\"CarlyRae\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>20. Carly Rae Jepsen – \u003cem>E.mo.tion\u003c/em>\u003c/h3>\n\u003cp>Justin Bieber, Selena Gomez and Demi Lovato all had great singles in 2015, but Carly Rae Jepsen intentionally created a pop \u003cem>album\u003c/em>, and it’s easily lovable.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaxRichter.jpg\" alt=\"MaxRichter\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>21. Max Richter – \u003cem>From Sleep\u003c/em>\u003c/h3>\n\u003cp>Richter wrote an eight-hour piece of music to be played while sleeping; the one-hour excerpt is enough, and sublime.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/JamieXX.jpg\" alt=\"JamieXX\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>22. Jamie XX – \u003cem>In Colour\u003c/em>\u003c/h3>\n\u003cp>Not as revelatory as his \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/We're_New_Here\" target=\"_blank\" rel=\"noopener\">We’re New Here\u003c/a>\u003c/em> instrumentals, but rich and rewarding throughout, especially during “\u003ca href=\"https://www.youtube.com/watch?v=BjLBB-TMa84\" target=\"_blank\" rel=\"noopener\">Good Times\u003c/a>.”\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Helm.jpg\" alt=\"Helm\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>23. Helm – \u003cem>Olympic Mess\u003c/em>\u003c/h3>\n\u003cp>I can’t begin to understand the mind that creates this jagged noise, but I’ve loved everything it’s produced.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BadPlus.jpg\" alt=\"BadPlus\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>24. The Bad Plus and Joshua Redman – \u003cem>The Bad Plus Joshua Redman\u003c/em>\u003c/h3>\n\u003cp>I love the Bad Plus, and the daring jazz trio pushed Redman so far here that a lone solo of his got \u003ca href=\"http://ww2.kqed.org/arts/2015/12/07/bay-area-artists-with-2016-grammy-nominations/\" target=\"_blank\" rel=\"noopener\">nominated for a Grammy\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mansion.jpg\" alt=\"Mansion\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>25. Mansion – \u003cem>Early Life\u003c/em>\u003c/h3>\n\u003cp>Skittering post-punk in the vein of LiLiPUT or Gang of Four from the heart of Oakland, Calif., with Candace Lazarou’s vocal delivery causing chills.\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"From Oakland R&B and Atlanta hip-hop to Australian indie rock and Belgian classical tone poems, KQED Arts' Music Editor Gabe Meline picks his top albums of 2015.","status":"publish","parent":0,"modified":1705045645,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":2966},"headData":{"title":"Listening to the Year: Your Music Editor's Top 25 Albums of 2015 | KQED","description":"From Oakland R&B and Atlanta hip-hop to Australian indie rock and Belgian classical tone poems, KQED Arts' Music Editor Gabe Meline picks his top albums of 2015.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11168560/top-25-albums-of-2015","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I turned 40 this year, and instead of throwing in the towel and giving up on new music, I found that I sought out more new sounds than ever. I also put together a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/23/keep-listening-notes-on-turning-40-and-still-seeking-out-new-music/\" target=\"_blank\" rel=\"noopener\">list of tips\u003c/a> for staying excited about new bands and artists, and organized a \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-25/how-we-listen-music\" target=\"_blank\" rel=\"noopener\">Commonwealth Club panel\u003c/a> about the ways we consume recorded music. All of this resulted in weekly surprises on my stereo.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Of the 25 albums I loved the most in 2015, most, I find, are mysteries that are a joy to unravel. I liked them all for different reasons, and sorting the top three, in particular, took weeks. For background reference, see my top album lists from the years \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">2014\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2013/12/31/gabes-top-25-albums-of-2013/\" target=\"_blank\" rel=\"noopener\">2013\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2012/12/13/top-25-albums-of-2012/\" target=\"_blank\" rel=\"noopener\">2012\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2011/12/14/top-25-albums-of-2011/\" target=\"_blank\" rel=\"noopener\">2011\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2010/12/14/top-25-albums-of-2010/\" target=\"_blank\" rel=\"noopener\">2010\u003c/a>, and lo and behold, the \u003ca href=\"http://citysound.bohemian.com/2009/12/15/the-top-albums-of-the-decade-2000-2009/\" target=\"_blank\" rel=\"noopener\">entire decade from 2000-2009\u003c/a>.\u003c/p>\n\u003cp>Here’s what I loved the most in 2015.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kehlani.jpg\" alt=\"Kehlani\" width=\"400\" height=\"400\">\n\u003ch3>1. Kehlani – \u003cem>You Should Be Here\u003c/em>\u003c/h3>\n\u003ch5>(Tsunami Mob/Self-Released)\u003c/h5>\n\u003cp>Originally released as a free download in April, Kehlani’s \u003cem>You Should Be Here\u003c/em> commanded exponential adoration throughout the year, not just from me but from a committed, growing base of fans. With an Oakland upbringing that wasn’t always easy — at a young age, her father was murdered, and later, her mother bounced in and out of jail with drug problems — Kehlani, age 20, brings a no-nonsense realism to her songwriting that feels intimate without being “confessional,” backed by music that feels wholly fresh without falling into the languid trap of “weird R&B.” Most of the songs on \u003cem>You Should Be Here\u003c/em> explore the tenuousness of relationships, be they with friends, lovers, or family: “Jealous” involves a boyfriend who won’t stop posting pictures of their dates, “How That Taste” indicts old friends who believed she wouldn’t make it, and “Bright” is a swing-rhythm affirming message of self-love for young girls and boys alike. But it’s “The Letter,” a song addressed to Kehlani’s absent mother, that cuts the deepest here. “And if you weren’t gonna guide me, why bring me into the light?” she sings, over a spare piano figure, “Must have done something to make you want to run and hide.” By the album’s end, “Alive” feels like jubilant release, a celebration of overcoming all that came before. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">saw her in July\u003c/a>, I witnessed a room full of young fans communing with one of their own in a way I haven’t seen in years. Kehlani is human. She’s honest. In many ways, this has been her year, and I love more songs on this album than any album I heard in 2015.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Future.jpg\" alt=\"Future\" width=\"400\" height=\"400\">\n\u003ch3>2. Future – \u003cem>DS2\u003c/em> (and \u003cem>56 Nights\u003c/em>)\u003c/h3>\n\u003ch5>(Freebandz/Epic)\u003c/h5>\n\u003cp>The sound of a lost soul pushing through the haze to grasp at any glimmer of light, Future’s \u003cem>DS2\u003c/em> is also the album I listened to more times than any other in 2015. (Make of the connection what you will.) Coming off a string of three mixtapes, and in the wake of his separation from Ciara, Future crafted his first official album since 2014’s \u003cem>Honest\u003c/em> as a delicate balancing act between turn-up mayhem and bubbling-under sorrow. \u003cem>DS2\u003c/em> has his detractors (“It’s terrible,” a colleague told me yesterday, “he’s just mumbling”), and taken at face value, Future’s references to codeine and liquor and sex seem like textbook rap braggadocio — until you listen for the fourth or fifth time and realize they’re escapist props in an ongoing drama against his inner demons. “Tried to make me a pop star, and they made a monster,” Future raps in his gutteral rasp, “I gave up on my conscience, gotta live with it.” The production throughout by Metro Boomin buzzes and clangs as the anxious clamor of the outside world, while Future rattles in his creaking monotone just trying to make it through intact. After the phenomenal mixtape \u003cem>\u003ca href=\"http://www.hotnewhiphop.com/future-and-dj-esco-56-nights-new-mixtape.115764.html\" target=\"_blank\" rel=\"noopener\">56 Nights\u003c/a>\u003c/em>, which yielded songs so resonant they were \u003ca href=\"https://www.youtube.com/watch?v=NktN7GMjNyg\" target=\"_blank\" rel=\"noopener\">covered by university marching bands\u003c/a>, I didn’t know how Future could outdo himself, but he did. I \u003ca href=\"https://twitter.com/MetroBoomin/status/625770497956036610\" target=\"_blank\" rel=\"noopener\">put this album on tape\u003c/a> and listened to it on repeat for months and got lost.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick-1.jpg\" alt=\"Kendrick Lamar\" width=\"400\" height=\"400\">\n\u003ch3>3. Kendrick Lamar – \u003cem>To Pimp a Butterfly\u003c/em>\u003c/h3>\n\u003ch5>(Top Dawg/Interscope)\u003c/h5>\n\u003cp>We music writers arrange these dumb lists each year by many competing factors. While \u003cem>You Should Be Here\u003c/em> gave me the most hope and \u003cem>DS2\u003c/em> the most repeated listening, objectively \u003cem>To Pimp a Butterfly\u003c/em> is the hands-down album of the year. Riding high from \u003cem>good kid, m.A.A.d city\u003c/em>, Kendrick could have easily made an accessible follow-up with singalong hooks; instead, he employed wild jazz, crying spoken-word, swampy funk and \u003ca href=\"https://youtu.be/afk5PBBM-h8?t=4m27s\" target=\"_blank\" rel=\"noopener\">missives to Oprah about the n-word\u003c/a> into a record that \u003cem>sounds\u003c/em> like 2015 felt — anxious, reflective, confused, angry, and hopeful. Much in the same way film critics know “Oscar contender” when they see it, I walked into the office in March after being blown away by its sheer scope and immediately declared it the album of the year — simultaneously knowing that \u003ca href=\"https://twitter.com/gmeline/status/578280368890982400\" target=\"_blank\" rel=\"noopener\">it’d take a while to process\u003c/a>. The album sparked more serious conversation than any other, and in a year where names like Freddie Gray, Sandra Bland, Terrence Walker and Laquan McDonald populated our Facebook feeds, those conversations are necessary — even while, as I witnessed during his \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">performance at Outside Lands\u003c/a>, they occur in the midst of a giant unifying party. Everything about this album is ambitious: lyrically, musically, and in the ambition it has for all of us to be better. \u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CourtneyBarnett.jpg\" alt=\"Courtney Barnett\" width=\"400\" height=\"400\">\n\u003ch3>4. Courtney Barnett – \u003cem>Sometimes I Sit and Think, Sometimes I Just Sit\u003c/em>\u003c/h3>\n\u003ch5>(Mom + Pop)\u003c/h5>\n\u003cp>Artists do this thing sometimes where they try to sequence a record with a song for each mood, and they usually either fail or the record is unlistenable. \u003cem>Sometimes I Sit and Think\u003c/em> works for every mood, probably because its subject matter is so often seemingly mundane. “I stare at the lawn. It’s Wednesday morning. It needs a cut. But I’ll leave it growing,” opens the seven-minute dirge “Small Poppies” — and then Barnett launches into an indictment of an exploitative lover, a blood-curdling guitar solo, and the line “I used to hate myself but now I think I’m alright.” (The song is only two chords, over and over, a fact that took me months to notice.) But then there’s songs like “Depreston,” which are so evocative of sitting on the porch and drinking tea on an overcast morning that a strange calm comes over me each time I hear it. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">saw her play this summer\u003c/a>, her fingers skittered around the guitar like fireflies, somehow producing sound but decidedly \u003cem>not\u003c/em> in the usual way. Whenever I couldn’t decide what to put on the stereo at home, I reached for this record, and it never let me down.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KamasiWashington.jpg\" alt=\"Kamasi Washington\" width=\"400\" height=\"400\">\n\u003ch3>5. Kamasi Washington – \u003cem>The Epic\u003c/em>\u003c/h3>\n\u003ch5>(Brainfeeder)\u003c/h5>\n\u003cp>As a huge fan of the soaring spiritual jazz of the late 1960s and early 1970s, I balked when I heard that \u003cem>The Epic\u003c/em> was “just like an Impulse Records album from 1969.” But the assessment is correct. Revisiting eras of jazz can be dicey: when the new traditionalists of the 1980s led by Wynton Marsalis recreated early bebop, the effect felt like a tribute band. Washington succeeds in this appropriately-titled album (the thing’s almost three hours long) because, along with the sound, he captures the \u003cem>spirit\u003c/em> of a radical jazz revolution of fifty years ago. Probing into outer reaches of the possible, Washington’s 12-piece band is like a thunderstorm, and his compositions are rich and surprising. Released on the Brainfeeder label — home to progressive electronic acts like Flying Lotus and Thundercat — \u003cem>The Epic\u003c/em> has hence turned up on more indie-rock sites and lists than any other jazz record, a crossover album without the watered-down music normally associated with the term. Kudos to Washington for turning on a new generation to what Archie Shepp called “fire music”; this is heat, indeed.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kreng.jpg\" alt=\"Kreng\" width=\"400\" height=\"400\">\n\u003ch3>6. Kreng – \u003cem>The Summoner\u003c/em>\u003c/h3>\n\u003ch5>(Miasmah)\u003c/h5>\n\u003cp>Pepijn Caudron is a modern Belgian composer whose career has been largely tied to the theatre; specifically, the dark surrealist company \u003ca href=\"http://abattoirferme.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Abattoir Fermé\u003c/a>, based in Mechelen. Recording under the name Kreng, his music has a highly visual quality not unlike Richard Strauss’ tone poems, meant to evoke specific scenes or events. Caudron lost three friends in 2014, all to suicide, and with \u003cem>Summoner\u003c/em> he writes a tone poem for the Kübler-Ross model, commonly known as the five stages of grief. Each track is named accordingly: Denial, Anger, Bargaining, Depression, and Acceptance, and the music matches these stages with alarming precision. “Denial,” for example, is a gloomy soundscape interrupted by occasional bursts of the small orchestra, fingers flailing on the strings and rattling percussion signaling a mourner’s confused realization that their loved one is gone. Within the stages, Kreng adds a sixth: “The Summoning,” which turns into a loud, guitar-drenched blast from doom-metal band Amenra, representative of “an imaginary last talk with my loved lost ones,” as Caudron \u003ca href=\"http://soundsofatiredcity.com/kreng-interview/\" target=\"_blank\" rel=\"noopener\">has stated\u003c/a>. “Acceptance,” a piano elegy, closes the cycle. If Strauss’ \u003cem>Death and Transformation\u003c/em> is about the stages of dying, \u003cem>The Summoner\u003c/em> is its sequel for the living left behind. Each time I listened to this album in 2015, it floored me.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VinceStaples.jpg\" alt=\"Vince Staples\" width=\"400\" height=\"400\">\n\u003ch3>7. Vince Staples – \u003cem>Summertime ’06\u003c/em>\u003c/h3>\n\u003ch5>(Def Jam)\u003c/h5>\n\u003cp>As a kid growing up in the 1980s, I had to hear adults tell me on a near-daily basis that the rock revolution of the 1960s was the greatest thing to happen in history, and that the invasion of rap was destroying music. I loved 1960s rock music, of course, but something seemed off, like the adults in my world hadn’t heeded their own hero’s advice that the times were a-changin’ and to get out of the new road if they can’t lend a hand. In 2015, of course, we have the next generation of this tiresome cycle instructing us that the so-called “golden era” of rap — the 1990s — is the best era of rap, and the Wolf Gangs and Young Thugs and Fetty Waps of the world are ruining everything. In October, Vince Staples had the guts to \u003ca href=\"http://time.com/4084942/vince-staples-90s-hip-hop-interview/\" target=\"_blank\" rel=\"noopener\">call out this remedial thinking\u003c/a> to \u003cem>Time\u003c/em> magazine, and was subsequently eviscerated for having the gall to be born the year before \u003cem>Ready to Die\u003c/em> came out. I rule in favor of Vince Staples, and his young fearlessness propels \u003cem>Summertime ’06\u003c/em>. In addition to Staples’ smart writing, the production by hip-hop veteran No I.D. knocks hard, bridging the generation gap. I listened to this album in the car and thought about being 22 and hungry.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Disasterpeace.jpg\" alt=\"Disasterpeace\" width=\"400\" height=\"400\">\n\u003ch3>8. Disasterpeace – \u003cem>It Follows OST\u003c/em>\u003c/h3>\n\u003ch5>(Milan)\u003c/h5>\n\u003cp>I ordinarily don’t place soundtracks on these lists, but then this is no ordinary soundtrack. Anyone who’s seen \u003cem>It Follows\u003c/em> knows how \u003ca href=\"https://www.youtube.com/watch?v=W2d4_TgwZQc\" target=\"_blank\" rel=\"noopener\">instrinsic the music is to the film\u003c/a>, the story of a sexually-transmitted virus that manifests intermittently in the form of a slowly pursuing naked body intent on killing its host. (It’s more psychologically harrowing than it sounds.) Scored by Disasterpeace, a.k.a. Berkeley musician Richard Vreeland, the soundtrack stands finely on its own, a combination of electronic pulses and surging, eerie wave forms that call to mind John Carpenter and Trent Reznor. Prior to the film, Vreeland primarily scored video games, and his 8-bit–inspired soundtrack to \u003cem>Fez\u003c/em> caught the attention of writer-director David Robert Mitchell. Interestingly, \u003cem>Fez\u003c/em> often sounds \u003ca href=\"https://www.youtube.com/watch?v=76GnOwHorn0\" target=\"_blank\" rel=\"noopener\">peppy and lively\u003c/a>, while \u003cem>It Follows\u003c/em> plunges head-on into darkness. Between Kreng and Disasterpeace, there’s two first-time film composers on this list. Here’s hoping they land future projects and get the attention they deserve.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SleaterKinney.jpg\" alt=\"Sleater Kinney\" width=\"400\" height=\"400\">\n\u003ch3>9. Sleater-Kinney – \u003cem>No Cities Left to Love\u003c/em>\u003c/h3>\n\u003ch5>(Sub Pop)\u003c/h5>\n\u003cp>I saw two reunion shows on Nob Hill this year: first, the Replacements, whose reunion was as improbable as it was majestic, and then, after a 10-year absence, Sleater-Kinney, who picked up as if nothing had happened since I last saw them in 2005 at the Great American Music Hall. Of course, plenty had happened (solo projects, \u003cem>Portlandia\u003c/em>, Wild Flag), and in a lot of ways, \u003cem>No Cities Left to Love\u003c/em> sounds like a band starting over again. In a distinct musical language Sleater-Kinney created during their original run, which culminated in the furiously creative 2005 album \u003cem>The Woods\u003c/em>, the songs here are relatively simple and straightforward. That’s not a bad thing, and they get stuck in my head more frequently than anything from \u003cem>The Woods\u003c/em>, much as I love that album too. I sometimes pride myself on not clinging to the music of my past, but I’ll admit that it’s just plain \u003cem>nice\u003c/em> to hear Sleater-Kinney again, and I believe the world is a better place with them around.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Miguel.jpg\" alt=\"Miguel\" width=\"400\" height=\"400\">\n\u003ch3>10. Miguel – \u003cem>Wildheart\u003c/em>\u003c/h3>\n\u003ch5>(RCA)\u003c/h5>\n\u003cp>Miguel’s \u003cem>Kaleidoscope Dream\u003c/em> floored me so hard in 2012 that I bought a last-minute $100 ticket to see him \u003cem>open\u003c/em> for Trey Songz at the Oakland Arena, and friends, it was worth every cent. In the times I’ve seen the R&B singer since, he has a propensity for dazzling up his songs with so many musical rearrangements, drum fills, ad-libs and improvised melodies that the original songs are buried in showmanship. (Granted, it’s showmanship of the highest order, and comparisons to James Brown and Prince are not off the mark.) \u003cem>Wildheart\u003c/em> operates against that process, so intimate that when I first pressed play on album opener “A Beautiful Exit” I thought I must be hearing a demo recording. As evident from the cover, this is a hypersexual record (with “The Valley” and the fantastic “Waves”), but songs like “What’s Normal Anyway” speak to the struggle everyone faces to fit in, and “Hollywood Dreams” picks apart the quest for fame in L.A.’s parasitic atmosphere. I kept returning to \u003cem>Wildheart\u003c/em>, even though it isn’t \u003cem>Kaleidoscope Dream Pt. II\u003c/em> at all, and it’s precisely because of his ever-changing nature that it’s always exciting thinking about what Miguel will do next.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ch2>More From the Year:\u003c/h2>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/HollyHerndon.jpg\" alt=\"HollyHerndon\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>11. Holly Herndon – \u003cem>Platform\u003c/em>\u003c/h3>\n\u003cp>Scattered and glorious, an electronic pastiche of lost memories from yet another San Francisco artist who moved to L.A.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/YoungThug.jpg\" alt=\"YoungThug\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>12. Young Thug – \u003cem>Barter 6, Slime Season 1 & 2\u003c/em>, the leaks, etc.\u003c/h3>\n\u003cp>When he’s on, he’s on (see Exhibits \u003ca href=\"https://www.youtube.com/watch?v=HCLT1aJLF4I\" target=\"_blank\" rel=\"noopener\">A\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=xzIGVKEGL1s\" target=\"_blank\" rel=\"noopener\">B\u003c/a>), and following his constant output is thrilling.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FKATwigsEP.jpg\" alt=\"FKATwigsEP\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>13. FKA Twigs – \u003cem>M3LL155X\u003c/em>\u003c/h3>\n\u003cp>A natural continuation of \u003cem>LP1\u003c/em>, my \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">favorite album of 2014\u003c/a>, it pushes all the boundaries beautifully.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ChanceSurf.jpg\" alt=\"ChanceSurf\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>14. Donnie Trumpet & the Social Experiment – \u003cem>Surf\u003c/em>\u003c/h3>\n\u003cp>Chance the Rapper gives his band the spotlight, with “\u003ca href=\"https://www.youtube.com/watch?v=KMPTDBbsPnc\" target=\"_blank\" rel=\"noopener\">Wanna Be Cool\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=i4ooH8frBWg\" target=\"_blank\" rel=\"noopener\">Sunday Candy\u003c/a>,” songs your mama could love.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Vijay.jpg\" alt=\"Vijay\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>15. Vijay Iyer – \u003cem>Break Stuff\u003c/em>\u003c/h3>\n\u003cp>Drawing inspiration from techno and hip-hop, Iyer explores the “break” and applies it to his fantastic trio.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FettyWap.jpg\" alt=\"FettyWap\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>16. Fetty Wap – \u003cem>Fetty Wap\u003c/em>\u003c/h3>\n\u003cp>No one could escape these songs in 2015 (“Trap Queen,” “My Way,” “679,” “Again”), but I swear, I never got sick of hearing them.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DrYenLo.jpg\" alt=\"DrYenLo\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>17. Dr. Yen Lo – \u003cem>Days With Dr. Yen Lo\u003c/em>\u003c/h3>\n\u003cp>A rapper/firefighter from Brooklyn who toned down his already-subdued hip-hop sound for this near-drumless album.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CecileMclorin.jpg\" alt=\"CecileMclorin\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>18. Cécile McLorin Salvant – \u003cem>For One to Love\u003c/em>\u003c/h3>\n\u003cp>A tremendous jazz vocalist who’s not afraid to wear her influences on her sleeve, with unexpected song choices arranged vividly.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg\" alt=\"EzraFurman\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>19. Ezra Furman – \u003cem>Perpetual Motion People\u003c/em>\u003c/h3>\n\u003cp>Simple rock ‘n’ roll, one of the more memorable live shows I saw this year, and “\u003ca href=\"https://www.youtube.com/watch?v=fvfI6Q5WFT0\" target=\"_blank\" rel=\"noopener\">Lousy Connection\u003c/a>” is a Violent Femmes-meets-Phil Spector gem.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CarlyRae.jpg\" alt=\"CarlyRae\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>20. Carly Rae Jepsen – \u003cem>E.mo.tion\u003c/em>\u003c/h3>\n\u003cp>Justin Bieber, Selena Gomez and Demi Lovato all had great singles in 2015, but Carly Rae Jepsen intentionally created a pop \u003cem>album\u003c/em>, and it’s easily lovable.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaxRichter.jpg\" alt=\"MaxRichter\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>21. Max Richter – \u003cem>From Sleep\u003c/em>\u003c/h3>\n\u003cp>Richter wrote an eight-hour piece of music to be played while sleeping; the one-hour excerpt is enough, and sublime.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/JamieXX.jpg\" alt=\"JamieXX\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>22. Jamie XX – \u003cem>In Colour\u003c/em>\u003c/h3>\n\u003cp>Not as revelatory as his \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/We're_New_Here\" target=\"_blank\" rel=\"noopener\">We’re New Here\u003c/a>\u003c/em> instrumentals, but rich and rewarding throughout, especially during “\u003ca href=\"https://www.youtube.com/watch?v=BjLBB-TMa84\" target=\"_blank\" rel=\"noopener\">Good Times\u003c/a>.”\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Helm.jpg\" alt=\"Helm\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>23. Helm – \u003cem>Olympic Mess\u003c/em>\u003c/h3>\n\u003cp>I can’t begin to understand the mind that creates this jagged noise, but I’ve loved everything it’s produced.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BadPlus.jpg\" alt=\"BadPlus\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>24. The Bad Plus and Joshua Redman – \u003cem>The Bad Plus Joshua Redman\u003c/em>\u003c/h3>\n\u003cp>I love the Bad Plus, and the daring jazz trio pushed Redman so far here that a lone solo of his got \u003ca href=\"http://ww2.kqed.org/arts/2015/12/07/bay-area-artists-with-2016-grammy-nominations/\" target=\"_blank\" rel=\"noopener\">nominated for a Grammy\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mansion.jpg\" alt=\"Mansion\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>25. Mansion – \u003cem>Early Life\u003c/em>\u003c/h3>\n\u003cp>Skittering post-punk in the vein of LiLiPUT or Gang of Four from the heart of Oakland, Calif., with Candace Lazarou’s vocal delivery causing chills.\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11168560/top-25-albums-of-2015","authors":["185"],"series":["arts_1309"],"categories":["arts_69"],"tags":["arts_1118","arts_596"],"featImg":"arts_11171740","label":"arts_1309"},"arts_11155384":{"type":"posts","id":"arts_11155384","meta":{"index":"posts_1591205157","site":"arts","id":"11155384","score":null,"sort":[1450391213000]},"guestAuthors":[],"slug":"do-your-part-support-the-local-music-scene-with-these-2015-releases","title":"Do Your Part: Support the Local Music Scene With These 2015 Releases","publishDate":1450391213,"format":"standard","headTitle":"Do Your Part: Support the Local Music Scene With These 2015 Releases | KQED","labelTerm":{"term":1309,"site":"arts"},"content":"\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The Bay Area will always be a musical petri dish, growing all types of unique voices and sounds — in incredibly close proximity to one another, no less.\u003c/p>\n\u003cp>But it’s not easy making music here, as local musicians all have to deal with the high cost of living and the shrinking number of practice and performance spaces, not to mention the current issues with making a living in the music business, no matter where you live. So if you or a loved one appreciate the music coming out of the Bay Area, why not do your part and direct some of your gift money toward local music, be it the new record from a current group or an archival release?\u003c/p>\n\u003cp>While all of these gift ideas might not be from local groups, they are all excuses for supporting local music stores — and in one case, a local music journalist. Most importantly, they all help fuel creativity and support those still making it work here, just for the sake of the music.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11170920\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11170920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg\" alt=\"Erase Errata, 'Lost Weekend'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend.jpg 658w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Erase Errata, ‘Lost Weekend’\u003c/figcaption>\u003c/figure>\n\u003ch3>Erase Errata, \u003cem>Lost Weekend\u003c/em>\u003c/h3>\n\u003cp>If I were being a grump, I’d say this 2015 record — a reemergence from one of San Francisco’s best-loved post-punk outfits, some nine years after their last album — is a marker of just how much the city’s changed. The angles of a needling guitar riff, the cool bluntless of singer Jenny Hoyston’s delivery, the inherent grit of a noisy three-piece making artful, self-aware noise: they paint a picture of a crowded, sweaty basement show, the kind that used to land bands opening spots on Le Tigre tours…and the kind San Francisco has all but obliterated over the past decade. I won’t be a grump, though, because this record was a much-needed breath of fresh air in 2015, from the dancey groove of “History of Handclaps” to the urgent social commentary of “Don’t Sit/Lie.” The album’s title, a nod to the long-beleaguered-but-hanging-in-there Mission District video store of the same name (where the band’s been known to practice), also helps this album feel like a triumphant final bow as opposed to a fade out: Erase Errata called it quits for good just nine months after this release. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171036\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg\" alt=\"Sun Ra - 'Space Is The Place'\" width=\"400\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-522x600.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra – ‘Space Is The Place’\u003c/figcaption>\u003c/figure>\n\u003ch3>Sun Ra, \u003ci>Space is Place\u003c/i> (2015 Reissue)\u003c/h3>\n\u003ch5>Harte Recordings\u003c/h5>\n\u003cp>Afrofuturism is undergoing a resurgence in Oakland at the moment. The vision of an idyll for liberated black men and women as seen through a science-fiction lens, Afrofuturism runs in the work of DJ \u003ca href=\"http://ww2.kqed.org/arts/2015/10/30/selam-bekele-and-the-resurgence-of-bay-area-afrofuturism/\" target=\"_blank\" rel=\"noopener\">Selam Bekele\u003c/a>, artist \u003ca href=\"http://www.mahader.com/\" target=\"_blank\" rel=\"noopener\">Mahader Tesfai\u003c/a>, the collective \u003ca href=\"http://qilombo.org/\" target=\"_blank\" rel=\"noopener\">Qilombo\u003c/a> and many others. So it’s a timely gift from above that Sun Ra’s \u003cem>Space is the Place\u003c/em>, the groundbreaking Afrofuturistic film shot in Oakland, saw a deluxe reissue this year. Sun Ra was no stranger to extraterrestrial ideas — he claimed to have been born on Saturn — and his wildly original jazz compositions reflected such ideology. But \u003cem>Space is the Place\u003c/em> brought his philosophy down to the street level, and the scenes of Sun Ra recruiting young black Oaklanders to leave Earth in his spaceship are a must-see for any Bay Area music fan. Harte Recordings’ reissue includes both edits of the film, a CD soundtrack, and a marvelous 125-page full-color hardcover book. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171040\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg\" alt=\"Life Stinks, 'You'll Never Make It'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Life Stinks, ‘You’ll Never Make It’\u003c/figcaption>\u003c/figure>\n\u003ch3>Life Stinks, \u003ci>You’ll Never Make It\u003c/i>\u003c/h3>\n\u003ch5>S.S. Records\u003c/h5>\n\u003cp>It feels weird suggesting something this punk to a KQED audience but this music, both difficult to hear and easy to malign for so many, can be intoxicating for those who know they \u003ci>need\u003c/i> it in their lives. For me, punk rock has always been a venue for releasing energy. The combination of bouncing drums, buzzsaw guitars and a singer with something angry or crazy to yell about can still take over my mental state — no matter what it is — and make me want to pump my fists and yell along.\u003c/p>\n\u003cp>As I’ve gotten older, I’ve moved away from the fast-as-possible, make-you-want-to-run-around-in-circles version of punk. Now I pursue output from groups that still fit under the punk rock umbrella but have also figured out that songs don’t need to played at breakneck speeds to be powerful. Flipper, Pissed Jeans and especially San Francisco’s Life Stinks — they make the kind of music that makes you want to sway side-to-side instead of punching someone in the face. Life Stinks has the added bonus of being fronted by Chad Kawamura, a Hemingway of misanthropic lyrics, who even manages to insert some melody on \u003ci>You’ll Never Make It\u003c/i> in standout tracks like “Anchor” and “In a Place.” — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171049\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171049\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg\" alt=\"Double Duchess, 'All Eyes On Me'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Double Duchess, ‘All Eyes On Me’\u003c/figcaption>\u003c/figure>\n\u003ch3>Double Duchess, \u003ci>All Eyes on Me\u003c/i>\u003c/h3>\n\u003ch5>\u003ca href=\"http://doubleduchess.com/albums/all-eyes-on-me/\" target=\"_blank\" rel=\"noopener\">self released\u003c/a>\u003c/h5>\n\u003cp>One of the great injustices, if you’re an artist known for putting on a tremendously engaging live show, is that a tremendously engaging live show is tremendously tough to translate into a record. If it weren’t? The queer electro/dance/hip-hop duo Double Duchess might have been famous five years ago. As it stands, they’re at least locally famous for their stage presence (which is a rather tame way of saying booty-popping) as much as for their gleefully raw club bangers. Their 2015 EP, the duo’s third, has the highest production value we’ve seen yet from the Duchess — and may (maybe? hopefully?) help push them into more mainstream pop realms. If you’ve got a friend in need of some new dance grooves and they’re anything but conservative, this is a good bet. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171161\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg\" alt=\"Velvet Undergound, 'The Matrix Tapes'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Undergound, ‘The Matrix Tapes’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Velvet Underground, \u003ci>The Matrix Tapes\u003c/i>\u003c/h3>\n\u003ch5>Polydor\u003c/h5>\n\u003cp>‘Tis the year of the complete master tapes. Bruce Springsteen just announced a tour themed around his completist 4-CD/3-DVD box set \u003cem>The Ties That Bind: The River Collection\u003c/em>, and Bob Dylan’s massive 18-CD box \u003cem>The Cutting Edge 1965-1966: The Bootleg Series Vol. 12\u003c/em> contains a CD with \u003cem>seventeen\u003c/em> takes of “Like a Rolling Stone.” So when it comes to \u003cem>The Matrix Tapes\u003c/em> from the Velvet Underground, recorded at San Francisco’s Matrix club on Fillmore, well, four CDs sounds downright manageable. And despite multiple versions of songs, the set is eminently listenable, if for no other reason than the band was so improvisatory and unpredictable that each of the four versions here of “Heroin,” for example, go in totally different directions. Fans will already own the cream of this crop, issued by Mercury Records in the double album \u003cem>1969: The Velvet Underground Live\u003c/em>, but for diehards (and/or those who remember when the Marina was more accepting of crazy freaks like Lou Reed), this set is pure bliss. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171164\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg\" alt=\"Owen Maercks, 'Teenage Sex Therapist'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks.jpg 968w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Owen Maercks, ‘Teenage Sex Therapist’\u003c/figcaption>\u003c/figure>\n\u003ch3>Owen Maercks, \u003ci>Teenage Sex Therapist\u003c/i> (2015 reissue)\u003c/h3>\n\u003ch5>Feeding Tube Records\u003c/h5>\n\u003cp>There’s plenty to hate the Internet for — comments on YouTube alone are worth shutting the whole thing down — but it’s been a fantastic tool for unearthing lost works of musical genius and providing them to the masses. \u003ci>Teenage Sex Therapist\u003c/i> is a prime example of a record that practically no one knew about until just a few years ago; when it was first released in 1978, \u003ca href=\"http://www.sfgate.com/music/article/Avant-garde-rocker-Owen-Maercks-finds-an-audience-5714193.php\" target=\"_blank\" rel=\"noopener\">Owen Maercks managed to avoid selling a single copy\u003c/a>. This album speaks to fans of early Talking Heads, Devo and other New Wave bands, but it also deserves the attention of those who enjoy Velvet Underground, Frank Zappa and Captain Beefheart. It’s catchy but unpredictable, and features some smoking guitar work by a young Henry Kaiser. And though it might not always sound like your thing, by the time you want to move the needle, it’s jumped into another genre. Worth hunting down just for the ride you take during that first listen. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171168\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg\" alt=\"Zion I, 'The Rapture: Live from Oaklandia'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia.jpg 933w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Zion I, ‘The Rapture: Live from Oaklandia’\u003c/figcaption>\u003c/figure>\n\u003ch3>Zion I, \u003cem>The Rapture: Live From Oaklandia \u003c/em>\u003c/h3>\n\u003ch5>Mind Over Matter\u003c/h5>\n\u003cp>Oakland’s underground hip-hop scene is a sprawling, storied thing, and to reduce it to two camps would be, well, reductive. But it’s true that many people see East Bay rap as either the stuff of mean streets — the pavement from which the hyphy movement sprung — or conscious, activist hip-hop, with nary a misogynist slur or drug reference in sight. Zion I, a duo that burst onto the scene with a critically acclaimed debut in 2000, has managed in the 15 years since to skirt that easy categorization: Their lyrics are fiercely intelligent, sometimes literary, with a strain of social uprising never far from the surface of a song — but never preachy, and there’s certainly never been a question about their street cred. This live album, recorded at an intimate show in October (in Santa Cruz, but we’ll let that go) serves two purposes: As a best-of, it’s a compilation of fan favorites — their performance of “The Bay,” in particular, was a thing to behold at this year’s Hiero Day — but it also serves as a farewell (for now), as the duo announced in February of this year that they’d be parting ways. I’m curious what’ll come next for each individual artist, but this’ll do fine for now. — \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171171\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg\" alt='Inflatable Boy Clams 2x7\"' width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Inflatable Boy Clams 2×7″\u003c/figcaption>\u003c/figure>\n\u003ch3>Inflatable Boy Clams, s/t 2×7” (2015 Reissue)\u003c/h3>\n\u003ch5>Superior Viaduct\u003c/h5>\n\u003cp>These days it’s impossible to discover music untainted by outside influences — or, for that matter, to \u003cem>create\u003c/em> music untainted by outside influences. But in 1981, before the internet and other forms of media inundated our daily life, four young women calling themselves the Inflatable Boy Clams recorded one of the strangest and purest releases in Bay Area history. Though musically, the songs come across as unapologetically untrained, the Clams’ concepts are wonderfully honed. “Marin” is a satirical dig at the relaxed, entitled atmosphere across the bridge, while “I’m Sorry” predates Riot Grrrl’s in-your-face detail with spoken-word vignettes of menstruation and incest. More than anything, this double 7-inch is a document of anything-goes innocence and the true DIY spirit. This faithful reissue comes courtesy of Superior Viaduct (who concurrently reissued the only LP by the members’ other, more new-wavey band, Pink Section). — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171175\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171175\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg\" alt=\"Richie Unterberger, 'Unknown Legends of Rock 'N' Roll'\" width=\"400\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-375x600.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-768x1228.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-738x1180.jpg 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-1180x1887.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-960x1536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends.jpg 1563w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Richie Unterberger, ‘Unknown Legends of Rock ‘N’ Roll’\u003c/figcaption>\u003c/figure>\n\u003ch3>Richie Unterberger, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i> (Expanded E-book)\u003c/h3>\n\u003ch5>self-published\u003c/h5>\n\u003cp>Richie Unterberger is a Bay Area music journalist who, years before the theory of “\u003ca href=\"http://www.thelongtail.com/about.html\" target=\"_blank\" rel=\"noopener\">The Long Tail\u003c/a>” of the internet (1998), researched and published one of the best primers of outsider rock ‘n’ roll for burgeoning record-crate diggers like myself, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i>. The book was packed to the brim with essays about lost garage pop geniuses like Skip Spence, Lee Hazelwood and Syd Barrett, and foreign rock masters who just couldn’t break into the mainstream American market, including krautrock kings Can and anarcho-punks Crass. Sometimes the band’s story was better than their musical output — my expectations for the Misunderstood were impossible to meet after I read about the band’s British debut — but Unterberger’s profiles made me want to hunt down a release from each of the 60 bands he wrote about.\u003c/p>\n\u003cp>Now over a decade old, Unterberger has returned to his underground music encyclopedia, releasing a new e-Book version that adds profiles of 15 more bands and tops out at just under 350,000 words. If you love music and learning about groups outside of the mainstream, this is a must-read. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"If you or a loved one appreciate the music coming out of the Bay Area, why not do your part and direct some of your gift money toward local music?","status":"publish","parent":0,"modified":1705045658,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":2087},"headData":{"title":"Do Your Part: Support the Local Music Scene With These 2015 Releases | KQED","description":"If you or a loved one appreciate the music coming out of the Bay Area, why not do your part and direct some of your gift money toward local music?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11155384/do-your-part-support-the-local-music-scene-with-these-2015-releases","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>The Bay Area will always be a musical petri dish, growing all types of unique voices and sounds — in incredibly close proximity to one another, no less.\u003c/p>\n\u003cp>But it’s not easy making music here, as local musicians all have to deal with the high cost of living and the shrinking number of practice and performance spaces, not to mention the current issues with making a living in the music business, no matter where you live. So if you or a loved one appreciate the music coming out of the Bay Area, why not do your part and direct some of your gift money toward local music, be it the new record from a current group or an archival release?\u003c/p>\n\u003cp>While all of these gift ideas might not be from local groups, they are all excuses for supporting local music stores — and in one case, a local music journalist. Most importantly, they all help fuel creativity and support those still making it work here, just for the sake of the music.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11170920\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11170920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg\" alt=\"Erase Errata, 'Lost Weekend'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend.jpg 658w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Erase Errata, ‘Lost Weekend’\u003c/figcaption>\u003c/figure>\n\u003ch3>Erase Errata, \u003cem>Lost Weekend\u003c/em>\u003c/h3>\n\u003cp>If I were being a grump, I’d say this 2015 record — a reemergence from one of San Francisco’s best-loved post-punk outfits, some nine years after their last album — is a marker of just how much the city’s changed. The angles of a needling guitar riff, the cool bluntless of singer Jenny Hoyston’s delivery, the inherent grit of a noisy three-piece making artful, self-aware noise: they paint a picture of a crowded, sweaty basement show, the kind that used to land bands opening spots on Le Tigre tours…and the kind San Francisco has all but obliterated over the past decade. I won’t be a grump, though, because this record was a much-needed breath of fresh air in 2015, from the dancey groove of “History of Handclaps” to the urgent social commentary of “Don’t Sit/Lie.” The album’s title, a nod to the long-beleaguered-but-hanging-in-there Mission District video store of the same name (where the band’s been known to practice), also helps this album feel like a triumphant final bow as opposed to a fade out: Erase Errata called it quits for good just nine months after this release. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171036\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg\" alt=\"Sun Ra - 'Space Is The Place'\" width=\"400\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-522x600.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra – ‘Space Is The Place’\u003c/figcaption>\u003c/figure>\n\u003ch3>Sun Ra, \u003ci>Space is Place\u003c/i> (2015 Reissue)\u003c/h3>\n\u003ch5>Harte Recordings\u003c/h5>\n\u003cp>Afrofuturism is undergoing a resurgence in Oakland at the moment. The vision of an idyll for liberated black men and women as seen through a science-fiction lens, Afrofuturism runs in the work of DJ \u003ca href=\"http://ww2.kqed.org/arts/2015/10/30/selam-bekele-and-the-resurgence-of-bay-area-afrofuturism/\" target=\"_blank\" rel=\"noopener\">Selam Bekele\u003c/a>, artist \u003ca href=\"http://www.mahader.com/\" target=\"_blank\" rel=\"noopener\">Mahader Tesfai\u003c/a>, the collective \u003ca href=\"http://qilombo.org/\" target=\"_blank\" rel=\"noopener\">Qilombo\u003c/a> and many others. So it’s a timely gift from above that Sun Ra’s \u003cem>Space is the Place\u003c/em>, the groundbreaking Afrofuturistic film shot in Oakland, saw a deluxe reissue this year. Sun Ra was no stranger to extraterrestrial ideas — he claimed to have been born on Saturn — and his wildly original jazz compositions reflected such ideology. But \u003cem>Space is the Place\u003c/em> brought his philosophy down to the street level, and the scenes of Sun Ra recruiting young black Oaklanders to leave Earth in his spaceship are a must-see for any Bay Area music fan. Harte Recordings’ reissue includes both edits of the film, a CD soundtrack, and a marvelous 125-page full-color hardcover book. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171040\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg\" alt=\"Life Stinks, 'You'll Never Make It'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Life Stinks, ‘You’ll Never Make It’\u003c/figcaption>\u003c/figure>\n\u003ch3>Life Stinks, \u003ci>You’ll Never Make It\u003c/i>\u003c/h3>\n\u003ch5>S.S. Records\u003c/h5>\n\u003cp>It feels weird suggesting something this punk to a KQED audience but this music, both difficult to hear and easy to malign for so many, can be intoxicating for those who know they \u003ci>need\u003c/i> it in their lives. For me, punk rock has always been a venue for releasing energy. The combination of bouncing drums, buzzsaw guitars and a singer with something angry or crazy to yell about can still take over my mental state — no matter what it is — and make me want to pump my fists and yell along.\u003c/p>\n\u003cp>As I’ve gotten older, I’ve moved away from the fast-as-possible, make-you-want-to-run-around-in-circles version of punk. Now I pursue output from groups that still fit under the punk rock umbrella but have also figured out that songs don’t need to played at breakneck speeds to be powerful. Flipper, Pissed Jeans and especially San Francisco’s Life Stinks — they make the kind of music that makes you want to sway side-to-side instead of punching someone in the face. Life Stinks has the added bonus of being fronted by Chad Kawamura, a Hemingway of misanthropic lyrics, who even manages to insert some melody on \u003ci>You’ll Never Make It\u003c/i> in standout tracks like “Anchor” and “In a Place.” — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171049\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171049\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg\" alt=\"Double Duchess, 'All Eyes On Me'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Double Duchess, ‘All Eyes On Me’\u003c/figcaption>\u003c/figure>\n\u003ch3>Double Duchess, \u003ci>All Eyes on Me\u003c/i>\u003c/h3>\n\u003ch5>\u003ca href=\"http://doubleduchess.com/albums/all-eyes-on-me/\" target=\"_blank\" rel=\"noopener\">self released\u003c/a>\u003c/h5>\n\u003cp>One of the great injustices, if you’re an artist known for putting on a tremendously engaging live show, is that a tremendously engaging live show is tremendously tough to translate into a record. If it weren’t? The queer electro/dance/hip-hop duo Double Duchess might have been famous five years ago. As it stands, they’re at least locally famous for their stage presence (which is a rather tame way of saying booty-popping) as much as for their gleefully raw club bangers. Their 2015 EP, the duo’s third, has the highest production value we’ve seen yet from the Duchess — and may (maybe? hopefully?) help push them into more mainstream pop realms. If you’ve got a friend in need of some new dance grooves and they’re anything but conservative, this is a good bet. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171161\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg\" alt=\"Velvet Undergound, 'The Matrix Tapes'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Undergound, ‘The Matrix Tapes’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Velvet Underground, \u003ci>The Matrix Tapes\u003c/i>\u003c/h3>\n\u003ch5>Polydor\u003c/h5>\n\u003cp>‘Tis the year of the complete master tapes. Bruce Springsteen just announced a tour themed around his completist 4-CD/3-DVD box set \u003cem>The Ties That Bind: The River Collection\u003c/em>, and Bob Dylan’s massive 18-CD box \u003cem>The Cutting Edge 1965-1966: The Bootleg Series Vol. 12\u003c/em> contains a CD with \u003cem>seventeen\u003c/em> takes of “Like a Rolling Stone.” So when it comes to \u003cem>The Matrix Tapes\u003c/em> from the Velvet Underground, recorded at San Francisco’s Matrix club on Fillmore, well, four CDs sounds downright manageable. And despite multiple versions of songs, the set is eminently listenable, if for no other reason than the band was so improvisatory and unpredictable that each of the four versions here of “Heroin,” for example, go in totally different directions. Fans will already own the cream of this crop, issued by Mercury Records in the double album \u003cem>1969: The Velvet Underground Live\u003c/em>, but for diehards (and/or those who remember when the Marina was more accepting of crazy freaks like Lou Reed), this set is pure bliss. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171164\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg\" alt=\"Owen Maercks, 'Teenage Sex Therapist'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks.jpg 968w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Owen Maercks, ‘Teenage Sex Therapist’\u003c/figcaption>\u003c/figure>\n\u003ch3>Owen Maercks, \u003ci>Teenage Sex Therapist\u003c/i> (2015 reissue)\u003c/h3>\n\u003ch5>Feeding Tube Records\u003c/h5>\n\u003cp>There’s plenty to hate the Internet for — comments on YouTube alone are worth shutting the whole thing down — but it’s been a fantastic tool for unearthing lost works of musical genius and providing them to the masses. \u003ci>Teenage Sex Therapist\u003c/i> is a prime example of a record that practically no one knew about until just a few years ago; when it was first released in 1978, \u003ca href=\"http://www.sfgate.com/music/article/Avant-garde-rocker-Owen-Maercks-finds-an-audience-5714193.php\" target=\"_blank\" rel=\"noopener\">Owen Maercks managed to avoid selling a single copy\u003c/a>. This album speaks to fans of early Talking Heads, Devo and other New Wave bands, but it also deserves the attention of those who enjoy Velvet Underground, Frank Zappa and Captain Beefheart. It’s catchy but unpredictable, and features some smoking guitar work by a young Henry Kaiser. And though it might not always sound like your thing, by the time you want to move the needle, it’s jumped into another genre. Worth hunting down just for the ride you take during that first listen. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171168\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg\" alt=\"Zion I, 'The Rapture: Live from Oaklandia'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia.jpg 933w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Zion I, ‘The Rapture: Live from Oaklandia’\u003c/figcaption>\u003c/figure>\n\u003ch3>Zion I, \u003cem>The Rapture: Live From Oaklandia \u003c/em>\u003c/h3>\n\u003ch5>Mind Over Matter\u003c/h5>\n\u003cp>Oakland’s underground hip-hop scene is a sprawling, storied thing, and to reduce it to two camps would be, well, reductive. But it’s true that many people see East Bay rap as either the stuff of mean streets — the pavement from which the hyphy movement sprung — or conscious, activist hip-hop, with nary a misogynist slur or drug reference in sight. Zion I, a duo that burst onto the scene with a critically acclaimed debut in 2000, has managed in the 15 years since to skirt that easy categorization: Their lyrics are fiercely intelligent, sometimes literary, with a strain of social uprising never far from the surface of a song — but never preachy, and there’s certainly never been a question about their street cred. This live album, recorded at an intimate show in October (in Santa Cruz, but we’ll let that go) serves two purposes: As a best-of, it’s a compilation of fan favorites — their performance of “The Bay,” in particular, was a thing to behold at this year’s Hiero Day — but it also serves as a farewell (for now), as the duo announced in February of this year that they’d be parting ways. I’m curious what’ll come next for each individual artist, but this’ll do fine for now. — \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171171\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg\" alt='Inflatable Boy Clams 2x7\"' width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Inflatable Boy Clams 2×7″\u003c/figcaption>\u003c/figure>\n\u003ch3>Inflatable Boy Clams, s/t 2×7” (2015 Reissue)\u003c/h3>\n\u003ch5>Superior Viaduct\u003c/h5>\n\u003cp>These days it’s impossible to discover music untainted by outside influences — or, for that matter, to \u003cem>create\u003c/em> music untainted by outside influences. But in 1981, before the internet and other forms of media inundated our daily life, four young women calling themselves the Inflatable Boy Clams recorded one of the strangest and purest releases in Bay Area history. Though musically, the songs come across as unapologetically untrained, the Clams’ concepts are wonderfully honed. “Marin” is a satirical dig at the relaxed, entitled atmosphere across the bridge, while “I’m Sorry” predates Riot Grrrl’s in-your-face detail with spoken-word vignettes of menstruation and incest. More than anything, this double 7-inch is a document of anything-goes innocence and the true DIY spirit. This faithful reissue comes courtesy of Superior Viaduct (who concurrently reissued the only LP by the members’ other, more new-wavey band, Pink Section). — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171175\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171175\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg\" alt=\"Richie Unterberger, 'Unknown Legends of Rock 'N' Roll'\" width=\"400\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-375x600.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-768x1228.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-738x1180.jpg 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-1180x1887.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-960x1536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends.jpg 1563w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Richie Unterberger, ‘Unknown Legends of Rock ‘N’ Roll’\u003c/figcaption>\u003c/figure>\n\u003ch3>Richie Unterberger, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i> (Expanded E-book)\u003c/h3>\n\u003ch5>self-published\u003c/h5>\n\u003cp>Richie Unterberger is a Bay Area music journalist who, years before the theory of “\u003ca href=\"http://www.thelongtail.com/about.html\" target=\"_blank\" rel=\"noopener\">The Long Tail\u003c/a>” of the internet (1998), researched and published one of the best primers of outsider rock ‘n’ roll for burgeoning record-crate diggers like myself, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i>. The book was packed to the brim with essays about lost garage pop geniuses like Skip Spence, Lee Hazelwood and Syd Barrett, and foreign rock masters who just couldn’t break into the mainstream American market, including krautrock kings Can and anarcho-punks Crass. Sometimes the band’s story was better than their musical output — my expectations for the Misunderstood were impossible to meet after I read about the band’s British debut — but Unterberger’s profiles made me want to hunt down a release from each of the 60 bands he wrote about.\u003c/p>\n\u003cp>Now over a decade old, Unterberger has returned to his underground music encyclopedia, releasing a new e-Book version that adds profiles of 15 more bands and tops out at just under 350,000 words. If you love music and learning about groups outside of the mainstream, this is a must-read. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11155384/do-your-part-support-the-local-music-scene-with-these-2015-releases","authors":["93","7237","185"],"series":["arts_1309"],"categories":["arts_69"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_11171177","label":"arts_1309"},"arts_11157998":{"type":"posts","id":"arts_11157998","meta":{"index":"posts_1591205157","site":"arts","id":"11157998","score":null,"sort":[1450123237000]},"guestAuthors":[],"slug":"holiday-theater-guide-tis-the-season-for-good-times","title":"Holiday Theater Guide: 'Tis the Season for Good Times","publishDate":1450123237,"format":"standard","headTitle":"Holiday Theater Guide: ‘Tis the Season for Good Times | KQED","labelTerm":{"term":1309,"site":"arts"},"content":"\u003cp>If you like to see theater, comedy or dance, the Bay Area is a fantastic place to be during the holiday season. There are \u003ci>Christmas Carols\u003c/i> and \u003ci>Nutcrackers\u003c/i> aplenty to keep up your holiday spirits and visiting aunties from Omaha happy — from A-list productions in San Francisco by the \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/1516_carol.html\" target=\"_blank\" rel=\"noopener\"> American Conservatory Theater \u003c/a> and the \u003ca href=\"https://www.sfballet.org/tickets/production/overview/nutcracker\" target=\"_blank\" rel=\"noopener\"> San Francisco Ballet\u003c/a>, to smaller-yet-equally-worthy efforts from companies like San Jose’s \u003ca href=\"http://www.northsidetheatre.com/website/season.html\" target=\"_blank\" rel=\"noopener\"> Northside Theatre Company \u003c/a> and the \u003ca href=\"http://oaklandballet.org/wp/performances/graham-lustigs-the-nutcracker-2015/\" target=\"_blank\" rel=\"noopener\"> Oakland Ballet\u003c/a>. \u003c/p>\n\u003cp>But if it turns out the Omaha aunties are more adventurous than you thought, then you get to give them a taste of the real local holiday flavor. For whether your relations are into seeing \u003ca href=\"http://www.koshercomedy.com/\" target=\"_blank\" rel=\"noopener\"> Jewish comedians perform in a Chinese restaurant\u003c/a>, hearing \u003ca href=\"http://zspace.org/w4w/word-for-word-holiday-show\" target=\"_blank\" rel=\"noopener\"> the witty seasonal memories of Depression-era journalists\u003c/a>, or witnessing \u003ca href=\"http://www.sweetcanproductions.com/MnM.html\" target=\"_blank\" rel=\"noopener\"> spectacular circus feats under the mistletoe\u003c/a>, they won’t be disappointed. \u003c/p>\n\u003cp>Here are a few more holiday-themed performing arts events to induce the holiday spirit in even the most stubborn members of your family in the coming weeks. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11109950\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-400x205.jpg\" alt=\"Smuin Christmas Ballet\" width=\"400\" height=\"205\" class=\"size-thumbnail wp-image-11109950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-400x205.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1180x605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1920x984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-960x492.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Smuin Christmas Ballet \u003ccite>(Photo: Chris Hardy/Smuin Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Christmas Ballet\u003c/em>\u003c/h3>\n\u003ch5>Now through Sunday, Dec. 27\u003cbr>\n\u003ca href=\"http://smuinballet.org/buy-tickets-for-the-20152016-season/holiday-dance-program-the-christmas-ballet/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>The Smuin Ballet has been presenting this holiday tradition for more than 20 years. What keeps people coming back — other than the chance to enjoy a dance show that isn’t \u003ci>The Nutcracker \u003c/i>or some derivative of \u003ci>The Nutcracke\u003c/i>r at this time of year — is the athleticism and fun of the choreography, the colorful creativity of the mise-en-scene, and the fact that there are always new, bite-sized items on the menu to stop things from feeling too much like party leftovers. This year’s production include a couple of fresh segments — a take on the beloved Christmas carol “Joy to the World” by company member dancer Nicole Haskins and choreographer-in-residence Amy Seiwert’s setting of “Home for the Holidays.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11161681\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/revels_2015_venice_1-400x618.jpg\" alt=\"The 30th Annual Christmas Revels: 'A Venetian Masque'\" width=\"400\" height=\"618\" class=\"size-thumbnail wp-image-11161681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/revels_2015_venice_1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/revels_2015_venice_1-388x600.jpg 388w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The 30th Annual Christmas Revels:\u003cbr>‘A Venetian Masque’ \u003ccite>(Courtesy: California RevelsThe 30th Annual Christmas Revels: A Venetian Masque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Christmas Revels: A Venetian Masque\u003c/h3>\n\u003ch5>Friday, Dec. 11 – Sunday, Dec. 20\u003cbr>\n\u003ca href=\"http://californiarevels.org/2015_christmas-revels\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>For the past 30 years, the California Revels has injected a fat dose of folk culture into the local holiday season — and has become as beloved a fixture as a favorite tree ornament in the process. This year’s event, which brings together pros like Jeff Raz and Robert Sicular with amateur performers from all over the community, takes its cue from the Commedia dell’Arte performance traditions of the early 17th century. The schtick revolves around a bunch of ragtag comedians as they attempt to sabotage a classy masque thrown by the Doge of Venice. Expect a riotous combustion of high and low art, voluminous costumes and plenty of audience participation.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11161683\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-400x440.jpg\" alt=\"Music and dance abound at the Great Dickens Christmas Fair & Victorian Holiday Party\" width=\"400\" height=\"440\" class=\"size-thumbnail wp-image-11161683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-400x440.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-545x600.jpg 545w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-768x845.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-1072x1180.jpg 1072w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-1180x1299.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-960x1057.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Music and dance abound at the Great Dickens Christmas Fair & Victorian Holiday Party \u003ccite>(Photo: Rich Yee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Dickens Fair\u003c/h3>\n\u003ch5>Now through Sunday, Dec. 20\u003cbr>\n\u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>Christmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11161685\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MousterapCrop-400x438.jpg\" alt=\"Alex Rodriguez as Mr. Paravincini in 'The Moustrap'\" width=\"400\" height=\"438\" class=\"size-thumbnail wp-image-11161685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MousterapCrop-400x438.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MousterapCrop-548x600.jpg 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MousterapCrop.jpg 609w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alex Rodriguez as Mr. Paravincini in ‘The Moustrap’ \u003ccite>(Photos: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Mousetrap\u003c/i>\u003c/h3>\n\u003ch5>Now through Sunday, Jan. 10\u003cbr>\n\u003ca href=\"https://shotgunplayers.org/Online/mousetrap\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>For anyone who’s already had their fill of red-nosed reindeers, sugarplum fairies and their ilk this holiday season, the Berkeley-based company Shotgun Players has the perfect antidote in the shape of theater history’s most famous murder-mystery — and longest running show of any kind — \u003ci>The Mousetrap\u003c/i>. Agatha Christie’s comedic 1952 potboiler investigates the fallout of a gruesome crime committed on the premises of a remote guest house. The fantastical whodunnit famously ends with a far-out twist — one which audiences are traditionally asked to keep to themselves. Shotgun Players revels in presenting holiday programming that’s just enough outside the realms of the typical fare to broaden the audience’s palette without putting them off their Christmas hams entirely. And this show, helmed by the company’s artistic director, Patrick Dooley, appears to fit the mandate.\n\u003c/p>\u003c/div>\n\u003cp>A few more suggestions:\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 20: \u003c/b>\u003ca href=\"http://www.victoriatheatre.org/index.php/box-office/golden-girls-the-christmas-episodes-3\">\u003cb>\u003ci>Golden Girls: The Christmas Episodes\u003c/i>\u003c/b>\u003c/a>\u003cb> at Victoria Theatre, San Francisco\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Friday, Dec. 18: Moscow Ballet’s \u003cem>\u003ca href=\"http://www.flintcenter.com/cal/norm.htm\" target=\"_blank\" rel=\"noopener\">Great Russian Nutcracker\u003c/a>\u003c/em> at the Flint Center for the Performing Arts, Cupertino\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 20 \u003c/b>\u003ca href=\"http://www.hillbarntheatre.org/shows/fiddler-on-the-roof/\">\u003cb>\u003ci>Fiddler on the Roof\u003c/i>\u003c/b>\u003c/a>\u003cb> at Hillbarn Theatre, Foster City\u003c/b>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area is a fantastic place to be during the holiday season, with \u003ci>Christmas Carols\u003c/i> and \u003ci>Nutcrackers\u003c/i> aplenty to keep up your holiday spirits and visiting aunties from Omaha happy. ","status":"publish","parent":0,"modified":1705045692,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":872},"headData":{"title":"Holiday Theater Guide: 'Tis the Season for Good Times | KQED","description":"The Bay Area is a fantastic place to be during the holiday season, with Christmas Carols and Nutcrackers aplenty to keep up your holiday spirits and visiting aunties from Omaha happy. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11157998/holiday-theater-guide-tis-the-season-for-good-times","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you like to see theater, comedy or dance, the Bay Area is a fantastic place to be during the holiday season. There are \u003ci>Christmas Carols\u003c/i> and \u003ci>Nutcrackers\u003c/i> aplenty to keep up your holiday spirits and visiting aunties from Omaha happy — from A-list productions in San Francisco by the \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/1516_carol.html\" target=\"_blank\" rel=\"noopener\"> American Conservatory Theater \u003c/a> and the \u003ca href=\"https://www.sfballet.org/tickets/production/overview/nutcracker\" target=\"_blank\" rel=\"noopener\"> San Francisco Ballet\u003c/a>, to smaller-yet-equally-worthy efforts from companies like San Jose’s \u003ca href=\"http://www.northsidetheatre.com/website/season.html\" target=\"_blank\" rel=\"noopener\"> Northside Theatre Company \u003c/a> and the \u003ca href=\"http://oaklandballet.org/wp/performances/graham-lustigs-the-nutcracker-2015/\" target=\"_blank\" rel=\"noopener\"> Oakland Ballet\u003c/a>. \u003c/p>\n\u003cp>But if it turns out the Omaha aunties are more adventurous than you thought, then you get to give them a taste of the real local holiday flavor. For whether your relations are into seeing \u003ca href=\"http://www.koshercomedy.com/\" target=\"_blank\" rel=\"noopener\"> Jewish comedians perform in a Chinese restaurant\u003c/a>, hearing \u003ca href=\"http://zspace.org/w4w/word-for-word-holiday-show\" target=\"_blank\" rel=\"noopener\"> the witty seasonal memories of Depression-era journalists\u003c/a>, or witnessing \u003ca href=\"http://www.sweetcanproductions.com/MnM.html\" target=\"_blank\" rel=\"noopener\"> spectacular circus feats under the mistletoe\u003c/a>, they won’t be disappointed. \u003c/p>\n\u003cp>Here are a few more holiday-themed performing arts events to induce the holiday spirit in even the most stubborn members of your family in the coming weeks. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11109950\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-400x205.jpg\" alt=\"Smuin Christmas Ballet\" width=\"400\" height=\"205\" class=\"size-thumbnail wp-image-11109950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-400x205.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1180x605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1920x984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-960x492.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Smuin Christmas Ballet \u003ccite>(Photo: Chris Hardy/Smuin Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Christmas Ballet\u003c/em>\u003c/h3>\n\u003ch5>Now through Sunday, Dec. 27\u003cbr>\n\u003ca href=\"http://smuinballet.org/buy-tickets-for-the-20152016-season/holiday-dance-program-the-christmas-ballet/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>The Smuin Ballet has been presenting this holiday tradition for more than 20 years. What keeps people coming back — other than the chance to enjoy a dance show that isn’t \u003ci>The Nutcracker \u003c/i>or some derivative of \u003ci>The Nutcracke\u003c/i>r at this time of year — is the athleticism and fun of the choreography, the colorful creativity of the mise-en-scene, and the fact that there are always new, bite-sized items on the menu to stop things from feeling too much like party leftovers. This year’s production include a couple of fresh segments — a take on the beloved Christmas carol “Joy to the World” by company member dancer Nicole Haskins and choreographer-in-residence Amy Seiwert’s setting of “Home for the Holidays.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11161681\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/revels_2015_venice_1-400x618.jpg\" alt=\"The 30th Annual Christmas Revels: 'A Venetian Masque'\" width=\"400\" height=\"618\" class=\"size-thumbnail wp-image-11161681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/revels_2015_venice_1.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/revels_2015_venice_1-388x600.jpg 388w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The 30th Annual Christmas Revels:\u003cbr>‘A Venetian Masque’ \u003ccite>(Courtesy: California RevelsThe 30th Annual Christmas Revels: A Venetian Masque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Christmas Revels: A Venetian Masque\u003c/h3>\n\u003ch5>Friday, Dec. 11 – Sunday, Dec. 20\u003cbr>\n\u003ca href=\"http://californiarevels.org/2015_christmas-revels\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>For the past 30 years, the California Revels has injected a fat dose of folk culture into the local holiday season — and has become as beloved a fixture as a favorite tree ornament in the process. This year’s event, which brings together pros like Jeff Raz and Robert Sicular with amateur performers from all over the community, takes its cue from the Commedia dell’Arte performance traditions of the early 17th century. The schtick revolves around a bunch of ragtag comedians as they attempt to sabotage a classy masque thrown by the Doge of Venice. Expect a riotous combustion of high and low art, voluminous costumes and plenty of audience participation.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11161683\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-400x440.jpg\" alt=\"Music and dance abound at the Great Dickens Christmas Fair & Victorian Holiday Party\" width=\"400\" height=\"440\" class=\"size-thumbnail wp-image-11161683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-400x440.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-545x600.jpg 545w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-768x845.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-1072x1180.jpg 1072w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-1180x1299.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DF2014_YEE0026_CanBanjo_press-960x1057.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Music and dance abound at the Great Dickens Christmas Fair & Victorian Holiday Party \u003ccite>(Photo: Rich Yee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Dickens Fair\u003c/h3>\n\u003ch5>Now through Sunday, Dec. 20\u003cbr>\n\u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>Christmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11161685\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MousterapCrop-400x438.jpg\" alt=\"Alex Rodriguez as Mr. Paravincini in 'The Moustrap'\" width=\"400\" height=\"438\" class=\"size-thumbnail wp-image-11161685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MousterapCrop-400x438.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MousterapCrop-548x600.jpg 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MousterapCrop.jpg 609w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alex Rodriguez as Mr. Paravincini in ‘The Moustrap’ \u003ccite>(Photos: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Mousetrap\u003c/i>\u003c/h3>\n\u003ch5>Now through Sunday, Jan. 10\u003cbr>\n\u003ca href=\"https://shotgunplayers.org/Online/mousetrap\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>For anyone who’s already had their fill of red-nosed reindeers, sugarplum fairies and their ilk this holiday season, the Berkeley-based company Shotgun Players has the perfect antidote in the shape of theater history’s most famous murder-mystery — and longest running show of any kind — \u003ci>The Mousetrap\u003c/i>. Agatha Christie’s comedic 1952 potboiler investigates the fallout of a gruesome crime committed on the premises of a remote guest house. The fantastical whodunnit famously ends with a far-out twist — one which audiences are traditionally asked to keep to themselves. Shotgun Players revels in presenting holiday programming that’s just enough outside the realms of the typical fare to broaden the audience’s palette without putting them off their Christmas hams entirely. And this show, helmed by the company’s artistic director, Patrick Dooley, appears to fit the mandate.\n\u003c/p>\u003c/div>\n\u003cp>A few more suggestions:\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 20: \u003c/b>\u003ca href=\"http://www.victoriatheatre.org/index.php/box-office/golden-girls-the-christmas-episodes-3\">\u003cb>\u003ci>Golden Girls: The Christmas Episodes\u003c/i>\u003c/b>\u003c/a>\u003cb> at Victoria Theatre, San Francisco\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Friday, Dec. 18: Moscow Ballet’s \u003cem>\u003ca href=\"http://www.flintcenter.com/cal/norm.htm\" target=\"_blank\" rel=\"noopener\">Great Russian Nutcracker\u003c/a>\u003c/em> at the Flint Center for the Performing Arts, Cupertino\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 20 \u003c/b>\u003ca href=\"http://www.hillbarntheatre.org/shows/fiddler-on-the-roof/\">\u003cb>\u003ci>Fiddler on the Roof\u003c/i>\u003c/b>\u003c/a>\u003cb> at Hillbarn Theatre, Foster City\u003c/b>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11157998/holiday-theater-guide-tis-the-season-for-good-times","authors":["8608"],"series":["arts_1309"],"categories":["arts_1003","arts_967"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_11151929","label":"arts_1309"},"arts_11147327":{"type":"posts","id":"arts_11147327","meta":{"index":"posts_1591205157","site":"arts","id":"11147327","score":null,"sort":[1450022435000]},"guestAuthors":[],"slug":"the-top-10-bay-area-jazz-releases-of-2015","title":"The Top 10 Bay Area Jazz Releases of 2015","publishDate":1450022435,"format":"standard","headTitle":"The Top 10 Bay Area Jazz Releases of 2015 | KQED","labelTerm":{"term":1309,"site":"arts"},"content":"\u003cp>Looking over the jazz albums I kept returning to in 2015 — a year in which Spotify, Pandora and other streaming services have further elevated standalone singles — I’m struck by the way each artist engages with the album format to make a larger musical statement. In almost every case, the releases capture a highly personal vision, woven through the entire project.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>From Tiffany Austin’s funky and footloose old-wine-in-new-bottles take on Hoagy Carmichael to Ben Goldberg’s exquisite chamber-jazz-meets-art-song journey into the world of poet and philosopher Allen Grossman, these albums add up to more than the sum of their considerable parts. Another trend that stands out is that the Bay Area’s already-deep pool of vocal talent continues to grow apace.\u003c/p>\n\u003cp>Here are my 10 favorite jazz albums of 2015, in alphabetical order (with an additional slate of excellent local releases, any of which could have easily slid into the top 10).\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155374\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Antonioli-400x356.jpg\" alt=\"Laurie Antonioli & Richie Beirach - 'Varuna'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155374\">\u003cfigcaption class=\"wp-caption-text\">Laurie Antonioli & Richie Beirach – ‘Varuna’\u003c/figcaption>\u003c/figure>\n\u003ch3>Laurie Antonioli & Richie Beirach – \u003cem>Varuna\u003c/em>\u003c/h3>\n\u003ch5>(Origin Records)\u003c/h5>\n\u003cp>A veteran jazz singer who leads one of the best working bands on the scene, Antonioli has also converged intermittently over the years with Beirach, a probing post-bop pianist with a strong feel for European classical music. The album features one striking passage after another, centering on the transporting “Resolution Suite,” a free improv epiphany in three brief movements.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155375\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TiffanyAustin-400x355.jpg\" alt=\"Tiffany Austin - 'Nothing But Soul'\" width=\"400\" height=\"355\" class=\"size-thumbnail wp-image-11155375\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Austin – ‘Nothing But Soul’\u003c/figcaption>\u003c/figure>\n\u003ch3>Tiffany Austin – \u003cem>Nothing But Soul\u003c/em>\u003c/h3>\n\u003ch5>(Con Alma Music)\u003c/h5>\n\u003cp>Working with tenor saxophonist Howard Wiley, Austin this year delivered one of the most joyful and exuberant debut recordings in recent memory. Focusing on the songs of Hoagy Carmichael (with a few ringers) she puts her own stamp on tunes that have been around the block, including a sly version of “Baltimore Oriole” and her luscious reading of “Skylark.” (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155376\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/AlexConde-400x416.jpg\" alt=\"Alex Conde - 'Descarga For Monk'\" width=\"400\" height=\"416\" class=\"size-thumbnail wp-image-11155376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde-32x32.jpg 32w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alex Conde – ‘Descarga For Monk’\u003c/figcaption>\u003c/figure>\n\u003ch3>Alex Conde – \u003cem>Descarga For Monk\u003c/em>\u003c/h3>\n\u003ch5>(Zoho Music)\u003c/h5>\n\u003cp>Conde has been on the Bay Area scene for a while, but the Spanish-born pianist emerged as a major creative force with this album. Passionately reimagining a set of classic Thelonious Monk compositions through the lens of flamenco, the project uncovers previously unexpected rhythmic interplay in Monk’s music. He’s joined by an ideal cast of collaborators with percussion master John Santos, ace bassist Jeff Chambers, and the texturally resourceful drummer Jon Arkin. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155377\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KarinaDenike-400x400.jpg\" alt=\"Karina Deniké - 'Under Glass'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Karina Deniké – ‘Under Glass’\u003c/figcaption>\u003c/figure>\n\u003ch3>Karina Deniké – \u003cem>Under Glass\u003c/em>\u003c/h3>\n\u003cp>After more than two decades as an indispensable creative catalyst for a vast array of bands, recordings and projects, Deniké stepped out on her own with this captivating album. While she references at least a half dozen styles, she uses a core group of players for a consistent play of textures, whether she’s delivering winsome girl-group harmonies with Lily Taylor or taking a funhouse ride on the midway. There’s a dizzying quality to Deniké’s music — an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or arrestingly original image. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/04/26/karina-denikes-long-road-to-under-glass\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155382\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Goldberg-400x400.jpg\" alt=\"Ben Goldberg - 'Orphic Machine'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ben Goldberg – ‘Orphic Machine’\u003c/figcaption>\u003c/figure>\n\u003ch3>Ben Goldberg – \u003cem>Orphic Machine\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>A clarinetist and composer who combines rigorous intelligence with searching imagination and a gift for melodic invention, Goldberg this year assembled an all-star nine-piece ensemble featuring extravagantly vivid improvisers like guitarist Nels Cline, cornetist Ron Miles and pianist Myra Melford. \u003cem>Orphic Machine\u003c/em> distills their wild energy in a set of elliptical art songs composed for the self-conscious and emotionally acute vocals of violinist Carla Kihlstdet, who brings a feverish intensity to the koan-like epigrams of Allen Grossman. The result is an extraordinary recording that lingers in the mind and the ear.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155379\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/monkwork-400x359.jpg\" alt=\"The Lost Trio - 'Monkwork'\" width=\"400\" height=\"359\" class=\"size-thumbnail wp-image-11155379\">\u003cfigcaption class=\"wp-caption-text\">The Lost Trio – ‘Monkwork’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lost Trio – \u003cem>Monkwork\u003c/em>\u003c/h3>\n\u003ch5>(Evander Music)\u003c/h5>\n\u003cp>A collective ensemble featuring saxophonist Phillip Greenlief, bassist Dan Seamans and drummer Tom Hassett, the Lost Trio has never strayed far from the knotty, endlessly engaging compositions of Thelonious Monk. My favorite tracks on this all-Monk session feature three-song medleys that create a revelatory inter-Monk dialogue, as when the insistently repetitive blues “Misterioso” segues into the sublime ballad “Ask Me Now.” The absence of a piano, Monk’s primary instrument, gives the music a transparent quality, offering an X-Ray view into Monk’s rhythmic and harmonic architecture. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155380\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MyraMelford-400x360.jpg\" alt=\"Myra Melford - 'Snowy Egret'\" width=\"400\" height=\"360\" class=\"size-thumbnail wp-image-11155380\">\u003cfigcaption class=\"wp-caption-text\">Myra Melford – ‘Snowy Egret’\u003c/figcaption>\u003c/figure>\n\u003ch3>Myra Melford – \u003cem>Snowy Egret\u003c/em>\u003c/h3>\n\u003ch5>(Enja)\u003c/h5>\n\u003cp>A pianist and composer with a gift for creating exploratory ensembles and wondrous musical galaxies, Melford is one of jazz’s most consistently enthralling artists. Her quintet Snowy Egret with cornetist Ron Miles, guitarist Liberty Ellman, bass guitarist Stomu Takeishi, and drummer extraordinaire Tyshawn Sorey brings coiled emotion, wit and boundless generosity to this set of roiling, elastically beatific compositions inspired by Eduardo Galeano’s \u003cem>Memory of Fire\u003c/em> trilogy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155378\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KimNalley-400x400.jpg\" alt=\"Kim Nalley - 'Blues People'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kim Nalley – ‘Blues People’\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Nalley – \u003cem>Blues People\u003c/em>\u003c/h3>\n\u003ch5>(Kim Nalley Jazz Productions)\u003c/h5>\n\u003cp>More than any of her previous albums, \u003cem>Blues People\u003c/em> reveals the full range of Nalley’s musical vision — and it’s no coincidence that the title echoes the seminal 1963 book of cultural criticism by LeRoi Jones. From her incisive originals and defiant reinvention of the Gershwins’ “Summertime” to her celebration of bawdy humor on “The Chair Song (If I Can’t Sell It)” and her gospel-steeped version of “Movin’ On Up” (the theme to 1970s sitcom \u003cem>The Jeffersons\u003c/em>), Nalley builds a seamless African-American aesthetic encompassing the sacred and profane, the spiritual and the sensual, high art and popular culture. Like the best parties, this album is a furious argument, a grinding slow dance, and a raging good time. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/09/13/kim-nalley-brings-the-blues-home-with-new-cd-blues-people\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155381\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RobReich-400x356.jpg\" alt=\"Rob Reich - 'Shadowbox'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155381\">\u003cfigcaption class=\"wp-caption-text\">Rob Reich – ‘Shadowbox’\u003c/figcaption>\u003c/figure>\n\u003ch3>Rob Reich – \u003cem>Shadowbox\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>Musicians playing Reich’s music seem to find themselves, or at least reveal aspects of their sound not always evident in other settings. Equally eloquent on the piano and accordion, Reich creates soundscapes brimming with half-buried feelings and memories just out of reach, and \u003cem>Shadowbox\u003c/em> contains his own particular alchemy of folk, jazz, and classical currents. With the subway rumble of Ben Goldberg’s contra alto clarinet, Todd Sickafoose’s elastic bass lines, Eric Garland’s subtle but assertive cymbal touch and guitarist Ila Cantor’s levitating guitar lines, the opening track “Night Heron” embodies much of what makes Reich’s music tantalizing and evocative. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155383\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaryStallings-400x400.jpg\" alt=\"Mary Stallings - 'Feelin' Good'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mary Stallings – ‘Feelin’ Good’\u003c/figcaption>\u003c/figure>\n\u003ch3>Mary Stallings – \u003cem>Feelin’ Good\u003c/em>\u003c/h3>\n\u003ch5>(High Note)\u003c/h5>\n\u003cp>Stallings is the rightful queen of Bay Area jazz vocals, but she’s always been reluctant royalty — which is why she’s been “rediscovered” at least three times since she started recording in 1961. Working with a top-shelf cast of New York players led by veteran pianist/arranger Bruce Barth, she delivers a consistently smart set that pays tribute to four key bandleaders who championed her talent over the years: Cal Tjader, Dizzy Gillespie, Billy Eckstine and Count Basie. Her blues-tinged, dry-martini sound hasn’t lost any of its pleasing bite, and album highlights include two Neal Hefti gems (“Li’l Darling” and “Girl Talk”) and Mongo Santamaria’s “Afro Blue,” featuring her original lyrics.\n\u003c/p>\u003c/div>\n\u003cp>\u003cstrong>Alternate Takes\u003c/strong>\u003cbr>\n\u003cem>Other noteworthy local jazz releases from 2015\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The Bad Plus and Joshua Redman\u003c/strong> – \u003cem>The Bad Plus Joshua Redman\u003c/em> (Nonesuch)\u003c/p>\n\u003cp>\u003cstrong>Bryan Bowman\u003c/strong> – \u003ci>Like Minds\u003c/i> (Bryan Bowman Music)\u003c/p>\n\u003cp>\u003cstrong>Electric Squeezebox Orchestra\u003c/strong> – \u003cem>Cheap Rent\u003c/em> (OA2 Records)\u003c/p>\n\u003cp>\u003cstrong>Zakir Hussain\u003c/strong> – \u003cem>Distant Kin\u003c/em> (Moment Records)\u003c/p>\n\u003cp>\u003cstrong>Karen Marguth\u003c/strong> – \u003cem>Just You, Just Me\u003c/em> (Way Fae Music)\u003c/p>\n\u003cp>\u003cstrong>Ochs-Robinson Duo\u003c/strong> – \u003cem>The Throne\u003c/em> (Not Two)\u003c/p>\n\u003cp>\u003cstrong>Fred Randoph\u003c/strong> – \u003cem>Song Without Singing\u003c/em> (Creative Spirit Records)\u003c/p>\n\u003cp>\u003cstrong>John Schott\u003c/strong> – \u003cem>Actual Trio\u003c/em> (Tzadik)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The VNote Ensemble\u003c/strong> – \u003cem>Urbano\u003c/em> (The VNote Ensemble)\u003cbr>\n\u003cstrong>\u003cbr>\nWayne Wallace Latin Jazz Quintet\u003c/strong> – \u003cem>Intercambio\u003c/em> (Patois Records)\u003c/p>\n\n","blocks":[],"excerpt":"From accordions and clarinets to jazz vocal standards, Andrew Gilbert picks his top 10 jazz releases of 2015.","status":"publish","parent":0,"modified":1705045703,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1396},"headData":{"title":"The Top 10 Bay Area Jazz Releases of 2015 | KQED","description":"From accordions and clarinets to jazz vocal standards, Andrew Gilbert picks his top 10 jazz releases of 2015.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11147327/the-top-10-bay-area-jazz-releases-of-2015","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking over the jazz albums I kept returning to in 2015 — a year in which Spotify, Pandora and other streaming services have further elevated standalone singles — I’m struck by the way each artist engages with the album format to make a larger musical statement. In almost every case, the releases capture a highly personal vision, woven through the entire project.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>From Tiffany Austin’s funky and footloose old-wine-in-new-bottles take on Hoagy Carmichael to Ben Goldberg’s exquisite chamber-jazz-meets-art-song journey into the world of poet and philosopher Allen Grossman, these albums add up to more than the sum of their considerable parts. Another trend that stands out is that the Bay Area’s already-deep pool of vocal talent continues to grow apace.\u003c/p>\n\u003cp>Here are my 10 favorite jazz albums of 2015, in alphabetical order (with an additional slate of excellent local releases, any of which could have easily slid into the top 10).\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155374\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Antonioli-400x356.jpg\" alt=\"Laurie Antonioli & Richie Beirach - 'Varuna'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155374\">\u003cfigcaption class=\"wp-caption-text\">Laurie Antonioli & Richie Beirach – ‘Varuna’\u003c/figcaption>\u003c/figure>\n\u003ch3>Laurie Antonioli & Richie Beirach – \u003cem>Varuna\u003c/em>\u003c/h3>\n\u003ch5>(Origin Records)\u003c/h5>\n\u003cp>A veteran jazz singer who leads one of the best working bands on the scene, Antonioli has also converged intermittently over the years with Beirach, a probing post-bop pianist with a strong feel for European classical music. The album features one striking passage after another, centering on the transporting “Resolution Suite,” a free improv epiphany in three brief movements.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155375\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TiffanyAustin-400x355.jpg\" alt=\"Tiffany Austin - 'Nothing But Soul'\" width=\"400\" height=\"355\" class=\"size-thumbnail wp-image-11155375\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Austin – ‘Nothing But Soul’\u003c/figcaption>\u003c/figure>\n\u003ch3>Tiffany Austin – \u003cem>Nothing But Soul\u003c/em>\u003c/h3>\n\u003ch5>(Con Alma Music)\u003c/h5>\n\u003cp>Working with tenor saxophonist Howard Wiley, Austin this year delivered one of the most joyful and exuberant debut recordings in recent memory. Focusing on the songs of Hoagy Carmichael (with a few ringers) she puts her own stamp on tunes that have been around the block, including a sly version of “Baltimore Oriole” and her luscious reading of “Skylark.” (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155376\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/AlexConde-400x416.jpg\" alt=\"Alex Conde - 'Descarga For Monk'\" width=\"400\" height=\"416\" class=\"size-thumbnail wp-image-11155376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde-32x32.jpg 32w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alex Conde – ‘Descarga For Monk’\u003c/figcaption>\u003c/figure>\n\u003ch3>Alex Conde – \u003cem>Descarga For Monk\u003c/em>\u003c/h3>\n\u003ch5>(Zoho Music)\u003c/h5>\n\u003cp>Conde has been on the Bay Area scene for a while, but the Spanish-born pianist emerged as a major creative force with this album. Passionately reimagining a set of classic Thelonious Monk compositions through the lens of flamenco, the project uncovers previously unexpected rhythmic interplay in Monk’s music. He’s joined by an ideal cast of collaborators with percussion master John Santos, ace bassist Jeff Chambers, and the texturally resourceful drummer Jon Arkin. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155377\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KarinaDenike-400x400.jpg\" alt=\"Karina Deniké - 'Under Glass'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Karina Deniké – ‘Under Glass’\u003c/figcaption>\u003c/figure>\n\u003ch3>Karina Deniké – \u003cem>Under Glass\u003c/em>\u003c/h3>\n\u003cp>After more than two decades as an indispensable creative catalyst for a vast array of bands, recordings and projects, Deniké stepped out on her own with this captivating album. While she references at least a half dozen styles, she uses a core group of players for a consistent play of textures, whether she’s delivering winsome girl-group harmonies with Lily Taylor or taking a funhouse ride on the midway. There’s a dizzying quality to Deniké’s music — an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or arrestingly original image. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/04/26/karina-denikes-long-road-to-under-glass\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155382\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Goldberg-400x400.jpg\" alt=\"Ben Goldberg - 'Orphic Machine'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ben Goldberg – ‘Orphic Machine’\u003c/figcaption>\u003c/figure>\n\u003ch3>Ben Goldberg – \u003cem>Orphic Machine\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>A clarinetist and composer who combines rigorous intelligence with searching imagination and a gift for melodic invention, Goldberg this year assembled an all-star nine-piece ensemble featuring extravagantly vivid improvisers like guitarist Nels Cline, cornetist Ron Miles and pianist Myra Melford. \u003cem>Orphic Machine\u003c/em> distills their wild energy in a set of elliptical art songs composed for the self-conscious and emotionally acute vocals of violinist Carla Kihlstdet, who brings a feverish intensity to the koan-like epigrams of Allen Grossman. The result is an extraordinary recording that lingers in the mind and the ear.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155379\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/monkwork-400x359.jpg\" alt=\"The Lost Trio - 'Monkwork'\" width=\"400\" height=\"359\" class=\"size-thumbnail wp-image-11155379\">\u003cfigcaption class=\"wp-caption-text\">The Lost Trio – ‘Monkwork’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lost Trio – \u003cem>Monkwork\u003c/em>\u003c/h3>\n\u003ch5>(Evander Music)\u003c/h5>\n\u003cp>A collective ensemble featuring saxophonist Phillip Greenlief, bassist Dan Seamans and drummer Tom Hassett, the Lost Trio has never strayed far from the knotty, endlessly engaging compositions of Thelonious Monk. My favorite tracks on this all-Monk session feature three-song medleys that create a revelatory inter-Monk dialogue, as when the insistently repetitive blues “Misterioso” segues into the sublime ballad “Ask Me Now.” The absence of a piano, Monk’s primary instrument, gives the music a transparent quality, offering an X-Ray view into Monk’s rhythmic and harmonic architecture. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155380\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MyraMelford-400x360.jpg\" alt=\"Myra Melford - 'Snowy Egret'\" width=\"400\" height=\"360\" class=\"size-thumbnail wp-image-11155380\">\u003cfigcaption class=\"wp-caption-text\">Myra Melford – ‘Snowy Egret’\u003c/figcaption>\u003c/figure>\n\u003ch3>Myra Melford – \u003cem>Snowy Egret\u003c/em>\u003c/h3>\n\u003ch5>(Enja)\u003c/h5>\n\u003cp>A pianist and composer with a gift for creating exploratory ensembles and wondrous musical galaxies, Melford is one of jazz’s most consistently enthralling artists. Her quintet Snowy Egret with cornetist Ron Miles, guitarist Liberty Ellman, bass guitarist Stomu Takeishi, and drummer extraordinaire Tyshawn Sorey brings coiled emotion, wit and boundless generosity to this set of roiling, elastically beatific compositions inspired by Eduardo Galeano’s \u003cem>Memory of Fire\u003c/em> trilogy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155378\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KimNalley-400x400.jpg\" alt=\"Kim Nalley - 'Blues People'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kim Nalley – ‘Blues People’\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Nalley – \u003cem>Blues People\u003c/em>\u003c/h3>\n\u003ch5>(Kim Nalley Jazz Productions)\u003c/h5>\n\u003cp>More than any of her previous albums, \u003cem>Blues People\u003c/em> reveals the full range of Nalley’s musical vision — and it’s no coincidence that the title echoes the seminal 1963 book of cultural criticism by LeRoi Jones. From her incisive originals and defiant reinvention of the Gershwins’ “Summertime” to her celebration of bawdy humor on “The Chair Song (If I Can’t Sell It)” and her gospel-steeped version of “Movin’ On Up” (the theme to 1970s sitcom \u003cem>The Jeffersons\u003c/em>), Nalley builds a seamless African-American aesthetic encompassing the sacred and profane, the spiritual and the sensual, high art and popular culture. Like the best parties, this album is a furious argument, a grinding slow dance, and a raging good time. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/09/13/kim-nalley-brings-the-blues-home-with-new-cd-blues-people\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155381\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RobReich-400x356.jpg\" alt=\"Rob Reich - 'Shadowbox'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155381\">\u003cfigcaption class=\"wp-caption-text\">Rob Reich – ‘Shadowbox’\u003c/figcaption>\u003c/figure>\n\u003ch3>Rob Reich – \u003cem>Shadowbox\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>Musicians playing Reich’s music seem to find themselves, or at least reveal aspects of their sound not always evident in other settings. Equally eloquent on the piano and accordion, Reich creates soundscapes brimming with half-buried feelings and memories just out of reach, and \u003cem>Shadowbox\u003c/em> contains his own particular alchemy of folk, jazz, and classical currents. With the subway rumble of Ben Goldberg’s contra alto clarinet, Todd Sickafoose’s elastic bass lines, Eric Garland’s subtle but assertive cymbal touch and guitarist Ila Cantor’s levitating guitar lines, the opening track “Night Heron” embodies much of what makes Reich’s music tantalizing and evocative. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155383\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaryStallings-400x400.jpg\" alt=\"Mary Stallings - 'Feelin' Good'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mary Stallings – ‘Feelin’ Good’\u003c/figcaption>\u003c/figure>\n\u003ch3>Mary Stallings – \u003cem>Feelin’ Good\u003c/em>\u003c/h3>\n\u003ch5>(High Note)\u003c/h5>\n\u003cp>Stallings is the rightful queen of Bay Area jazz vocals, but she’s always been reluctant royalty — which is why she’s been “rediscovered” at least three times since she started recording in 1961. Working with a top-shelf cast of New York players led by veteran pianist/arranger Bruce Barth, she delivers a consistently smart set that pays tribute to four key bandleaders who championed her talent over the years: Cal Tjader, Dizzy Gillespie, Billy Eckstine and Count Basie. Her blues-tinged, dry-martini sound hasn’t lost any of its pleasing bite, and album highlights include two Neal Hefti gems (“Li’l Darling” and “Girl Talk”) and Mongo Santamaria’s “Afro Blue,” featuring her original lyrics.\n\u003c/p>\u003c/div>\n\u003cp>\u003cstrong>Alternate Takes\u003c/strong>\u003cbr>\n\u003cem>Other noteworthy local jazz releases from 2015\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The Bad Plus and Joshua Redman\u003c/strong> – \u003cem>The Bad Plus Joshua Redman\u003c/em> (Nonesuch)\u003c/p>\n\u003cp>\u003cstrong>Bryan Bowman\u003c/strong> – \u003ci>Like Minds\u003c/i> (Bryan Bowman Music)\u003c/p>\n\u003cp>\u003cstrong>Electric Squeezebox Orchestra\u003c/strong> – \u003cem>Cheap Rent\u003c/em> (OA2 Records)\u003c/p>\n\u003cp>\u003cstrong>Zakir Hussain\u003c/strong> – \u003cem>Distant Kin\u003c/em> (Moment Records)\u003c/p>\n\u003cp>\u003cstrong>Karen Marguth\u003c/strong> – \u003cem>Just You, Just Me\u003c/em> (Way Fae Music)\u003c/p>\n\u003cp>\u003cstrong>Ochs-Robinson Duo\u003c/strong> – \u003cem>The Throne\u003c/em> (Not Two)\u003c/p>\n\u003cp>\u003cstrong>Fred Randoph\u003c/strong> – \u003cem>Song Without Singing\u003c/em> (Creative Spirit Records)\u003c/p>\n\u003cp>\u003cstrong>John Schott\u003c/strong> – \u003cem>Actual Trio\u003c/em> (Tzadik)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The VNote Ensemble\u003c/strong> – \u003cem>Urbano\u003c/em> (The VNote Ensemble)\u003cbr>\n\u003cstrong>\u003cbr>\nWayne Wallace Latin Jazz Quintet\u003c/strong> – \u003cem>Intercambio\u003c/em> (Patois Records)\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11147327/the-top-10-bay-area-jazz-releases-of-2015","authors":["86"],"series":["arts_1309"],"categories":["arts_69"],"tags":["arts_1118","arts_1006","arts_596","arts_769"],"featImg":"arts_11158341","label":"arts_1309"},"arts_11150584":{"type":"posts","id":"arts_11150584","meta":{"index":"posts_1591205157","site":"arts","id":"11150584","score":null,"sort":[1449777657000]},"guestAuthors":[],"slug":"hidden-teasures-the-indie-guide-to-holiday-shopping-in-san-jose","title":"Hidden Treasures: The Indie Guide to Holiday Shopping in San Jose","publishDate":1449777657,"format":"standard","headTitle":"Hidden Treasures: The Indie Guide to Holiday Shopping in San Jose | KQED","labelTerm":{"term":1309,"site":"arts"},"content":"\u003cp>Though everyone starts out with thoughtful gift ideas for our friends and loved ones, a lot of the times our plans don’t work out and we end up picking up last-minute finds, like gift cards from the rack near the cashier at the grocery store. This guide is for those who find themselves often in San Jose, wanting to make the most of their budget and time while also getting unique holiday gifts worthy of the people receiving them. The added benefit is that you’ll also get to know some of San Jose’s best independent retailers — those welcoming spaces that we incorporate into a network that fosters individuality and help us South Bay residents love living here a little more than we already do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>The shops highlighted below have been chosen for their unique offerings, affordability and value for the products or services they sell, as well as their proximity to other cool destinations — most are within walking distance of each other — because what money spent in San Jose stays here (mostly) and supports our hyper-local creative community. (Studies have consistently shown that independent retailers return more than three times as much money per dollar of sales than big box/chain stores; \u003ca href=\"http://www.amiba.net/resources/multiplier-effect/\" target=\"_blank\" rel=\"noopener\">current results\u003c/a> show $45 vs. $14 per $100 spent.)\u003c/p>\n\u003cfigure id=\"attachment_11150717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg\" alt=\"KALEID Gallery in downtown San Jose\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11150717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KALEID Gallery in downtown San Jose \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Downtown San Jose\u003c/h3>\n\u003cp>It may not be the bustling retail center you’d expect to find in most major cities, but that can be an advantage when it comes to the challenges of holiday shopping. Parking isn’t so bad, the shops are calm and the staff (often the owners themselves) are attentive and helpful. After your shopping is done, you can visit \u003ca href=\"http://christmasinthepark.com/\" target=\"_blank\" rel=\"noopener\">Christmas in the Park\u003c/a> for some replenishing of holiday cheer.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kaleidgallery.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>KALEID Gallery\u003c/strong>\u003c/a>\u003cbr>\n88 So. 4th St.\u003cbr>\nKALEID Gallery is a good place to start for one of a kind gifts created by incredibly talented artists. In addition to 90 resident artists peppered throughout the large space, the gallery is currently hosting its annual “HARK!” holiday show & sale, which consists of hundreds of affordable art works. Paintings dominate the walls from every genre imaginable but there’s also eye-catching jewelry, ceramics and glass, as well as small, functional items like ornaments and buttons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"http://circlea.com/\" target=\"_blank\" rel=\"noopener\">Circle A Skate\u003c/a> has everything needed for a new skateboard as well as clothing & shoes to go with it. \u003ca href=\"http://www.techshop.ws/ts_sanjose.html\" target=\"_blank\" rel=\"noopener\">TechShop SJ\u003c/a> offers memberships and gift cards for the chronic do-it-yourselfer. And classes at \u003ca href=\"https://touchstoneclimbing.com/the-studio/\" target=\"_blank\" rel=\"noopener\">The Studio Rock Climbing Gym \u003c/a> or \u003ca href=\"http://downtownyogashala.com/\" target=\"_blank\" rel=\"noopener\">Downtown Yoga Shala\u003c/a> will be meaningful to those that are health and fitness conscious. Finally, if you plan to visit on a weekend, stop by \u003ca href=\"http://www.sanpedrosquaremarket.com/\" target=\"_blank\" rel=\"noopener\">San Pedro Square Market\u003c/a> for the \u003ca href=\"http://www.sanjosemade.com/\" target=\"_blank\" rel=\"noopener\">SJMade\u003c/a> holiday pop-up event featuring a dozen local vendors tabling their wares.\u003c/p>\n\u003cfigure id=\"attachment_11150588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg\" alt=\"Art Boutiki on the Alameda\" width=\"800\" height=\"520\" class=\"size-medium wp-image-11150588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352.jpg 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Boutiki on the Alameda \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Alameda\u003c/h3>\n\u003cp>Not that long ago The Alameda was a quiet stretch of retailers and restaurants mainly serving the neighborhoods to its north and south. With the arrival of Whole Foods Market last year, it’s become a busy destination driving more attention and foot traffic to the area which is a great boost to some very deserving spots in the area.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artboutiki.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Art Boutiki & Gallery\u003c/strong>\u003c/a>\u003cbr>\n44 Race St.\u003cbr>\nArt Boutiki is an unusual hybrid space with a comic book store in the front and live music venue in the back. Although it’s not a huge inventory of comics, it is a rigorously curated selection and easy to wade through (must haves like \u003cem>Johnny the Homicidal Maniac\u003c/em> by Jhonen Vasquez & \u003cem>Sandman\u003c/em> by Neil Gaiman are featured prominently.) The big gift idea here though is their digital direct-to-garment printing: imagine your face or latest drawing on t-shirts specially made just for your family or your closest friends. And these t-shirts, though affordable, aren’t chintzy — the full-color print will last the life of the tee.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"//www.thearsenalsj.com/\" target=\"_blank\" rel=\"noopener\">The Arsenal\u003c/a> Art Store carries all the essential drawing, painting and spray painting materials needed for the budding or serious artist. \u003ca href=\"http://www.recyclebookstore.com\" target=\"_blank\" rel=\"noopener\">Recycle Books\u003c/a> is here with their headquarters location and has all their rare and hard to find inventory at this location. \u003ca href=\"http://shopblackandbrown.com\" target=\"_blank\" rel=\"noopener\">Black & Brown Clothing\u003c/a> should be your last quick stop before leaving the area. A used clothing store, Black & Brown carries both vintage and contemporary wear for all genders, all in gently-worn condition, while also providing a great selection of shoes, belts and handbags.\u003c/p>\n\u003cfigure id=\"attachment_11150589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg\" alt=\"Zonkey Toys in Japantown\" width=\"800\" height=\"519\" class=\"size-medium wp-image-11150589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2.jpg 1110w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zonkey Toys in Japantown \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Japantown\u003c/h3>\n\u003cp>Japantown is the destination for authentic Japanese culture past and present. Shops providing kimonos, bonsai and ukuleles exist in perfect harmony with edgy art galleries, tattoo parlors and streetwear clothing stores.\u003c/p>\n\u003cp>\u003ca href=\"http://zonkeytoys.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Zonkey Toys\u003c/strong>\u003c/a>\u003cbr>\n621 N. 6th St.\u003cbr>\nZonkey is a small storefront jam packed with limited edition collectibles. They pride themselves on their inventory and knowledge of “sofubi” toys (short for the Japanese “sofuto bineeru” meaning soft vinyl). These are labor intensive works of art and this shop aims to make sure its customers will be ahead of the next wave of the vinyl toy movement, which has gone underground (again).\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nJust around the corner from Zonkey is \u003ca href=\"http://koguraco.com/\" target=\"_blank\" rel=\"noopener\">Kogura Company\u003c/a> purveyors of specialty gift and household items directly from Japan, including tea pots, ceramic dishes, mugs and rice cookers. Next door is \u003ca href=\"http://cukui.com/\" target=\"_blank\" rel=\"noopener\">Cukui\u003c/a>, a gallery/clothing store sporting custom graphics inspired by a mashup of Chicano and South Pacific Islander cultures, as well as graffiti influences. And a few paces down is \u003ca href=\"http://www.petitegalleria.com\" target=\"_blank\" rel=\"noopener\">Petite Galleria\u003c/a> with hundreds of beautiful artisanal products, from clever earrings to elaborate, limited-edition art pieces.\u003c/p>\n\u003cfigure id=\"attachment_11150590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg\" alt=\"Whatnots and Dodads in Willow Glen\" width=\"800\" height=\"579\" class=\"size-medium wp-image-11150590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158.jpg 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whatnots and Dodads in Willow Glen \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Willow Glen\u003c/h3>\n\u003cp>Sundays are a great day to grab a cappuccino at the Italian coffee shop \u003ca href=\"http://dolcettocafeandmarket.com\" target=\"_blank\" rel=\"noopener\">Dolcetto Café\u003c/a> and whittle down your Christmas list on Lincoln Ave. popping in and out of a great deal of vintage, clothing and creative novelty shops.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WhatnotsandDodads/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Whatnots & Dodads \u003c/strong>\u003c/a>\u003cbr>\n1330 Lincoln Ave.\u003cbr>\nWhatnots & Dodads will instantly put you in the Christmas spirit with their elaborate holiday trees decked out in antique ornaments and lights. They have 23 vendor niches focusing on well-vetted items including, but not limited to: figurines, classic cameras, western memorabilia, beautiful scarves and jewelry.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nOther vintage stores include the quirky \u003ca href=\"http://www.parkplacevintage.com/\" target=\"_blank\" rel=\"noopener\">Park Place Vintage\u003c/a> and the quaint \u003ca href=\"http://www.threesisterswillowglen.com/\" target=\"_blank\" rel=\"noopener\">Three Sisters\u003c/a>, which also carries excellent local honey. And you’ll find great bargains at the \u003ca href=\"http://www.thriftbox.org/\" target=\"_blank\" rel=\"noopener\">Thrift Box\u003c/a> which benefits the Lucille Packard Children’s Hospital. Stop into \u003ca href=\"https://www.facebook.com/UNDERGROUNDwg/\" target=\"_blank\" rel=\"noopener\">Underground Clothing\u003c/a> for chic clothing for men & women. It’s also worth mentioning that \u003ca href=\"http://www.goodkarmabikes.org/\" target=\"_blank\" rel=\"noopener\">Good Karma Bikes\u003c/a> has moved into the area — just a few blocks north on Lincoln Ave. They sell hundreds of “rehabilitated” bicycles, and all proceeds from sales go towards programs for foster kids and disadvantaged youth. They also grant bikes to low income residents.\u003c/p>\n\u003cfigure id=\"attachment_11150591\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg\" alt=\"On the Corner Music in Campbell\" width=\"480\" height=\"720\" class=\"size-full wp-image-11150591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">On the Corner Music in Campbell \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Campbell\u003c/h3>\n\u003cp>For a bit of “Hometown, USA” nostalgia, main street Campbell is just the place to stroll if you don’t know exactly what you’re looking for but hope you’ll find that perfect something.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/On-The-Corner-Music/117238371673344\" target=\"_blank\" rel=\"noopener\">\u003cstrong>On the Corner Music \u003c/strong>\u003c/a>\u003cbr>\n530 E. Campbell Ave.\u003cbr>\nAt On the Corner Music, they know that great music stands the test of time, and that there’s nothing better than listening to it on vinyl. They have thousands of albums packed into well-organized bins, ranging from classic rock, alternative, and jazz, and their prices start at a mere $1. There are also two turntables so you can listen to your selections before purchasing them, to make sure your gift is as awesome as you remembered it in high school.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nMake your way north down the main strip and stop into \u003ca href=\"http://www.moonfyre.net/%20store\" target=\"_blank\" rel=\"noopener\">Moon Fyre Metaphysical\u003c/a> store for divine smelling oils to wear and incense to burn. \u003ca href=\"http://www.kaleidolamps.com/\" target=\"_blank\" rel=\"noopener\">Kaleido Lamps \u003c/a>is the place for far out lamps and fun night lights. And \u003ca href=\"http://www.recyclebookstore.com/\" target=\"_blank\" rel=\"noopener\">Recycle Bookstore West\u003c/a> has a huge variety of used books; this location is especially good for cookbooks and children’s books.\u003c/p>\n\u003cfigure id=\"attachment_11150718\" class=\"wp-caption aligncenter\" style=\"max-width: 507px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg\" alt=\"Performances make a great gift.\" width=\"507\" height=\"600\" class=\"size-medium wp-image-11150718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-400x474.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2.jpg 517w\" sizes=\"(max-width: 507px) 100vw, 507px\">\u003cfigcaption class=\"wp-caption-text\">Performances make a great gift. \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My last suggestion for a great gift idea is the gift of a performance. It could be a professional touring musical, an avant garde dance company or an unusual performance art happening. It’s the kind of gift that many people won’t typically purchase for themselves, but will be immensely enjoyed once they get there. This works well too for recipients that live out of town (just search online for “live performance” & their location). They’ll be impressed that you took the time to find something great at their local venue that they probably didn’t even know about. Shipping is easy too since most tickets can easily be printed out at home and put into a holiday card.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I hope you discover some new favorite shops, are reminded of some old friends, and find that perfect gift for those you care about. \u003cem>Have a wonderful holiday season!\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"This guide is for those in who find themselves often in San Jose, wanting to make the most of their budget and time while also getting unique holiday gifts worthy of the people receiving them. ","status":"publish","parent":0,"modified":1705045724,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1549},"headData":{"title":"Hidden Treasures: The Indie Guide to Holiday Shopping in San Jose | KQED","description":"This guide is for those in who find themselves often in San Jose, wanting to make the most of their budget and time while also getting unique holiday gifts worthy of the people receiving them. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11150584/hidden-teasures-the-indie-guide-to-holiday-shopping-in-san-jose","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though everyone starts out with thoughtful gift ideas for our friends and loved ones, a lot of the times our plans don’t work out and we end up picking up last-minute finds, like gift cards from the rack near the cashier at the grocery store. This guide is for those who find themselves often in San Jose, wanting to make the most of their budget and time while also getting unique holiday gifts worthy of the people receiving them. The added benefit is that you’ll also get to know some of San Jose’s best independent retailers — those welcoming spaces that we incorporate into a network that fosters individuality and help us South Bay residents love living here a little more than we already do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>The shops highlighted below have been chosen for their unique offerings, affordability and value for the products or services they sell, as well as their proximity to other cool destinations — most are within walking distance of each other — because what money spent in San Jose stays here (mostly) and supports our hyper-local creative community. (Studies have consistently shown that independent retailers return more than three times as much money per dollar of sales than big box/chain stores; \u003ca href=\"http://www.amiba.net/resources/multiplier-effect/\" target=\"_blank\" rel=\"noopener\">current results\u003c/a> show $45 vs. $14 per $100 spent.)\u003c/p>\n\u003cfigure id=\"attachment_11150717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg\" alt=\"KALEID Gallery in downtown San Jose\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11150717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KALEID Gallery in downtown San Jose \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Downtown San Jose\u003c/h3>\n\u003cp>It may not be the bustling retail center you’d expect to find in most major cities, but that can be an advantage when it comes to the challenges of holiday shopping. Parking isn’t so bad, the shops are calm and the staff (often the owners themselves) are attentive and helpful. After your shopping is done, you can visit \u003ca href=\"http://christmasinthepark.com/\" target=\"_blank\" rel=\"noopener\">Christmas in the Park\u003c/a> for some replenishing of holiday cheer.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kaleidgallery.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>KALEID Gallery\u003c/strong>\u003c/a>\u003cbr>\n88 So. 4th St.\u003cbr>\nKALEID Gallery is a good place to start for one of a kind gifts created by incredibly talented artists. In addition to 90 resident artists peppered throughout the large space, the gallery is currently hosting its annual “HARK!” holiday show & sale, which consists of hundreds of affordable art works. Paintings dominate the walls from every genre imaginable but there’s also eye-catching jewelry, ceramics and glass, as well as small, functional items like ornaments and buttons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"http://circlea.com/\" target=\"_blank\" rel=\"noopener\">Circle A Skate\u003c/a> has everything needed for a new skateboard as well as clothing & shoes to go with it. \u003ca href=\"http://www.techshop.ws/ts_sanjose.html\" target=\"_blank\" rel=\"noopener\">TechShop SJ\u003c/a> offers memberships and gift cards for the chronic do-it-yourselfer. And classes at \u003ca href=\"https://touchstoneclimbing.com/the-studio/\" target=\"_blank\" rel=\"noopener\">The Studio Rock Climbing Gym \u003c/a> or \u003ca href=\"http://downtownyogashala.com/\" target=\"_blank\" rel=\"noopener\">Downtown Yoga Shala\u003c/a> will be meaningful to those that are health and fitness conscious. Finally, if you plan to visit on a weekend, stop by \u003ca href=\"http://www.sanpedrosquaremarket.com/\" target=\"_blank\" rel=\"noopener\">San Pedro Square Market\u003c/a> for the \u003ca href=\"http://www.sanjosemade.com/\" target=\"_blank\" rel=\"noopener\">SJMade\u003c/a> holiday pop-up event featuring a dozen local vendors tabling their wares.\u003c/p>\n\u003cfigure id=\"attachment_11150588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg\" alt=\"Art Boutiki on the Alameda\" width=\"800\" height=\"520\" class=\"size-medium wp-image-11150588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352.jpg 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Boutiki on the Alameda \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Alameda\u003c/h3>\n\u003cp>Not that long ago The Alameda was a quiet stretch of retailers and restaurants mainly serving the neighborhoods to its north and south. With the arrival of Whole Foods Market last year, it’s become a busy destination driving more attention and foot traffic to the area which is a great boost to some very deserving spots in the area.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artboutiki.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Art Boutiki & Gallery\u003c/strong>\u003c/a>\u003cbr>\n44 Race St.\u003cbr>\nArt Boutiki is an unusual hybrid space with a comic book store in the front and live music venue in the back. Although it’s not a huge inventory of comics, it is a rigorously curated selection and easy to wade through (must haves like \u003cem>Johnny the Homicidal Maniac\u003c/em> by Jhonen Vasquez & \u003cem>Sandman\u003c/em> by Neil Gaiman are featured prominently.) The big gift idea here though is their digital direct-to-garment printing: imagine your face or latest drawing on t-shirts specially made just for your family or your closest friends. And these t-shirts, though affordable, aren’t chintzy — the full-color print will last the life of the tee.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"//www.thearsenalsj.com/\" target=\"_blank\" rel=\"noopener\">The Arsenal\u003c/a> Art Store carries all the essential drawing, painting and spray painting materials needed for the budding or serious artist. \u003ca href=\"http://www.recyclebookstore.com\" target=\"_blank\" rel=\"noopener\">Recycle Books\u003c/a> is here with their headquarters location and has all their rare and hard to find inventory at this location. \u003ca href=\"http://shopblackandbrown.com\" target=\"_blank\" rel=\"noopener\">Black & Brown Clothing\u003c/a> should be your last quick stop before leaving the area. A used clothing store, Black & Brown carries both vintage and contemporary wear for all genders, all in gently-worn condition, while also providing a great selection of shoes, belts and handbags.\u003c/p>\n\u003cfigure id=\"attachment_11150589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg\" alt=\"Zonkey Toys in Japantown\" width=\"800\" height=\"519\" class=\"size-medium wp-image-11150589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2.jpg 1110w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zonkey Toys in Japantown \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Japantown\u003c/h3>\n\u003cp>Japantown is the destination for authentic Japanese culture past and present. Shops providing kimonos, bonsai and ukuleles exist in perfect harmony with edgy art galleries, tattoo parlors and streetwear clothing stores.\u003c/p>\n\u003cp>\u003ca href=\"http://zonkeytoys.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Zonkey Toys\u003c/strong>\u003c/a>\u003cbr>\n621 N. 6th St.\u003cbr>\nZonkey is a small storefront jam packed with limited edition collectibles. They pride themselves on their inventory and knowledge of “sofubi” toys (short for the Japanese “sofuto bineeru” meaning soft vinyl). These are labor intensive works of art and this shop aims to make sure its customers will be ahead of the next wave of the vinyl toy movement, which has gone underground (again).\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nJust around the corner from Zonkey is \u003ca href=\"http://koguraco.com/\" target=\"_blank\" rel=\"noopener\">Kogura Company\u003c/a> purveyors of specialty gift and household items directly from Japan, including tea pots, ceramic dishes, mugs and rice cookers. Next door is \u003ca href=\"http://cukui.com/\" target=\"_blank\" rel=\"noopener\">Cukui\u003c/a>, a gallery/clothing store sporting custom graphics inspired by a mashup of Chicano and South Pacific Islander cultures, as well as graffiti influences. And a few paces down is \u003ca href=\"http://www.petitegalleria.com\" target=\"_blank\" rel=\"noopener\">Petite Galleria\u003c/a> with hundreds of beautiful artisanal products, from clever earrings to elaborate, limited-edition art pieces.\u003c/p>\n\u003cfigure id=\"attachment_11150590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg\" alt=\"Whatnots and Dodads in Willow Glen\" width=\"800\" height=\"579\" class=\"size-medium wp-image-11150590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158.jpg 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whatnots and Dodads in Willow Glen \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Willow Glen\u003c/h3>\n\u003cp>Sundays are a great day to grab a cappuccino at the Italian coffee shop \u003ca href=\"http://dolcettocafeandmarket.com\" target=\"_blank\" rel=\"noopener\">Dolcetto Café\u003c/a> and whittle down your Christmas list on Lincoln Ave. popping in and out of a great deal of vintage, clothing and creative novelty shops.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WhatnotsandDodads/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Whatnots & Dodads \u003c/strong>\u003c/a>\u003cbr>\n1330 Lincoln Ave.\u003cbr>\nWhatnots & Dodads will instantly put you in the Christmas spirit with their elaborate holiday trees decked out in antique ornaments and lights. They have 23 vendor niches focusing on well-vetted items including, but not limited to: figurines, classic cameras, western memorabilia, beautiful scarves and jewelry.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nOther vintage stores include the quirky \u003ca href=\"http://www.parkplacevintage.com/\" target=\"_blank\" rel=\"noopener\">Park Place Vintage\u003c/a> and the quaint \u003ca href=\"http://www.threesisterswillowglen.com/\" target=\"_blank\" rel=\"noopener\">Three Sisters\u003c/a>, which also carries excellent local honey. And you’ll find great bargains at the \u003ca href=\"http://www.thriftbox.org/\" target=\"_blank\" rel=\"noopener\">Thrift Box\u003c/a> which benefits the Lucille Packard Children’s Hospital. Stop into \u003ca href=\"https://www.facebook.com/UNDERGROUNDwg/\" target=\"_blank\" rel=\"noopener\">Underground Clothing\u003c/a> for chic clothing for men & women. It’s also worth mentioning that \u003ca href=\"http://www.goodkarmabikes.org/\" target=\"_blank\" rel=\"noopener\">Good Karma Bikes\u003c/a> has moved into the area — just a few blocks north on Lincoln Ave. They sell hundreds of “rehabilitated” bicycles, and all proceeds from sales go towards programs for foster kids and disadvantaged youth. They also grant bikes to low income residents.\u003c/p>\n\u003cfigure id=\"attachment_11150591\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg\" alt=\"On the Corner Music in Campbell\" width=\"480\" height=\"720\" class=\"size-full wp-image-11150591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">On the Corner Music in Campbell \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Campbell\u003c/h3>\n\u003cp>For a bit of “Hometown, USA” nostalgia, main street Campbell is just the place to stroll if you don’t know exactly what you’re looking for but hope you’ll find that perfect something.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/On-The-Corner-Music/117238371673344\" target=\"_blank\" rel=\"noopener\">\u003cstrong>On the Corner Music \u003c/strong>\u003c/a>\u003cbr>\n530 E. Campbell Ave.\u003cbr>\nAt On the Corner Music, they know that great music stands the test of time, and that there’s nothing better than listening to it on vinyl. They have thousands of albums packed into well-organized bins, ranging from classic rock, alternative, and jazz, and their prices start at a mere $1. There are also two turntables so you can listen to your selections before purchasing them, to make sure your gift is as awesome as you remembered it in high school.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nMake your way north down the main strip and stop into \u003ca href=\"http://www.moonfyre.net/%20store\" target=\"_blank\" rel=\"noopener\">Moon Fyre Metaphysical\u003c/a> store for divine smelling oils to wear and incense to burn. \u003ca href=\"http://www.kaleidolamps.com/\" target=\"_blank\" rel=\"noopener\">Kaleido Lamps \u003c/a>is the place for far out lamps and fun night lights. And \u003ca href=\"http://www.recyclebookstore.com/\" target=\"_blank\" rel=\"noopener\">Recycle Bookstore West\u003c/a> has a huge variety of used books; this location is especially good for cookbooks and children’s books.\u003c/p>\n\u003cfigure id=\"attachment_11150718\" class=\"wp-caption aligncenter\" style=\"max-width: 507px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg\" alt=\"Performances make a great gift.\" width=\"507\" height=\"600\" class=\"size-medium wp-image-11150718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-400x474.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2.jpg 517w\" sizes=\"(max-width: 507px) 100vw, 507px\">\u003cfigcaption class=\"wp-caption-text\">Performances make a great gift. \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My last suggestion for a great gift idea is the gift of a performance. It could be a professional touring musical, an avant garde dance company or an unusual performance art happening. It’s the kind of gift that many people won’t typically purchase for themselves, but will be immensely enjoyed once they get there. This works well too for recipients that live out of town (just search online for “live performance” & their location). They’ll be impressed that you took the time to find something great at their local venue that they probably didn’t even know about. Shipping is easy too since most tickets can easily be printed out at home and put into a holiday card.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hope you discover some new favorite shops, are reminded of some old friends, and find that perfect gift for those you care about. \u003cem>Have a wonderful holiday season!\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11150584/hidden-teasures-the-indie-guide-to-holiday-shopping-in-san-jose","authors":["191"],"series":["arts_1309"],"categories":["arts_1","arts_73","arts_69"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_11150585","label":"arts_1309"},"arts_11146483":{"type":"posts","id":"arts_11146483","meta":{"index":"posts_1591205157","site":"arts","id":"11146483","score":null,"sort":[1449705650000]},"guestAuthors":[],"slug":"holiday-art-object-gift-guide","title":"A Special Gift: 5 Pieces of Affordable Art that Everyone Can Enjoy","publishDate":1449705650,"format":"standard","headTitle":"A Special Gift: 5 Pieces of Affordable Art that Everyone Can Enjoy | KQED","labelTerm":{"term":1309,"site":"arts"},"content":"\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>So you perused \u003ca href=\"http://ww2.kqed.org/arts/2015/12/03/gifts-by-creatives-for-creatives-5-spots-for-hand-crafted-presents/\" target=\"_blank\" rel=\"noopener\">the craft fairs\u003c/a>, you scoured \u003ca href=\"http://ww2.kqed.org/arts/2015/12/02/avoid-the-gadgets-here-are-5-books-you-should-be-gifting-someone/\" target=\"_blank\" rel=\"noopener\">our books guide\u003c/a> and you still don’t know what to get for the loved ones in your life? Never fear. Just throw back \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/holiday-cocktails-why-dream-of-a-white-christmas-drink-one-instead/\" target=\"_blank\" rel=\"noopener\">some wintry cocktails\u003c/a> and look here: five perfect objects under $50 for the artistically-inclined, the human in your life who already has everything, or — let’s face it — yourself. (C’mon, you deserve a little something after all that shopping.)\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11146487\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kota400-400x267.jpg\" alt=\"Banish rainy day blues with a clever and classy brellie.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11146487\">\u003cfigcaption class=\"wp-caption-text\">Banish rainy day blues with a clever and classy brellie. \u003ccite>(Courtesy: THE THING Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kota Ezawa Meta Umbrella\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.thethingquarterly.com/shop/projects/ke-umbrella.html?mc_cid=a9445e5b7e&mc_eid=cf3dc6aa2b\" target=\"_blank\" rel=\"noopener\">$45; THE THING Quarterly\u003c/a>\u003c/h5>\n\u003cp>El Niño is upon us, so why not thank the rain gods in style with a meta-umbrella? Designed by local artist Kota Ezawa for THE THING Quarterly, this piece of precipitation protection is just begging to be twirled, with illustrations of a Victorian woman opening her own umbrella printed on each panel. It’s an umbrella zoetrope!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11146488\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Lauren400-400x535.jpg\" alt=\"Hand-poured beeswax candles by Lauren DiCioccio.\" width=\"400\" height=\"535\" class=\"size-thumbnail wp-image-11146488\">\u003cfigcaption class=\"wp-caption-text\">Hand-poured beeswax candles by Lauren DiCioccio. \u003ccite>(Courtesy: Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Lauren DiCioccio Candle Trophy\u003c/h3>\n\u003ch5>\u003ca href=\"http://shop.headlands.org/products/candle-trophy\" target=\"_blank\" rel=\"noopener\">$35; Headlands Center for the Arts\u003c/a>\n\u003c/h5>\u003cp>Instead of sitting on your mantle as markers of bygone athletic prowess, these trophies actually provide warm, flickering light. Choose from one of local artist Lauren DiCioccio’s three noble figures: lady bowler, man bowler or gender-neutral basketball player. The melting candle provides a nice metaphor for the changing use of the Headlands’ Gymnasium (once a site of games and matches, now host to resident artists’ performances and installations).\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11146490\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/People400-400x183.jpg\" alt=\"Fingers crossed.\" width=\"400\" height=\"183\" class=\"size-thumbnail wp-image-11146490\">\u003cfigcaption class=\"wp-caption-text\">Fingers crossed. \u003ccite>(Courtesy: People I've Loved)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Things Will Work Out Pin\u003c/h3>\n\u003ch5>\u003ca href=\"http://peopleiveloved.com/others/things-will-work-out-pin\" target=\"_blank\" rel=\"noopener\">$10; People I’ve Loved\u003c/a>\u003c/h5>\n\u003cp>Flair is back, people. Wear your heart on your sleeve — literally — with this pin by the Oakland-based print workshop People I’ve Loved. What better message to carry into the new year than this cautiously optimistic one? Plus, it’s only $10.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11146486\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Hannah400-400x600.jpg\" alt=\"Adult and kid-sized brooms by Hannah Quinn.\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11146486\">\u003cfigcaption class=\"wp-caption-text\">Adult and kid-sized brooms by Hannah Quinn. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hannah Quinn Broom\u003c/h3>\n\u003ch5>\u003ca href=\"http://workshopresidence.com/products/hannah-quinn-broom-and-dust-pan\" target=\"_blank\" rel=\"noopener\">$38-$48; Workshop Residence\u003c/a>\u003c/h5>\n\u003cp>When I first spotted these artfully-made brooms at a California College of the Arts craft fair a few weeks ago, I fell in love. Who knew sweeping could look so good? (\u003ca href=\"https://www.youtube.com/watch?v=mIwa9sPFT5I\" target=\"_blank\" rel=\"noopener\">Snow White and her animal friends\u003c/a>, that’s who.) Quinn designed the bevel-handled, straw-bristled brooms at the Workshop Residence, working with Duane Penner, a third-generation broom maker from Dinuba, CA. They come in American walnut and cherry with black bristles, which looks especially witchy. A kid’s size might even inspire cleanliness in the younger generations. \u003cem>(One can only hope — Ed.)\u003c/em>\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11146489\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Leah400-400x305.jpg\" alt=\"The colorful year ahead.\" width=\"400\" height=\"305\" class=\"size-thumbnail wp-image-11146489\">\u003cfigcaption class=\"wp-caption-text\">The colorful year ahead. \u003ccite>(Courtesy: Leah Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2016 Everyday, Confetti Calendar\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.leahrosenberg.com/shop/2016-calendar\" target=\"_blank\" rel=\"noopener\">$25; Leah Rosenberg\u003c/a>\u003c/h5>\n\u003cp>Calendars are calendars, right? Big deal, I have my phone for that, you say. But when’s the last time you actually \u003ci>enjoyed\u003c/i> the passage of time? Thanks to local artist and color-enthusiast Leah Rosenberg, every day of 2016 is a perforated circle waiting to be punched out, collected in an accompanying baggie and tossed in the air like, well, confetti, at the end of the year. Isn’t it nice to have something to look forward to?\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"What to get for the human in your life who already has everything? Some artist-made and designed objects, that's what.","status":"publish","parent":0,"modified":1705045733,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":536},"headData":{"title":"A Special Gift: 5 Pieces of Affordable Art that Everyone Can Enjoy | KQED","description":"What to get for the human in your life who already has everything? Some artist-made and designed objects, that's what.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/11146483/holiday-art-object-gift-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>So you perused \u003ca href=\"http://ww2.kqed.org/arts/2015/12/03/gifts-by-creatives-for-creatives-5-spots-for-hand-crafted-presents/\" target=\"_blank\" rel=\"noopener\">the craft fairs\u003c/a>, you scoured \u003ca href=\"http://ww2.kqed.org/arts/2015/12/02/avoid-the-gadgets-here-are-5-books-you-should-be-gifting-someone/\" target=\"_blank\" rel=\"noopener\">our books guide\u003c/a> and you still don’t know what to get for the loved ones in your life? Never fear. Just throw back \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/holiday-cocktails-why-dream-of-a-white-christmas-drink-one-instead/\" target=\"_blank\" rel=\"noopener\">some wintry cocktails\u003c/a> and look here: five perfect objects under $50 for the artistically-inclined, the human in your life who already has everything, or — let’s face it — yourself. (C’mon, you deserve a little something after all that shopping.)\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11146487\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kota400-400x267.jpg\" alt=\"Banish rainy day blues with a clever and classy brellie.\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11146487\">\u003cfigcaption class=\"wp-caption-text\">Banish rainy day blues with a clever and classy brellie. \u003ccite>(Courtesy: THE THING Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kota Ezawa Meta Umbrella\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.thethingquarterly.com/shop/projects/ke-umbrella.html?mc_cid=a9445e5b7e&mc_eid=cf3dc6aa2b\" target=\"_blank\" rel=\"noopener\">$45; THE THING Quarterly\u003c/a>\u003c/h5>\n\u003cp>El Niño is upon us, so why not thank the rain gods in style with a meta-umbrella? Designed by local artist Kota Ezawa for THE THING Quarterly, this piece of precipitation protection is just begging to be twirled, with illustrations of a Victorian woman opening her own umbrella printed on each panel. It’s an umbrella zoetrope!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11146488\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Lauren400-400x535.jpg\" alt=\"Hand-poured beeswax candles by Lauren DiCioccio.\" width=\"400\" height=\"535\" class=\"size-thumbnail wp-image-11146488\">\u003cfigcaption class=\"wp-caption-text\">Hand-poured beeswax candles by Lauren DiCioccio. \u003ccite>(Courtesy: Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Lauren DiCioccio Candle Trophy\u003c/h3>\n\u003ch5>\u003ca href=\"http://shop.headlands.org/products/candle-trophy\" target=\"_blank\" rel=\"noopener\">$35; Headlands Center for the Arts\u003c/a>\n\u003c/h5>\u003cp>Instead of sitting on your mantle as markers of bygone athletic prowess, these trophies actually provide warm, flickering light. Choose from one of local artist Lauren DiCioccio’s three noble figures: lady bowler, man bowler or gender-neutral basketball player. The melting candle provides a nice metaphor for the changing use of the Headlands’ Gymnasium (once a site of games and matches, now host to resident artists’ performances and installations).\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11146490\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/People400-400x183.jpg\" alt=\"Fingers crossed.\" width=\"400\" height=\"183\" class=\"size-thumbnail wp-image-11146490\">\u003cfigcaption class=\"wp-caption-text\">Fingers crossed. \u003ccite>(Courtesy: People I've Loved)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Things Will Work Out Pin\u003c/h3>\n\u003ch5>\u003ca href=\"http://peopleiveloved.com/others/things-will-work-out-pin\" target=\"_blank\" rel=\"noopener\">$10; People I’ve Loved\u003c/a>\u003c/h5>\n\u003cp>Flair is back, people. Wear your heart on your sleeve — literally — with this pin by the Oakland-based print workshop People I’ve Loved. What better message to carry into the new year than this cautiously optimistic one? Plus, it’s only $10.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11146486\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Hannah400-400x600.jpg\" alt=\"Adult and kid-sized brooms by Hannah Quinn.\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11146486\">\u003cfigcaption class=\"wp-caption-text\">Adult and kid-sized brooms by Hannah Quinn. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hannah Quinn Broom\u003c/h3>\n\u003ch5>\u003ca href=\"http://workshopresidence.com/products/hannah-quinn-broom-and-dust-pan\" target=\"_blank\" rel=\"noopener\">$38-$48; Workshop Residence\u003c/a>\u003c/h5>\n\u003cp>When I first spotted these artfully-made brooms at a California College of the Arts craft fair a few weeks ago, I fell in love. Who knew sweeping could look so good? (\u003ca href=\"https://www.youtube.com/watch?v=mIwa9sPFT5I\" target=\"_blank\" rel=\"noopener\">Snow White and her animal friends\u003c/a>, that’s who.) Quinn designed the bevel-handled, straw-bristled brooms at the Workshop Residence, working with Duane Penner, a third-generation broom maker from Dinuba, CA. They come in American walnut and cherry with black bristles, which looks especially witchy. A kid’s size might even inspire cleanliness in the younger generations. \u003cem>(One can only hope — Ed.)\u003c/em>\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11146489\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Leah400-400x305.jpg\" alt=\"The colorful year ahead.\" width=\"400\" height=\"305\" class=\"size-thumbnail wp-image-11146489\">\u003cfigcaption class=\"wp-caption-text\">The colorful year ahead. \u003ccite>(Courtesy: Leah Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2016 Everyday, Confetti Calendar\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.leahrosenberg.com/shop/2016-calendar\" target=\"_blank\" rel=\"noopener\">$25; Leah Rosenberg\u003c/a>\u003c/h5>\n\u003cp>Calendars are calendars, right? Big deal, I have my phone for that, you say. But when’s the last time you actually \u003ci>enjoyed\u003c/i> the passage of time? Thanks to local artist and color-enthusiast Leah Rosenberg, every day of 2016 is a perforated circle waiting to be punched out, collected in an accompanying baggie and tossed in the air like, well, confetti, at the end of the year. Isn’t it nice to have something to look forward to?\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11146483/holiday-art-object-gift-guide","authors":["61"],"series":["arts_1309"],"categories":["arts_75","arts_70"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_11146485","label":"arts_1309"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","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 />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"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.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"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","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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