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"content": "\u003cp>Long before CGI was invented, Marcel Duchamp made his 1926 experimental film, \u003cem>Anémic Cinéma\u003c/em>, by creating abstract shapes out of cardboard and spinning them on a turnable for hypnotizing effect. (This was nearly a decade after he signed his name on a urinal and called it a sculpture, inventing the readymade and redefining what art could be.)\u003c/p>\n\u003cp>\u003cem>Anémic Cinéma\u003c/em> and many other strange, surreal cinematic feats from the first half of the 20th century will be playing on Oct. 1 at San Francisco’s new drive-in movie theater, \u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix\u003c/a>. The program, co-presented by Intersection for the Arts and curated by Izzy Parlamis, is called \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Loud Cinema\u003c/a> and features films by Duchamp and other experimentalists such as Slavko Vorkapich and Mary Ellen Bute.\u003c/p>\n\u003cp>To bring these films into the modern day, some talented, up-and-coming songwriters and improvisors recorded new soundtracks. The list of artists includes classically trained pop auteur \u003ca href=\"https://kadhjabonet.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kadhja Bonet\u003c/a>, jazz improvisors \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and \u003ca href=\"https://cheflee.bandcamp.com/album/snowflake-clone-vol-2-instrumentals\" target=\"_blank\" rel=\"noopener noreferrer\">Cheflee\u003c/a> and Latin soul band \u003ca href=\"https://almasfronterizas.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Almas Fronterizas\u003c/a>.\u003c/p>\n\u003cp>Off the Grid will serve food, and 50% of ticket proceeds go to \u003ca href=\"https://www.astraeafoundation.org/stories/transgender-gender-variant-and-intersex-justice-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a>, which advocates for trans and gender-nonconforming people in jails and prisons. \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before CGI was invented, Marcel Duchamp made his 1926 experimental film, \u003cem>Anémic Cinéma\u003c/em>, by creating abstract shapes out of cardboard and spinning them on a turnable for hypnotizing effect. (This was nearly a decade after he signed his name on a urinal and called it a sculpture, inventing the readymade and redefining what art could be.)\u003c/p>\n\u003cp>\u003cem>Anémic Cinéma\u003c/em> and many other strange, surreal cinematic feats from the first half of the 20th century will be playing on Oct. 1 at San Francisco’s new drive-in movie theater, \u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix\u003c/a>. The program, co-presented by Intersection for the Arts and curated by Izzy Parlamis, is called \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Loud Cinema\u003c/a> and features films by Duchamp and other experimentalists such as Slavko Vorkapich and Mary Ellen Bute.\u003c/p>\n\u003cp>To bring these films into the modern day, some talented, up-and-coming songwriters and improvisors recorded new soundtracks. The list of artists includes classically trained pop auteur \u003ca href=\"https://kadhjabonet.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kadhja Bonet\u003c/a>, jazz improvisors \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and \u003ca href=\"https://cheflee.bandcamp.com/album/snowflake-clone-vol-2-instrumentals\" target=\"_blank\" rel=\"noopener noreferrer\">Cheflee\u003c/a> and Latin soul band \u003ca href=\"https://almasfronterizas.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Almas Fronterizas\u003c/a>.\u003c/p>\n\u003cp>Off the Grid will serve food, and 50% of ticket proceeds go to \u003ca href=\"https://www.astraeafoundation.org/stories/transgender-gender-variant-and-intersex-justice-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a>, which advocates for trans and gender-nonconforming people in jails and prisons. \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Toots Hibbert, Beloved Reggae Star Who Coined the Term, Dies at 77",
"headTitle": "Toots Hibbert, Beloved Reggae Star Who Coined the Term, Dies at 77 | KQED",
"content": "\u003cp>Toots Hibbert, one of reggae’s founders and most beloved stars who gave the music its name and later helped make it an international movement through such classics as “Pressure Drop,” “Monkey Man” and “Funky Kingston,” has died. He was 77.\u003c/p>\n\u003cp>Hibbert, frontman of Toots & the Maytals, had been in a medically-induced coma at a hospital in Kingston since earlier this month. He was admitted in intensive care after complaints of having breathing difficulties, according to his publicist. It was revealed in local media that the singer was awaiting results from a COVID-19 test after showing symptoms.\u003c/p>\n\u003cp>News of the five-time Grammy nominee’s ill-health came just weeks after his last known performance, on a national live-stream during Jamaica’s Emancipation and Independence celebrations in August.\u003c/p>\n\u003cp>A family statement said Hibbert died Friday at University Hospital of the West Indies in Kingston, Jamaica, surrounded by family.\u003c/p>\n\u003cp>Ziggy Marley, son of Bob Marley, tweeted about the death saying he spoke with Hibbert a few weeks ago and, “told him how much i loved him we laughed & shared our mutual respect,” adding, “He was a father figure to me.”\u003c/p>\n\u003cfigure id=\"attachment_13886210\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A muscular ex-boxer, Hibbert was a bandleader, songwriter, multi-instrumentalist and showman whose concerts sometimes ended with dozens of audience members dancing with him on stage. He was also, in the opinion of many, reggae’s greatest singer, so deeply spiritual he could transform “Do re mi fa so la ti do” into a hymn. His raspy tenor, uncommonly warm and rough, was likened to the voice of Otis Redding and made him more accessible to American listeners than many reggae artists. Original songs such as “Funky Kingston” and “54-46 That’s My Number” had the emotion and call and response arrangements known to soul and gospel fans. Hibbert even recorded an album of American hits, \u003cem>Toots In Memphis\u003c/em>, which came out in 1988.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Never as immersed in politics as his friend and great contemporary Bob Marley, Hibbert did invoke heavenly justice in “Pressure Drop,” preach peace in “Revolution,” righteousness in “Bam Bam” and scorn his 1960s drug arrest and imprisonment in “54-46 That’s My Number.” He also captured, like few others, everyday life in Jamaica in the years following its independence from Britain in 1962, whether telling of wedding jitters (“Sweet and Dandy”) or of trying to pay the rent (“Time Tough”). One of his most popular and surprising songs was his reworking of John Denver’s nostalgic “(Take Me Home) Country Roads,” with the setting changed from West Virginia to a world Hibbert knew so well.\u003c/p>\n\u003cblockquote>\u003cp>Almost heaven, West Jamaica\u003cbr>\nTrue ridge mountains\u003cbr>\nShining down the river\u003cbr>\nAll my friends there\u003cbr>\nOlder than those ridge\u003cbr>\nYounger than the mountains\u003cbr>\nBlowin’ like a breeze\u003c/p>\u003c/blockquote>\n\u003cp>The Maytals began when ska was the most popular music on the island, continued to rise during the transition to the slowed down rocksteady and were at the very forefront of the faster, more danceable sound of the late ’60s. Their uptempo chant “Do the Reggay” is widely recognized as the song which gave reggae its name, even if the honor was unintended.\u003c/p>\n\u003cp>“If a girl didn’t look so nice or she wasn’t dressed properly, we used to say she was streggay. I was playing one day and I don’t know why but I started singing: ‘Do the reggay, do the reggay’ — it just stuck,” he told the Daily Star in 2012. “I might have stuck with calling it streggay if I’d thought longer. That’d be something — everyone dancing to streggay music.”\u003c/p>\n\u003cfigure id=\"attachment_13886212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/TootsAlbums.jpg\" alt=\"Early moments for Toots and the Maytals' popularity included the albums 'Funky Kingston' (L) and the soundtrack to 'The Harder They Come' (R).\" width=\"1920\" height=\"932\" class=\"size-full wp-image-13886212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-800x388.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1020x495.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-768x373.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1536x746.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Early moments for Toots and the Maytals’ popularity included the albums ‘Funky Kingston’ (L) and the soundtrack to ‘The Harder They Come’ (R). \u003ccite>(Mango Records / Island Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with other reggae stars, Hibbert’s following soared after the release of the landmark 1972 film \u003cem>The Harder They Come\u003c/em>, which starred Jimmy Cliff as a poor Jamaican who moves to Kingston and dreams of a career in music. The Jamaican production was a word of mouth hit in the U.S. and the soundtrack, often ranked among the greatest in movie history, included the Maytals’ “Pressure Drop” and “Sweet and Dandy.” Hibbert also appeared in the film, as himself, recording “Sweet and Dandy” in the studio while Cliff’s character looks on with awe. Around the same time, the Maytals signed with Island Records and released the acclaimed album \u003cem>Funky Kingston\u003c/em>, which the critic Lester Bangs called “the most exciting and diversified set of reggae tunes by a single artist yet released.” (The album would eventually come out in two different versions).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RA4R-WoM10A\u003c/p>\n\u003cp>By the mid-1970s, Keith Richards, John Lennon, Eric Clapton and countless other rock stars had become reggae fans and Hibbert would eventually record with some of them. A tribute album from 2004, the Grammy winning \u003cem>True Love\u003c/em>, included cameos by Richards, Bonnie Raitt, Ryan Adams and Jeff Beck. Hibbert also was the subject of a 2011 BBC documentary, \u003cem>Reggae Got Soul\u003c/em>, with Clapton, Richards and Willie Nelson among the commentators.\u003c/p>\n\u003cp>The Maytals originally were a vocal trio featuring Hibbert, Henry “Raleigh” Gordon and Nathaniel “Jerry” Mathias, with the group later adding such instrumentalists as bassist Jackie Jackson and drummer Paul Douglas. They broke up in the early 1980s, but the following decade Hibbert began working with a new lineup of Maytals.\u003c/p>\n\u003cp>Hibbert’s career was halted in 2013 after he sustained a head injury from a vodka bottle thrown during a concert in Richmond, Virginia, and suffered from headaches and depression. But by the end of the decade he was performing again and in 2020 he released another album, \u003cem>Got To Be Tough\u003c/em>, which included contributions from Ziggy Marley and Ringo Starr, whose son, Zak Starkey, served as co-producer.\u003c/p>\n\u003cfigure id=\"attachment_13886211\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots3.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886211\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grammy nominations for Hibbert included best reggae album of 2012 for \u003cem>Reggae Got Soul\u003c/em> and best reggae album of 2007 for \u003cem>Light Your Light\u003c/em>. Hibbert was ranked No. 71 on a Rolling Stone list, compiled in 2008, of the 100 greatest contemporary singers. In 2012, he received the Order of Distinction by the government of Jamaica for outstanding contribution to the country’s music.\u003c/p>\n\u003cp>Married to his wife, Doreen, for nearly 40 years, Hibbert had eight children, including the reggae performers Junior Hibbert and Leba Hibbert.\u003c/p>\n\u003cp>Frederick Nathaniel Hibbert (“Toots” was a childhood nickname) was born in May Pen, Parish of Clarendon. He was the son of Seventh-day Adventist ministers and would remember miles-long walks along dirt roads to schools, hours of singing in church and private moments listening to such American stars on the radio as Ray Charles and Elvis Presley.\u003c/p>\n\u003cp>By adolescence, his parents had died and he had moved to Trench Town in Kingston, where the local music scene was thriving, moving from street parties to recording studios and drawing such future stars as Bob Marley and Desmond Dekker. He formed the Maytals, named for his hometown, with fellow singers Matthias and Gordon, started working with Jamaican record producer Coxsone Dodd and quickly became the star of the national festival competition that started in 1966. The Maytals (eventually renamed Toots & the Maytals) won in the inaugural year with “Bam Bam,” prevailed in 1969 with “Sweet and Dandy” and 1972 with “Pomp and Pride.” Hibbert would joke that he thought it best to start skipping the festival because winning came so easily, although he returned in 2020 with the bright, inspirational “Rise Up Jamaica.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sharlene Hendricks contributed from Jamaica.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Toots Hibbert, one of reggae’s founders and most beloved stars who gave the music its name and later helped make it an international movement through such classics as “Pressure Drop,” “Monkey Man” and “Funky Kingston,” has died. He was 77.\u003c/p>\n\u003cp>Hibbert, frontman of Toots & the Maytals, had been in a medically-induced coma at a hospital in Kingston since earlier this month. He was admitted in intensive care after complaints of having breathing difficulties, according to his publicist. It was revealed in local media that the singer was awaiting results from a COVID-19 test after showing symptoms.\u003c/p>\n\u003cp>News of the five-time Grammy nominee’s ill-health came just weeks after his last known performance, on a national live-stream during Jamaica’s Emancipation and Independence celebrations in August.\u003c/p>\n\u003cp>A family statement said Hibbert died Friday at University Hospital of the West Indies in Kingston, Jamaica, surrounded by family.\u003c/p>\n\u003cp>Ziggy Marley, son of Bob Marley, tweeted about the death saying he spoke with Hibbert a few weeks ago and, “told him how much i loved him we laughed & shared our mutual respect,” adding, “He was a father figure to me.”\u003c/p>\n\u003cfigure id=\"attachment_13886210\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A muscular ex-boxer, Hibbert was a bandleader, songwriter, multi-instrumentalist and showman whose concerts sometimes ended with dozens of audience members dancing with him on stage. He was also, in the opinion of many, reggae’s greatest singer, so deeply spiritual he could transform “Do re mi fa so la ti do” into a hymn. His raspy tenor, uncommonly warm and rough, was likened to the voice of Otis Redding and made him more accessible to American listeners than many reggae artists. Original songs such as “Funky Kingston” and “54-46 That’s My Number” had the emotion and call and response arrangements known to soul and gospel fans. Hibbert even recorded an album of American hits, \u003cem>Toots In Memphis\u003c/em>, which came out in 1988.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Never as immersed in politics as his friend and great contemporary Bob Marley, Hibbert did invoke heavenly justice in “Pressure Drop,” preach peace in “Revolution,” righteousness in “Bam Bam” and scorn his 1960s drug arrest and imprisonment in “54-46 That’s My Number.” He also captured, like few others, everyday life in Jamaica in the years following its independence from Britain in 1962, whether telling of wedding jitters (“Sweet and Dandy”) or of trying to pay the rent (“Time Tough”). One of his most popular and surprising songs was his reworking of John Denver’s nostalgic “(Take Me Home) Country Roads,” with the setting changed from West Virginia to a world Hibbert knew so well.\u003c/p>\n\u003cblockquote>\u003cp>Almost heaven, West Jamaica\u003cbr>\nTrue ridge mountains\u003cbr>\nShining down the river\u003cbr>\nAll my friends there\u003cbr>\nOlder than those ridge\u003cbr>\nYounger than the mountains\u003cbr>\nBlowin’ like a breeze\u003c/p>\u003c/blockquote>\n\u003cp>The Maytals began when ska was the most popular music on the island, continued to rise during the transition to the slowed down rocksteady and were at the very forefront of the faster, more danceable sound of the late ’60s. Their uptempo chant “Do the Reggay” is widely recognized as the song which gave reggae its name, even if the honor was unintended.\u003c/p>\n\u003cp>“If a girl didn’t look so nice or she wasn’t dressed properly, we used to say she was streggay. I was playing one day and I don’t know why but I started singing: ‘Do the reggay, do the reggay’ — it just stuck,” he told the Daily Star in 2012. “I might have stuck with calling it streggay if I’d thought longer. That’d be something — everyone dancing to streggay music.”\u003c/p>\n\u003cfigure id=\"attachment_13886212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/TootsAlbums.jpg\" alt=\"Early moments for Toots and the Maytals' popularity included the albums 'Funky Kingston' (L) and the soundtrack to 'The Harder They Come' (R).\" width=\"1920\" height=\"932\" class=\"size-full wp-image-13886212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-800x388.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1020x495.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-768x373.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1536x746.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Early moments for Toots and the Maytals’ popularity included the albums ‘Funky Kingston’ (L) and the soundtrack to ‘The Harder They Come’ (R). \u003ccite>(Mango Records / Island Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with other reggae stars, Hibbert’s following soared after the release of the landmark 1972 film \u003cem>The Harder They Come\u003c/em>, which starred Jimmy Cliff as a poor Jamaican who moves to Kingston and dreams of a career in music. The Jamaican production was a word of mouth hit in the U.S. and the soundtrack, often ranked among the greatest in movie history, included the Maytals’ “Pressure Drop” and “Sweet and Dandy.” Hibbert also appeared in the film, as himself, recording “Sweet and Dandy” in the studio while Cliff’s character looks on with awe. Around the same time, the Maytals signed with Island Records and released the acclaimed album \u003cem>Funky Kingston\u003c/em>, which the critic Lester Bangs called “the most exciting and diversified set of reggae tunes by a single artist yet released.” (The album would eventually come out in two different versions).\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/RA4R-WoM10A'\n title='//www.youtube.com/embed/RA4R-WoM10A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the mid-1970s, Keith Richards, John Lennon, Eric Clapton and countless other rock stars had become reggae fans and Hibbert would eventually record with some of them. A tribute album from 2004, the Grammy winning \u003cem>True Love\u003c/em>, included cameos by Richards, Bonnie Raitt, Ryan Adams and Jeff Beck. Hibbert also was the subject of a 2011 BBC documentary, \u003cem>Reggae Got Soul\u003c/em>, with Clapton, Richards and Willie Nelson among the commentators.\u003c/p>\n\u003cp>The Maytals originally were a vocal trio featuring Hibbert, Henry “Raleigh” Gordon and Nathaniel “Jerry” Mathias, with the group later adding such instrumentalists as bassist Jackie Jackson and drummer Paul Douglas. They broke up in the early 1980s, but the following decade Hibbert began working with a new lineup of Maytals.\u003c/p>\n\u003cp>Hibbert’s career was halted in 2013 after he sustained a head injury from a vodka bottle thrown during a concert in Richmond, Virginia, and suffered from headaches and depression. But by the end of the decade he was performing again and in 2020 he released another album, \u003cem>Got To Be Tough\u003c/em>, which included contributions from Ziggy Marley and Ringo Starr, whose son, Zak Starkey, served as co-producer.\u003c/p>\n\u003cfigure id=\"attachment_13886211\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots3.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886211\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grammy nominations for Hibbert included best reggae album of 2012 for \u003cem>Reggae Got Soul\u003c/em> and best reggae album of 2007 for \u003cem>Light Your Light\u003c/em>. Hibbert was ranked No. 71 on a Rolling Stone list, compiled in 2008, of the 100 greatest contemporary singers. In 2012, he received the Order of Distinction by the government of Jamaica for outstanding contribution to the country’s music.\u003c/p>\n\u003cp>Married to his wife, Doreen, for nearly 40 years, Hibbert had eight children, including the reggae performers Junior Hibbert and Leba Hibbert.\u003c/p>\n\u003cp>Frederick Nathaniel Hibbert (“Toots” was a childhood nickname) was born in May Pen, Parish of Clarendon. He was the son of Seventh-day Adventist ministers and would remember miles-long walks along dirt roads to schools, hours of singing in church and private moments listening to such American stars on the radio as Ray Charles and Elvis Presley.\u003c/p>\n\u003cp>By adolescence, his parents had died and he had moved to Trench Town in Kingston, where the local music scene was thriving, moving from street parties to recording studios and drawing such future stars as Bob Marley and Desmond Dekker. He formed the Maytals, named for his hometown, with fellow singers Matthias and Gordon, started working with Jamaican record producer Coxsone Dodd and quickly became the star of the national festival competition that started in 1966. The Maytals (eventually renamed Toots & the Maytals) won in the inaugural year with “Bam Bam,” prevailed in 1969 with “Sweet and Dandy” and 1972 with “Pomp and Pride.” Hibbert would joke that he thought it best to start skipping the festival because winning came so easily, although he returned in 2020 with the bright, inspirational “Rise Up Jamaica.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sharlene Hendricks contributed from Jamaica.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n my first listen to the nine-track project \u003cem>Twice on Sunday (Season 1)\u003c/em> by Grand Nationxl, I knew it was a significant piece of art. I had no idea it was the first shot in a series of blows that the collective, formed by over a dozen Bay Area artists, were looking to make on the preverbal \u003cem>rap game\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In the weeks following their first release in June, Grand Nationxl (named after a popular American-made muscle car) dropped multiple videos, appeared at the Portland-based Mic Check PDX virtual music festival, recorded podcast episodes and more.\u003c/p>\n\u003cp>Now that summer is coming to a close, Grand Nationxl—a wolf pack, as they sometimes refer to themselves—isn’t relenting. Today they dropped an updated edition of the first album—essentially a new release with nine new tracks. They also released the audio version of their live studio session, \u003cem>Live From Airship Laboratories.\u003c/em>\u003c/p>\n\u003cp>And recently they announced plans to open the floodgates for individual projects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The individuals? There’s a lot of ’em. Full disclosure: A few of ’em are folks I’d consider good friends. That said, I’m writing about them because given that I’ve been in a silo-styled apartment writing my ass off alone for the past six months, I kind of forgot how important it is to work with friends when making art. Until they reminded me.\u003c/p>\n\u003cfigure id=\"attachment_13886194\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1212-800x600.jpg\" alt=\"Grand Nationxl screens the visuals that accompany their album Twice on Sunday. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl screens the visuals that accompany their album ‘Twice on Sunday.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n a Thursday evening last month, I stopped at a red light at 17th and Telegraph in Oakland. Across the street, I noticed two artists painting a three-story mural on the backside of YR Media’s building. I’d later find out it was \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe Goldsmith\u003c/a> and a friend, creating this big, bold beautiful work of art, and dancing while doing so.\u003c/p>\n\u003cp>I pulled through that intersection en route to a vacant parking lot on 13th Street between Broadway and Webster. That’s where Grand Nationxl was screening a filmed \u003ca href=\"https://youtu.be/YkSzMFX9HRc\" target=\"_blank\" rel=\"noopener noreferrer\">40-minute studio session\u003c/a> of their latest project.\u003c/p>\n\u003cp>(I almost hit one of those \u003ca href=\"https://www.kqed.org/arts/13862998/to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street\" target=\"_blank\" rel=\"noopener noreferrer\">new little plant thingies\u003c/a> as I parked. Bounced out the car and noticed the sign for the now-shuttered Wolfman Books. Next to it, Good Mother Gallery had a mural of George Floyd on the wall. Signs of the time.)\u003c/p>\n\u003cp>I walked into a parking lot on the backside of the Tribune Tavern. On one wall was another Rachel Wolfe Goldsmith mural. On the other wall, the projected video images of \u003ca href=\"https://www.instagram.com/kvnalln/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>, \u003ca href=\"https://www.instagram.com/dameonbledsoe/\" target=\"_blank\" rel=\"noopener noreferrer\">D. Bledsoe\u003c/a>, \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, \u003ca href=\"https://www.instagram.com/blvckachilles/\" target=\"_blank\" rel=\"noopener noreferrer\">Blvck Achilles\u003c/a>, \u003ca href=\"https://www.instagram.com/brookfieldduece/\" target=\"_blank\" rel=\"noopener noreferrer\">Brookfield Duece\u003c/a>, \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a>, \u003ca href=\"https://www.instagram.com/moegreen110/\" target=\"_blank\" rel=\"noopener noreferrer\">Moe Green\u003c/a> (no relation), \u003ca href=\"https://www.instagram.com/pass510/\" target=\"_blank\" rel=\"noopener noreferrer\">Passwurdz \u003c/a>, \u003ca href=\"https://www.instagram.com/manidraper/\" target=\"_blank\" rel=\"noopener noreferrer\">Mani Draper\u003c/a> and more.\u003c/p>\n\u003cp>In addition to the real-life presence of most of the roster of artists mentioned above, about 25–30 other people filled the lot. Everyone was masked, spread at proper intervals of distance, although handshakes and hugs were definitely exchanged as people took in the multimedia presentation.\u003c/p>\n\u003cp>Community, coming together to celebrate music that was born out of community.\u003c/p>\n\u003cp>https://youtu.be/Qpf4CJ6GpNU\u003c/p>\n\u003cp>The substance in Grand Nationxl’s songs range from Champ Green’s poetic philosophies on navigating Bay Area public transportation to Moe Green’s tribute to legendary R&B artists like Sam Cooke, Marvin Gaye and Vallejo’s Levitti.\u003c/p>\n\u003cp>They’re also rife with artistic articulation of the current human experience for some folks living in the Bay Area. During one of the recording sessions, Ian Kelly tells me, he was late to the studio because he was running errands for his job with Instacart. So in the verse he recorded that night, he cut himself off mid-flow, saying “I would give you sixteen, but Instacart calling”—and then he answers his phone.\u003c/p>\n\u003cp>In the filmed studio session of the song, the other participants in Grand Nationxl vibe with Kelly through the entire verse. And then during the Instacart phone call, they get completely still. The beat drops as Kelly answers the call, allowing him to clarify that the customer’s request is for whole milk and not two percent.\u003c/p>\n\u003cp>It’s just one of many standout moments in this project. It shows how much fun they were having as a collective, and at the same time, how applicable the lyrics are to real life. “Ever seen zombies that was yo classmates?” asks Brookfield Duece on one track. “Chevron settled to kill me early,” states D. Bledsoe on another. “What happens if I stop making excuses and really grow up?” rhetorically raps Kevin Allen on the album.\u003c/p>\n\u003cp>The lyrical sparring in the studio sessions led to raps so layered, it inspired Special, host of the \u003ca href=\"https://podcasts.apple.com/us/podcast/specialsays/id1466724968\" target=\"_blank\" rel=\"noopener noreferrer\">Special Delivery Podcast\u003c/a>, to do a series of episodes breaking down the stories behind the music.\u003c/p>\n\u003cp>In one interview, producer \u003ca href=\"https://www.instagram.com/rootsanbranches/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Basta\u003c/a> explains that multiple artists added different instruments to influence the composition and production of each song prior to any lyrics hitting the track. In another interview, Brookfield Duece explains how a song got named: old-school style, riding around in a car with each other, listening to the song and talking about it.\u003c/p>\n\u003cp>In-person, collaborative creation. It’s far from a revolutionary concept, but in 2020, it’s rare.\u003c/p>\n\u003cfigure id=\"attachment_13886196\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886196\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_2795-800x533.jpg\" alt=\"D. Bledsoe, Kevin Allen, Brookfield Duece, Passwurdz, Moe Green on the set of a video shoot in North Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D. Bledsoe, Kevin Allen, Brookfield Duece, Passwurdz, Moe Green on the set of a video shoot in North Oakland. \u003ccite>(Grand Nationxl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n one episode, D. Bledsoe mentions a question that’s come up a few times: why there are so many dudes.\u003c/p>\n\u003cp>It’s the same discussion he, Kevin Allen and I had a few weeks ago. My point was about reading the room in the rap world. Women have been tired of being overlooked for a while now. And that there have been a few notable compilation-type projects as of late with few or no women present, referring to J.Cole & Co.’s \u003cem>Revenge of the Dreamers III\u003c/em> and E-40’s \u003cem>Practice Makes Paper\u003c/em>.\u003c/p>\n\u003cp>The first edition of Grand Nationxl’s \u003cem>Twice on Sunday (Season One)\u003c/em> features one woman: vocalist\u003ca href=\"https://www.instagram.com/katelamontsings/\" target=\"_blank\" rel=\"noopener noreferrer\"> Kate Lamont\u003c/a>, who appears on multiple tracks.\u003c/p>\n\u003cp>D. Bledsoe explained to Special during the podcast interview, as he and Kevin Allen did to me when we talked in person: the project happened organically, with a number of invites sent out widely to individuals of all backgrounds, letting them know what was in the works—tap in.\u003c/p>\n\u003cp>After that, a series of studio sessions were held, and whoever showed up got put on. It was that simple.\u003c/p>\n\u003cp>If we’re being honest, there’s value to any occasion that allows for a group of Black American men to come together, have fun, be vulnerable, share their truths, and create quality art for the masses.\u003c/p>\n\u003cp>“It’s not a group,” Brookfield Duece tells me in a later conversation, explaining that it’s “like a TV show” with recurring characters. He says there’s a certain intentionality to the parenthetical presence of “Season One.”\u003c/p>\n\u003cp>The second version of \u003cem>Twice on Sunday (Season 1)\u003c/em> features nine completely new songs, and \u003ca href=\"https://www.instagram.com/msjanehandcock/\" target=\"_blank\" rel=\"noopener noreferrer\">Jane Handcock\u003c/a> has her signature all over that project. On top of that, Jane, a vocalist and emcee from Richmond, is set to release an individual project titled \u003cem>Fa Real\u003c/em> in October; that’ll be the second solo release from the Grand Nationxl collective after Kevin Allen drops his \u003cem>Heroes Eventually Die\u003c/em> EP next week.\u003c/p>\n\u003cp>Looking down the line, each member of the collective has new releases planned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s an impressive assembly of artistic individuals. They’ve all got lives and careers that can stand on their own. They could’ve easily been sequestered in their apartments, writing their asses off alone, but no. They decided to come together and be part of a collective; or rather, a wolf pack.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n my first listen to the nine-track project \u003cem>Twice on Sunday (Season 1)\u003c/em> by Grand Nationxl, I knew it was a significant piece of art. I had no idea it was the first shot in a series of blows that the collective, formed by over a dozen Bay Area artists, were looking to make on the preverbal \u003cem>rap game\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In the weeks following their first release in June, Grand Nationxl (named after a popular American-made muscle car) dropped multiple videos, appeared at the Portland-based Mic Check PDX virtual music festival, recorded podcast episodes and more.\u003c/p>\n\u003cp>Now that summer is coming to a close, Grand Nationxl—a wolf pack, as they sometimes refer to themselves—isn’t relenting. Today they dropped an updated edition of the first album—essentially a new release with nine new tracks. They also released the audio version of their live studio session, \u003cem>Live From Airship Laboratories.\u003c/em>\u003c/p>\n\u003cp>And recently they announced plans to open the floodgates for individual projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The individuals? There’s a lot of ’em. Full disclosure: A few of ’em are folks I’d consider good friends. That said, I’m writing about them because given that I’ve been in a silo-styled apartment writing my ass off alone for the past six months, I kind of forgot how important it is to work with friends when making art. Until they reminded me.\u003c/p>\n\u003cfigure id=\"attachment_13886194\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1212-800x600.jpg\" alt=\"Grand Nationxl screens the visuals that accompany their album Twice on Sunday. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl screens the visuals that accompany their album ‘Twice on Sunday.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n a Thursday evening last month, I stopped at a red light at 17th and Telegraph in Oakland. Across the street, I noticed two artists painting a three-story mural on the backside of YR Media’s building. I’d later find out it was \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe Goldsmith\u003c/a> and a friend, creating this big, bold beautiful work of art, and dancing while doing so.\u003c/p>\n\u003cp>I pulled through that intersection en route to a vacant parking lot on 13th Street between Broadway and Webster. That’s where Grand Nationxl was screening a filmed \u003ca href=\"https://youtu.be/YkSzMFX9HRc\" target=\"_blank\" rel=\"noopener noreferrer\">40-minute studio session\u003c/a> of their latest project.\u003c/p>\n\u003cp>(I almost hit one of those \u003ca href=\"https://www.kqed.org/arts/13862998/to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street\" target=\"_blank\" rel=\"noopener noreferrer\">new little plant thingies\u003c/a> as I parked. Bounced out the car and noticed the sign for the now-shuttered Wolfman Books. Next to it, Good Mother Gallery had a mural of George Floyd on the wall. Signs of the time.)\u003c/p>\n\u003cp>I walked into a parking lot on the backside of the Tribune Tavern. On one wall was another Rachel Wolfe Goldsmith mural. On the other wall, the projected video images of \u003ca href=\"https://www.instagram.com/kvnalln/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>, \u003ca href=\"https://www.instagram.com/dameonbledsoe/\" target=\"_blank\" rel=\"noopener noreferrer\">D. Bledsoe\u003c/a>, \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, \u003ca href=\"https://www.instagram.com/blvckachilles/\" target=\"_blank\" rel=\"noopener noreferrer\">Blvck Achilles\u003c/a>, \u003ca href=\"https://www.instagram.com/brookfieldduece/\" target=\"_blank\" rel=\"noopener noreferrer\">Brookfield Duece\u003c/a>, \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a>, \u003ca href=\"https://www.instagram.com/moegreen110/\" target=\"_blank\" rel=\"noopener noreferrer\">Moe Green\u003c/a> (no relation), \u003ca href=\"https://www.instagram.com/pass510/\" target=\"_blank\" rel=\"noopener noreferrer\">Passwurdz \u003c/a>, \u003ca href=\"https://www.instagram.com/manidraper/\" target=\"_blank\" rel=\"noopener noreferrer\">Mani Draper\u003c/a> and more.\u003c/p>\n\u003cp>In addition to the real-life presence of most of the roster of artists mentioned above, about 25–30 other people filled the lot. Everyone was masked, spread at proper intervals of distance, although handshakes and hugs were definitely exchanged as people took in the multimedia presentation.\u003c/p>\n\u003cp>Community, coming together to celebrate music that was born out of community.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Qpf4CJ6GpNU'\n title='//www.youtube.com/embed/Qpf4CJ6GpNU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The substance in Grand Nationxl’s songs range from Champ Green’s poetic philosophies on navigating Bay Area public transportation to Moe Green’s tribute to legendary R&B artists like Sam Cooke, Marvin Gaye and Vallejo’s Levitti.\u003c/p>\n\u003cp>They’re also rife with artistic articulation of the current human experience for some folks living in the Bay Area. During one of the recording sessions, Ian Kelly tells me, he was late to the studio because he was running errands for his job with Instacart. So in the verse he recorded that night, he cut himself off mid-flow, saying “I would give you sixteen, but Instacart calling”—and then he answers his phone.\u003c/p>\n\u003cp>In the filmed studio session of the song, the other participants in Grand Nationxl vibe with Kelly through the entire verse. And then during the Instacart phone call, they get completely still. The beat drops as Kelly answers the call, allowing him to clarify that the customer’s request is for whole milk and not two percent.\u003c/p>\n\u003cp>It’s just one of many standout moments in this project. It shows how much fun they were having as a collective, and at the same time, how applicable the lyrics are to real life. “Ever seen zombies that was yo classmates?” asks Brookfield Duece on one track. “Chevron settled to kill me early,” states D. Bledsoe on another. “What happens if I stop making excuses and really grow up?” rhetorically raps Kevin Allen on the album.\u003c/p>\n\u003cp>The lyrical sparring in the studio sessions led to raps so layered, it inspired Special, host of the \u003ca href=\"https://podcasts.apple.com/us/podcast/specialsays/id1466724968\" target=\"_blank\" rel=\"noopener noreferrer\">Special Delivery Podcast\u003c/a>, to do a series of episodes breaking down the stories behind the music.\u003c/p>\n\u003cp>In one interview, producer \u003ca href=\"https://www.instagram.com/rootsanbranches/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Basta\u003c/a> explains that multiple artists added different instruments to influence the composition and production of each song prior to any lyrics hitting the track. In another interview, Brookfield Duece explains how a song got named: old-school style, riding around in a car with each other, listening to the song and talking about it.\u003c/p>\n\u003cp>In-person, collaborative creation. It’s far from a revolutionary concept, but in 2020, it’s rare.\u003c/p>\n\u003cfigure id=\"attachment_13886196\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886196\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_2795-800x533.jpg\" alt=\"D. Bledsoe, Kevin Allen, Brookfield Duece, Passwurdz, Moe Green on the set of a video shoot in North Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D. Bledsoe, Kevin Allen, Brookfield Duece, Passwurdz, Moe Green on the set of a video shoot in North Oakland. \u003ccite>(Grand Nationxl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n one episode, D. Bledsoe mentions a question that’s come up a few times: why there are so many dudes.\u003c/p>\n\u003cp>It’s the same discussion he, Kevin Allen and I had a few weeks ago. My point was about reading the room in the rap world. Women have been tired of being overlooked for a while now. And that there have been a few notable compilation-type projects as of late with few or no women present, referring to J.Cole & Co.’s \u003cem>Revenge of the Dreamers III\u003c/em> and E-40’s \u003cem>Practice Makes Paper\u003c/em>.\u003c/p>\n\u003cp>The first edition of Grand Nationxl’s \u003cem>Twice on Sunday (Season One)\u003c/em> features one woman: vocalist\u003ca href=\"https://www.instagram.com/katelamontsings/\" target=\"_blank\" rel=\"noopener noreferrer\"> Kate Lamont\u003c/a>, who appears on multiple tracks.\u003c/p>\n\u003cp>D. Bledsoe explained to Special during the podcast interview, as he and Kevin Allen did to me when we talked in person: the project happened organically, with a number of invites sent out widely to individuals of all backgrounds, letting them know what was in the works—tap in.\u003c/p>\n\u003cp>After that, a series of studio sessions were held, and whoever showed up got put on. It was that simple.\u003c/p>\n\u003cp>If we’re being honest, there’s value to any occasion that allows for a group of Black American men to come together, have fun, be vulnerable, share their truths, and create quality art for the masses.\u003c/p>\n\u003cp>“It’s not a group,” Brookfield Duece tells me in a later conversation, explaining that it’s “like a TV show” with recurring characters. He says there’s a certain intentionality to the parenthetical presence of “Season One.”\u003c/p>\n\u003cp>The second version of \u003cem>Twice on Sunday (Season 1)\u003c/em> features nine completely new songs, and \u003ca href=\"https://www.instagram.com/msjanehandcock/\" target=\"_blank\" rel=\"noopener noreferrer\">Jane Handcock\u003c/a> has her signature all over that project. On top of that, Jane, a vocalist and emcee from Richmond, is set to release an individual project titled \u003cem>Fa Real\u003c/em> in October; that’ll be the second solo release from the Grand Nationxl collective after Kevin Allen drops his \u003cem>Heroes Eventually Die\u003c/em> EP next week.\u003c/p>\n\u003cp>Looking down the line, each member of the collective has new releases planned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an impressive assembly of artistic individuals. They’ve all got lives and careers that can stand on their own. They could’ve easily been sequestered in their apartments, writing their asses off alone, but no. They decided to come together and be part of a collective; or rather, a wolf pack.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-queen-of-vinyl-and-ears-of-rightnowish",
"title": "The Queen of Vinyl and the Ears of Rightnowish",
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"content": "\u003cp>\u003ca href=\"https://wam-bam-ashleyanne.squarespace.com/\">Ashleyanne Krigbaum\u003c/a> spins vinyl at weddings and dive bars, sound designs museum audio tours, and was the founding producer of the arts and culture podcast, Rightnowish.\u003c/p>\n\u003cp>You might’ve heard of it.\u003c/p>\n\u003cp>Ashleyanne, who can trace her East Bay roots back for a few generations, grew up along the Delta in the town of Bethel Island. And after calling Berkeley home for the past couple of years, she’s decided to move to the Los Angeles area, where she’ll embark on a great career opportunity– and also enjoy a new romantic partnership.\u003c/p>\n\u003cfigure id=\"attachment_13886180\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/LRG__DSC3631-800x535.jpg\" alt=\"Ashleyanne Krigbaum\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashleyanne Krigbaum \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Ashleyanne left the KQED team, we put her in the hot seat and asked her the hard questions. You know, like: what does it take to produce a weekly arts and culture show? What’s her philosophy on creative collaboration? And what’s the story behind her technicolor hair?\u003c/p>\n\u003cp>Hear all of that, along with her favorite music and clips of sweet Rightnowish memories, in this week’s episode.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6219463513\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with \u003ca href=\"https://wam-bam-ashleyanne.squarespace.com/\">Ashleyanne Krigbaum\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: I’ve been to see you spin in Jack London Square and also in the Mission and you’re not just a DJ, but part of a collective. Tell me something about this DJ gig. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>Ashleyanne: I’ve been obsessed with music since I was really little. And when I was in college, I went to dance nights here in the Bay Area. I found the music that was right for me… Motown, 60’s soul, Northern Soul… I found dance floors of 20 somethings like me, just losing their shit to, like, some rare Supremes track. I love collecting records and then that turning into actually having the guts to take those records and bring them to a bar and play them. And then finding more people who felt the same way about the same sort of music and had tips, had tricks, new places. It just is a snowball.\u003c/p>\n\u003cp>\u003cem>Pen: I’ve been working with you for 18 months. I know you very well, but I was like, let me click around, do my Googling and just see what comes up with Ashleyanne. And what stood out the most is how many different damn hairstyles you have on the Internet. You click through the images, it looks like you’re on the lam. It looks like you have multiple IDs in different states with different names.\u003c/em>\u003c/p>\n\u003cp>Ashleyanne: I’ve been dying my hair rainbow colors for almost three years. So right now it is a faded pink. Some of the colors you probably saw on Google were dark purple, dark turquoise, light turquoise, orange, one I called Redondo peach. It was like a neon peach. There is like a dark blue, lavender. So all the colors, I just decided, I don’t know, mid career as a professional, like, let’s dye this hair. It’s like, yes, this is me. My outsides match my insides. So, yeah.\u003c/p>\n\u003cp>\u003cem>Pen: What’s your takeaway, what’s your moral to this experience that you’ve had at Rightnowish?\u003c/em>\u003c/p>\n\u003cp>Ashleyanne: Really knowing what it’s like to be in a good team. I’ve never had a creative partnership like I have had with you, Pen… Really what I want to say is that unless you have a good teammate, you can’t really learn the skills of being a good teammate. And another big takeaway – there’s no reason it shouldn’t be as fun as possible. We get to make a show about culture, about projects people are proud of, about people trying to make a difference and connect with others. You know, life’s too short. And if you’re going to do work, that’s about bringing people together, you’ve got to be having fun yourself. Every week has been just really fun, Pen.\u003c/p>\n\u003cfigure id=\"attachment_13886181\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_7817-800x600.jpg\" alt=\"Ashleyanne Krigbaum and Pendarvis Harshaw\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashleyanne Krigbaum and Pendarvis Harshaw\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://wam-bam-ashleyanne.squarespace.com/\">Ashleyanne Krigbaum\u003c/a> spins vinyl at weddings and dive bars, sound designs museum audio tours, and was the founding producer of the arts and culture podcast, Rightnowish.\u003c/p>\n\u003cp>You might’ve heard of it.\u003c/p>\n\u003cp>Ashleyanne, who can trace her East Bay roots back for a few generations, grew up along the Delta in the town of Bethel Island. And after calling Berkeley home for the past couple of years, she’s decided to move to the Los Angeles area, where she’ll embark on a great career opportunity– and also enjoy a new romantic partnership.\u003c/p>\n\u003cfigure id=\"attachment_13886180\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/LRG__DSC3631-800x535.jpg\" alt=\"Ashleyanne Krigbaum\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/LRG__DSC3631.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashleyanne Krigbaum \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Ashleyanne left the KQED team, we put her in the hot seat and asked her the hard questions. You know, like: what does it take to produce a weekly arts and culture show? What’s her philosophy on creative collaboration? And what’s the story behind her technicolor hair?\u003c/p>\n\u003cp>Hear all of that, along with her favorite music and clips of sweet Rightnowish memories, in this week’s episode.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6219463513\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with \u003ca href=\"https://wam-bam-ashleyanne.squarespace.com/\">Ashleyanne Krigbaum\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: I’ve been to see you spin in Jack London Square and also in the Mission and you’re not just a DJ, but part of a collective. Tell me something about this DJ gig. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>Ashleyanne: I’ve been obsessed with music since I was really little. And when I was in college, I went to dance nights here in the Bay Area. I found the music that was right for me… Motown, 60’s soul, Northern Soul… I found dance floors of 20 somethings like me, just losing their shit to, like, some rare Supremes track. I love collecting records and then that turning into actually having the guts to take those records and bring them to a bar and play them. And then finding more people who felt the same way about the same sort of music and had tips, had tricks, new places. It just is a snowball.\u003c/p>\n\u003cp>\u003cem>Pen: I’ve been working with you for 18 months. I know you very well, but I was like, let me click around, do my Googling and just see what comes up with Ashleyanne. And what stood out the most is how many different damn hairstyles you have on the Internet. You click through the images, it looks like you’re on the lam. It looks like you have multiple IDs in different states with different names.\u003c/em>\u003c/p>\n\u003cp>Ashleyanne: I’ve been dying my hair rainbow colors for almost three years. So right now it is a faded pink. Some of the colors you probably saw on Google were dark purple, dark turquoise, light turquoise, orange, one I called Redondo peach. It was like a neon peach. There is like a dark blue, lavender. So all the colors, I just decided, I don’t know, mid career as a professional, like, let’s dye this hair. It’s like, yes, this is me. My outsides match my insides. So, yeah.\u003c/p>\n\u003cp>\u003cem>Pen: What’s your takeaway, what’s your moral to this experience that you’ve had at Rightnowish?\u003c/em>\u003c/p>\n\u003cp>Ashleyanne: Really knowing what it’s like to be in a good team. I’ve never had a creative partnership like I have had with you, Pen… Really what I want to say is that unless you have a good teammate, you can’t really learn the skills of being a good teammate. And another big takeaway – there’s no reason it shouldn’t be as fun as possible. We get to make a show about culture, about projects people are proud of, about people trying to make a difference and connect with others. You know, life’s too short. And if you’re going to do work, that’s about bringing people together, you’ve got to be having fun yourself. Every week has been just really fun, Pen.\u003c/p>\n\u003cfigure id=\"attachment_13886181\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_7817-800x600.jpg\" alt=\"Ashleyanne Krigbaum and Pendarvis Harshaw\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_7817-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashleyanne Krigbaum and Pendarvis Harshaw\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.hardlystrictlybluegrass.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Hardly Strictly Bluegrass\u003c/a> would have been celebrating its 20th anniversary this year in Golden Gate Park, but because of the state of the world, the roots music festival is going online, with a virtual festival that combines new performance footage, archival videos and tributes from fans. Called “Let the Music Play On,” the livestreamed concert will feature Emmylou Harris, Buddy Miller, Steve Earle & the Halfgrass Dukes (featuring Tim O’Brien and Dennis Crouch), The War and Treaty, Yola, Allison Brown, John Doe and Amythyst Kiah. The rest of the lineup and details for where to watch will be announced in coming weeks. \u003c/p>\n\u003cp>As it ramps up for the Oct. 2–4 online concert, Hardly Strictly is supporting the local artist community through its \u003ca href=\"http://www.hardlystrictlybluegrass.com/2020/music-relief/\" rel=\"noopener noreferrer\" target=\"_blank\">COVID-19 relief fund\u003c/a>. The grant application is open through Sept. 14, and American roots musicians living in San Francisco, Alameda, Contra Costa, Marin, San Mateo or Sonoma counties are welcome to apply. Hardly Strictly plans to distribute $1.5 million through one-time grants of $2,000, and artists are free to use the money as they please to cover expenses while shows are canceled during the pandemic. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.hardlystrictlybluegrass.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Hardly Strictly Bluegrass\u003c/a> would have been celebrating its 20th anniversary this year in Golden Gate Park, but because of the state of the world, the roots music festival is going online, with a virtual festival that combines new performance footage, archival videos and tributes from fans. Called “Let the Music Play On,” the livestreamed concert will feature Emmylou Harris, Buddy Miller, Steve Earle & the Halfgrass Dukes (featuring Tim O’Brien and Dennis Crouch), The War and Treaty, Yola, Allison Brown, John Doe and Amythyst Kiah. The rest of the lineup and details for where to watch will be announced in coming weeks. \u003c/p>\n\u003cp>As it ramps up for the Oct. 2–4 online concert, Hardly Strictly is supporting the local artist community through its \u003ca href=\"http://www.hardlystrictlybluegrass.com/2020/music-relief/\" rel=\"noopener noreferrer\" target=\"_blank\">COVID-19 relief fund\u003c/a>. The grant application is open through Sept. 14, and American roots musicians living in San Francisco, Alameda, Contra Costa, Marin, San Mateo or Sonoma counties are welcome to apply. Hardly Strictly plans to distribute $1.5 million through one-time grants of $2,000, and artists are free to use the money as they please to cover expenses while shows are canceled during the pandemic. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Marcus Shelby, the composer, bandleader and bassist whose projects often intersect with politics and social issues, has been named the new artistic director of the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>Shelby replaces festival founder Jessica Felix, who announced her retirement in early August after 22 years.\u003c/p>\n\u003cp>“Jessica did an incredible job building the Healdsburg Jazz Festival with first-class talent, including national and local artists,” Shelby said in a statement. “She never dumbed down the programming to get more people to come. I’m looking forward to expanding her extraordinary legacy and also develop a fresh vision that reflects my interests and strengths.”\u003c/p>\n\u003cp>https://youtu.be/CwOZkMm3uGc\u003c/p>\n\u003cp>Indeed, Felix was such a passionate supporter of jazz that, 10 years ago, when the board of directors \u003ca href=\"http://citysound.bohemian.com/2010/07/29/healdsburg-jazz-festival-postponed-jessica-felix-ousted/\" target=\"_blank\" rel=\"noopener noreferrer\">removed her\u003c/a> in an effort to steer the festival toward more commercial programming, the outcry from musicians and fans was so great that she was soon \u003ca href=\"http://citysound.bohemian.com/tag/jessica-felix/\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a>.\u003c/p>\n\u003cp>But now, the lifelong jazz fan who got her start hosting living room concerts in her East Bay home said, “it’s time to be in the audience.”\u003c/p>\n\u003cp>A woefully incomplete list of the artists who have performed at the festival includes Pharoah Sanders, Charlie Haden, Bobby Hutcherson, Jackie McLean, Ravi Coltrane, Kenny Burrell, Esperanza Spalding, McCoy Tyner, Jack DeJohnette, Geri Allen, Randy Weston and Billy Hart. It also served as a launch pad for Julian Lage, the famed jazz guitarist who was just a local 12-year-old when he first performed at the festival with Charles Lloyd.\u003c/p>\n\u003cfigure id=\"attachment_13885600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg\" alt=\"Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival.\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1020x800.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1536x1205.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival. \u003ccite>(Courtesy Healdsburg Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to imagine a better successor for the festival than Shelby, who has worked with Felix for the past decade, frequently performing at the festival and developing special programming for local schools and choirs as part of its education and community outreach programs.\u003c/p>\n\u003cp>“He’s done a lot up here already and everybody loves him,” Felix said.\u003c/p>\n\u003cp>Shelby is also a composer-in-residence with the Yerba Buena Gardens Festival, a longtime collaborator and one-time artist-in-residence at SFJAZZ, and a teacher at the San Francisco Community Music Center. He was appointed to the San Francisco Arts Commission in 2014, where he still serves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a composer and bassist, Shelby’s recent musical projects have covered such social issues as the school-to-prison pipeline, and historical figures such as Harriet Tubman and Martin Luther King, Jr. In 2018, he \u003ca href=\"https://www.kqed.org/arts/13856830/sfjazz-resident-artistic-director-marcus-shelby-explores-blues-black-feminism-and-baseball\" target=\"_blank\" rel=\"noopener noreferrer\">premiered\u003c/a> \u003cem>Black Ball: The Negro Leagues and the Blues\u003c/em> in San Francisco.\u003c/p>\n\u003cp>Shelby knows he has big shoes to fill.\u003c/p>\n\u003cp>“I realize you can’t book everybody,” he said. “I’m really committed to making the most diverse festival possible, with the highest degree of talent. That’s always going to be my goal.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marcus Shelby, the composer, bandleader and bassist whose projects often intersect with politics and social issues, has been named the new artistic director of the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>Shelby replaces festival founder Jessica Felix, who announced her retirement in early August after 22 years.\u003c/p>\n\u003cp>“Jessica did an incredible job building the Healdsburg Jazz Festival with first-class talent, including national and local artists,” Shelby said in a statement. “She never dumbed down the programming to get more people to come. I’m looking forward to expanding her extraordinary legacy and also develop a fresh vision that reflects my interests and strengths.”\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/CwOZkMm3uGc'\n title='//www.youtube.com/embed/CwOZkMm3uGc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Indeed, Felix was such a passionate supporter of jazz that, 10 years ago, when the board of directors \u003ca href=\"http://citysound.bohemian.com/2010/07/29/healdsburg-jazz-festival-postponed-jessica-felix-ousted/\" target=\"_blank\" rel=\"noopener noreferrer\">removed her\u003c/a> in an effort to steer the festival toward more commercial programming, the outcry from musicians and fans was so great that she was soon \u003ca href=\"http://citysound.bohemian.com/tag/jessica-felix/\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a>.\u003c/p>\n\u003cp>But now, the lifelong jazz fan who got her start hosting living room concerts in her East Bay home said, “it’s time to be in the audience.”\u003c/p>\n\u003cp>A woefully incomplete list of the artists who have performed at the festival includes Pharoah Sanders, Charlie Haden, Bobby Hutcherson, Jackie McLean, Ravi Coltrane, Kenny Burrell, Esperanza Spalding, McCoy Tyner, Jack DeJohnette, Geri Allen, Randy Weston and Billy Hart. It also served as a launch pad for Julian Lage, the famed jazz guitarist who was just a local 12-year-old when he first performed at the festival with Charles Lloyd.\u003c/p>\n\u003cfigure id=\"attachment_13885600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg\" alt=\"Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival.\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1020x800.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1536x1205.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival. \u003ccite>(Courtesy Healdsburg Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to imagine a better successor for the festival than Shelby, who has worked with Felix for the past decade, frequently performing at the festival and developing special programming for local schools and choirs as part of its education and community outreach programs.\u003c/p>\n\u003cp>“He’s done a lot up here already and everybody loves him,” Felix said.\u003c/p>\n\u003cp>Shelby is also a composer-in-residence with the Yerba Buena Gardens Festival, a longtime collaborator and one-time artist-in-residence at SFJAZZ, and a teacher at the San Francisco Community Music Center. He was appointed to the San Francisco Arts Commission in 2014, where he still serves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a composer and bassist, Shelby’s recent musical projects have covered such social issues as the school-to-prison pipeline, and historical figures such as Harriet Tubman and Martin Luther King, Jr. In 2018, he \u003ca href=\"https://www.kqed.org/arts/13856830/sfjazz-resident-artistic-director-marcus-shelby-explores-blues-black-feminism-and-baseball\" target=\"_blank\" rel=\"noopener noreferrer\">premiered\u003c/a> \u003cem>Black Ball: The Negro Leagues and the Blues\u003c/em> in San Francisco.\u003c/p>\n\u003cp>Shelby knows he has big shoes to fill.\u003c/p>\n\u003cp>“I realize you can’t book everybody,” he said. “I’m really committed to making the most diverse festival possible, with the highest degree of talent. That’s always going to be my goal.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations",
"headTitle": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations | KQED",
"content": "\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Songwriter Justin Townes Earle, a Nashville native and a modern blues and country artist of rare talent, has died at 38 years old. He was the son of iconic Americana artist Steve Earle and Carol Ann Hunter Earle, his third wife. Named after Steve’s troubled friend Townes Van Zandt, Justin Townes channeled no small amount of darkness into songs that brimmed with life and old-world swing.\u003c/p>\n\u003cp>The news broke Sunday evening on the artist’s Facebook page \u003ca href=\"https://www.facebook.com/justintownesearle/photos/a.10155083744934865/10157797302184865/?type=3&theater\" rel=\"noopener noreferrer\" target=\"_blank\">with the statement\u003c/a>: “It is with tremendous sadness that we inform you of the passing of our son, husband, father and friend Justin. So many of you have relied on his music and lyrics over the years and we hope that his music will continue to guide you on your journeys. You will be missed dearly Justin.” No time or cause of death has yet been released.\u003c/p>\n\u003cp>Earle grew up in his mother’s home, largely estranged from his father for the first decade of his life. He started a couple of bands – ragtime and rock and roll – out of Nashville before launching a recording career with the EP \u003cem>Yuma\u003c/em> on Bloodshot Records in 2007. Eight albums later, he most recently put out \u003cem>The Saint Of Lost Causes\u003c/em> in 2019. He was name the Emerging Artist of the Year at the 2009 Americana Honors and Awards, and his album title track “Harlem River Blues” was Song of the Year for 2011. \u003c/p>\n\u003cp>Along the way, Earle struggled with some of the same addictions, including heroin, that beset his father, something he was candid about in numerous interviews. In 2010 \u003ca href=\"https://www.charlestoncitypaper.com/charleston/justin-townes-earle-talks-dope-bowties-and-subways/Content?oid=2528835\" rel=\"noopener noreferrer\" target=\"_blank\">he discussed\u003c/a> getting fired from Steve Earle’s own band in his teens because he couldn’t stay sober. “At the time, I’d been a junkie for a good portion of my life,” he said. “It’s kind of one of those things you just grow to expect when you have that lifestyle. You get fired. You lose things. You go to jail. You just kind of get used to it. It happens, even if it is family.”\u003c/p>\n\u003cp>Earle has said he was moved to want to write and perform music upon hearing Leadbelly at age 12, and his early music feels rooted in country blues and the honky tonk of Hank Williams. In the past ten years, we hear more moody electric embellishments, and Earle was admired in indie rock circles. But he was primarily a perceptive storyteller who made the hard and dark sides of life relatable and worthy of empathy. A fan of Woody Guthrie, he confronted injustice in his music as well, crafting the plight of Flint, Michigan’s poisoned drinking water into the snapping country rock tune “Don’t Drink The Water” on his most recent album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I believe as humans, we lose much more than we win,” Earle \u003ca href=\"https://www.scotsman.com/arts-and-culture/justin-townes-earle-battled-addiction-and-his-father-1515828\" rel=\"noopener noreferrer\" target=\"_blank\">told newspaper The Scottsman\u003c/a> in 2015. “And I realize that, when it comes right down to it, there’s nothing extraordinary about me. I just know how to lay words out. That’s what I know how to do in life, the rest of it I’m still pretty unsure about.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Justin Earle carved his own path and became a veteran of the most prestigious stages in country and roots music, including the Grand Ole Opry, Bonnaroo and the Bristol Rhythm & Roots Reunion. He left behind a vast number of admirers among fans, critics and fellow musicians.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Songwriter Justin Townes Earle, a Nashville native and a modern blues and country artist of rare talent, has died at 38 years old. He was the son of iconic Americana artist Steve Earle and Carol Ann Hunter Earle, his third wife. Named after Steve’s troubled friend Townes Van Zandt, Justin Townes channeled no small amount of darkness into songs that brimmed with life and old-world swing.\u003c/p>\n\u003cp>The news broke Sunday evening on the artist’s Facebook page \u003ca href=\"https://www.facebook.com/justintownesearle/photos/a.10155083744934865/10157797302184865/?type=3&theater\" rel=\"noopener noreferrer\" target=\"_blank\">with the statement\u003c/a>: “It is with tremendous sadness that we inform you of the passing of our son, husband, father and friend Justin. So many of you have relied on his music and lyrics over the years and we hope that his music will continue to guide you on your journeys. You will be missed dearly Justin.” No time or cause of death has yet been released.\u003c/p>\n\u003cp>Earle grew up in his mother’s home, largely estranged from his father for the first decade of his life. He started a couple of bands – ragtime and rock and roll – out of Nashville before launching a recording career with the EP \u003cem>Yuma\u003c/em> on Bloodshot Records in 2007. Eight albums later, he most recently put out \u003cem>The Saint Of Lost Causes\u003c/em> in 2019. He was name the Emerging Artist of the Year at the 2009 Americana Honors and Awards, and his album title track “Harlem River Blues” was Song of the Year for 2011. \u003c/p>\n\u003cp>Along the way, Earle struggled with some of the same addictions, including heroin, that beset his father, something he was candid about in numerous interviews. In 2010 \u003ca href=\"https://www.charlestoncitypaper.com/charleston/justin-townes-earle-talks-dope-bowties-and-subways/Content?oid=2528835\" rel=\"noopener noreferrer\" target=\"_blank\">he discussed\u003c/a> getting fired from Steve Earle’s own band in his teens because he couldn’t stay sober. “At the time, I’d been a junkie for a good portion of my life,” he said. “It’s kind of one of those things you just grow to expect when you have that lifestyle. You get fired. You lose things. You go to jail. You just kind of get used to it. It happens, even if it is family.”\u003c/p>\n\u003cp>Earle has said he was moved to want to write and perform music upon hearing Leadbelly at age 12, and his early music feels rooted in country blues and the honky tonk of Hank Williams. In the past ten years, we hear more moody electric embellishments, and Earle was admired in indie rock circles. But he was primarily a perceptive storyteller who made the hard and dark sides of life relatable and worthy of empathy. A fan of Woody Guthrie, he confronted injustice in his music as well, crafting the plight of Flint, Michigan’s poisoned drinking water into the snapping country rock tune “Don’t Drink The Water” on his most recent album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the National Endowment for the Arts announced its 2020 Jazz Masters Fellowship honorees last year, the Bay Area’s music community geared up to honor them at SFJAZZ with a concert and ceremony. Because of the pandemic, that celebration now taking place online.\u003c/p>\n\u003cp>Two of the four recipients of the prestigious honor and $25,000 grant made a deep impact on the Bay Area’s jazz scene. Saxophonist Roscoe Mitchell was a key figure in Chicago’s avant-garde jazz circles in the ’60s with the Art Ensemble of Chicago, and taught at Mills College’s until he retired in 2018. Bobby McFerrin, best known for the pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>Tonight at 5pm PDT, the celebration of the 2020 NEA Jazz Masters will stream on YouTube as a one-time-only concert hosted by the NEA and SFJAZZ. In addition to the honorees, acclaimed jazz musicians Christian McBride, Lisa Fischer, Ambrose Akinmusire, James Carter, Gerald Clayton, Vincent Davis, Oliver Lake, Taylor McFerrin and others will perform. 2017 NEA Jazz Master Dee Dee Bridgewater will host the event, which was coordinated by music director, drummer and composer Terri Lyne Carrington. A Q&A with SFJAZZ founder and executive artistic director Randall Kline will follow.\u003c/p>\n\u003cp>Watch the concert below or \u003ca href=\"https://youtu.be/IOKZjZFtcN4\" target=\"_blank\" rel=\"noopener noreferrer\">on the NEA’s YouTube channel\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen src=\"https://www.youtube.com/embed/IOKZjZFtcN4\" width=\"560\" height=\"315\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Two Men Charged in Cold Case Murder of Jam Master Jay",
"headTitle": "Two Men Charged in Cold Case Murder of Jam Master Jay | KQED",
"content": "\u003cp>Federal prosecutors Monday announced charges against two men alleged with killing Jason Mizell, better known as Jam Master Jay—the DJ for the seminal rap group Run-DMC. Mizell was shot inside a recording studio in 2002.\u003c/p>\n\u003cp>At a press conference, Seth DuCharme, the acting U.S. Attorney for the Eastern District of New York, named Karl Jordan Jr. and Ronald Washington as the alleged murderers. DuCharme didn’t go into detail about what led to the charges, but said, “Today we begin to answer that question, who killed Jason Mizell and why.”\u003c/p>\n\u003cp>According to newly filed court documents, the alleged murder was over a drug deal. Prosecutors say that Mizell was involved in trafficking cocaine across state lines, and that he had 10 kilograms of cocaine that Washington was supposed to sell in Maryland. Mizell then told Washington that he was being cut from the deal, which led to Washington and Jordan conspiring to kill him as retaliation. The two then allegedly entered the studio the night of the murder and “ultimately executed Mizell.”\u003c/p>\n\u003cp>As Jam Master Jay, Mizell was known as the backbone of Run-DMC, a group that was instrumental in bringing rap and hip hop into mainstream culture. Their third album, \u003cem>Raising Hell\u003c/em> (which featured hits like “It’s Tricky,” “My Adidas,” and “Walk This Way”), was the first rap album to go platinum, eventually reaching triple platinum status. Mizell also founded his own record label—JMJ Records—known for discovering such artists as Onyx and 50 Cent.\u003c/p>\n\u003cp>Mizell’s murder received on-and-off attention from authorities as well as \u003ca href=\"http://www.mtv.com/news/1576088/jam-master-jays-murder-a-timeline-and-the-key-players/\" target=\"_blank\" rel=\"noopener noreferrer\">the media\u003c/a>. The case was the center of a 2018 episode of the \u003ca href=\"https://www.youtube.com/watch?v=718bAMt_Qrk\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix documentary series \u003cem>ReMastered\u003c/em>,\u003c/a> that looked at not just the loose threads in the murder case but the lack of urgency from law enforcement in solving the killing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If charged, both Jordan and Washington face at least a 20 year prison sentence. Washington is currently serving time for robbery.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two+Men+Charged+in+Cold+Case+Murder+of+Jam+Master+Jay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Federal prosecutors Monday announced charges against two men alleged with killing Jason Mizell, better known as Jam Master Jay—the DJ for the seminal rap group Run-DMC. Mizell was shot inside a recording studio in 2002.\u003c/p>\n\u003cp>At a press conference, Seth DuCharme, the acting U.S. Attorney for the Eastern District of New York, named Karl Jordan Jr. and Ronald Washington as the alleged murderers. DuCharme didn’t go into detail about what led to the charges, but said, “Today we begin to answer that question, who killed Jason Mizell and why.”\u003c/p>\n\u003cp>According to newly filed court documents, the alleged murder was over a drug deal. Prosecutors say that Mizell was involved in trafficking cocaine across state lines, and that he had 10 kilograms of cocaine that Washington was supposed to sell in Maryland. Mizell then told Washington that he was being cut from the deal, which led to Washington and Jordan conspiring to kill him as retaliation. The two then allegedly entered the studio the night of the murder and “ultimately executed Mizell.”\u003c/p>\n\u003cp>As Jam Master Jay, Mizell was known as the backbone of Run-DMC, a group that was instrumental in bringing rap and hip hop into mainstream culture. Their third album, \u003cem>Raising Hell\u003c/em> (which featured hits like “It’s Tricky,” “My Adidas,” and “Walk This Way”), was the first rap album to go platinum, eventually reaching triple platinum status. Mizell also founded his own record label—JMJ Records—known for discovering such artists as Onyx and 50 Cent.\u003c/p>\n\u003cp>Mizell’s murder received on-and-off attention from authorities as well as \u003ca href=\"http://www.mtv.com/news/1576088/jam-master-jays-murder-a-timeline-and-the-key-players/\" target=\"_blank\" rel=\"noopener noreferrer\">the media\u003c/a>. The case was the center of a 2018 episode of the \u003ca href=\"https://www.youtube.com/watch?v=718bAMt_Qrk\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix documentary series \u003cem>ReMastered\u003c/em>,\u003c/a> that looked at not just the loose threads in the murder case but the lack of urgency from law enforcement in solving the killing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On Friday, federal prosecutors \u003ca href=\"https://www.justice.gov/usao-sdny/pr/r-kelly-s-manager-charged-placing-threatening-call-manhattan-theater\" target=\"_blank\" rel=\"noopener noreferrer\">charged\u003c/a> former R. Kelly manager Donnell Russell with calling in a gun threat to a New York advance screening of the Lifetime television docuseries \u003cem>Surviving R. Kelly \u003c/em>in December 2018.\u003c/p>\n\u003cp>The six-part series explored allegations that the fallen R&B star has sexually abused women and girls going back to the 1990s. The disrupted advance screening at New York’s NeueHouse theater was \u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\" target=\"_blank\" rel=\"noopener noreferrer\">scheduled\u003c/a> to include a panel discussion featuring several of Kelly’s accusers and #MeToo founder Tarana Burke, among others.\u003c/p>\n\u003cp>After the threat was called in, the screening was canceled and the theater was evacuated.\u003c/p>\n\u003cp>Russell, who was Kelly’s manager at the time of the incident, is being charged with two counts of threatening physical harm by interstate communication and conspiracy to do the same. Friday’s charges were filed by prosecutors for the Southern District of New York and the New York office of the FBI.\u003c/p>\n\u003cp>According to the prosecutors, Russell was in Chicago at the time of the screening. They say that on the day of the event, he worked with another individual, called “CC-1” in the court filing, to draft messages to a Lifetime executive that discouraged the network from airing the series. Prosecutors say that Russell also sent Neuehouse a purported “cease and desist” letter to stop the screening; called the New York Police Department and the fire department in an attempt to disrupt the screening; and finally contacted a Neuehouse employee by phone to say that there was a person in the theater with a gun who was prepared to shoot up the room.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These charges are separate from federal charges \u003ca href=\"https://www.npr.org/2020/08/12/901738670/three-r-kelly-associates-arrested-for-trying-to-bribe-intimidate-alleged-victims\" target=\"_blank\" rel=\"noopener noreferrer\">filed Wednesday\u003c/a> by the Eastern District of New York [EDNY] against Russell and two other Kelly associates, in which the men are accused of separate schemes to harass, threaten, intimidate and bribe several of Kelly’s alleged victims.[aside postid='arts_13884721']\u003c/p>\n\u003cp>The gun threat to the ‘Surviving R. Kelly’ series was mentioned in Wednesday’s charges from EDNY, but it was SDNY and the FBI who have levied charges related to that incident in particular.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday afternoon, EDNY magistrate judge Peggy Kuo approved a $75,000 bail package for Russell. He made his first appearance in front of an SDNY judge on Friday.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly%27s+Former+Manager+Charged+With+Gun+Threat+To+%27Surviving+R.+Kelly%27+Screening&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday, federal prosecutors \u003ca href=\"https://www.justice.gov/usao-sdny/pr/r-kelly-s-manager-charged-placing-threatening-call-manhattan-theater\" target=\"_blank\" rel=\"noopener noreferrer\">charged\u003c/a> former R. Kelly manager Donnell Russell with calling in a gun threat to a New York advance screening of the Lifetime television docuseries \u003cem>Surviving R. Kelly \u003c/em>in December 2018.\u003c/p>\n\u003cp>The six-part series explored allegations that the fallen R&B star has sexually abused women and girls going back to the 1990s. The disrupted advance screening at New York’s NeueHouse theater was \u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\" target=\"_blank\" rel=\"noopener noreferrer\">scheduled\u003c/a> to include a panel discussion featuring several of Kelly’s accusers and #MeToo founder Tarana Burke, among others.\u003c/p>\n\u003cp>After the threat was called in, the screening was canceled and the theater was evacuated.\u003c/p>\n\u003cp>Russell, who was Kelly’s manager at the time of the incident, is being charged with two counts of threatening physical harm by interstate communication and conspiracy to do the same. Friday’s charges were filed by prosecutors for the Southern District of New York and the New York office of the FBI.\u003c/p>\n\u003cp>According to the prosecutors, Russell was in Chicago at the time of the screening. They say that on the day of the event, he worked with another individual, called “CC-1” in the court filing, to draft messages to a Lifetime executive that discouraged the network from airing the series. Prosecutors say that Russell also sent Neuehouse a purported “cease and desist” letter to stop the screening; called the New York Police Department and the fire department in an attempt to disrupt the screening; and finally contacted a Neuehouse employee by phone to say that there was a person in the theater with a gun who was prepared to shoot up the room.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s no secret that the classical music world is very Eurocentric. Now, the San Francisco Conservatory of Music and the San Francisco Symphony are taking steps to expand its cultural viewpoint.\u003c/p>\n\u003cp>On Aug. 13, the two institutions announced a new initiative called \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScSkHoPkDV3Ebr3EkQ4VvCFil-YMp5d7C2H8pf2svrPWbfptw/viewform?vc=0&c=0&w=1\" target=\"_blank\" rel=\"noopener noreferrer\">The Emerging Black Composers Project\u003c/a>. They’re offering 10 composers $15,000 grants and mentorships with three lauded music directors: \u003ca href=\"https://www.kqed.org/arts/13849044/salonens-debut-sf-symphony-concert-shows-his-maverick-heart\" target=\"_blank\" rel=\"noopener noreferrer\">Esa-Pekka Salonen\u003c/a> of the San Francisco Symphony, \u003ca href=\"https://ww2.kqed.org/spark/michael-morgan/\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Morgan\u003c/a> of the Oakland East Bay Symphony and Edwin Outwater of SFCM.\u003c/p>\n\u003cp>Applications are now open to Black American composers who are U.S. citizens or permanent residents, and have degrees in music composition or performance (or the equivalent in professional experience). Composers have until Dec. 31 to apply, and their submissions will be judged by a blind panel that includes the three music directors; composer and pianist Anthony Davis; singer and SFCM faculty member Carmen Bradford; conductor and Music Director of the Berkeley Symphony Joseph Young; composer Germaine Franco; composer and SFCM faculty member Elinor Armer; and composer and conductor \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a>.\u003c/p>\n\u003cp>The first composer selected will be announced in the spring of 2021, and their work will be performed by either the San Francisco Symphony or the San Francisco Conservatory of Music in the 2021–’22 season. Details \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScSkHoPkDV3Ebr3EkQ4VvCFil-YMp5d7C2H8pf2svrPWbfptw/viewform?vc=0&c=0&w=1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"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?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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