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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": "\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>\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\u003c/div>\u003c/p>",
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"title": "Watch: NEA Jazz Masters Virtual Concert with Roscoe Mitchell, Bobby McFerrin",
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"content": "\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>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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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"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"title": "Mark Kozelek, of Sun Kil Moon and Red House Painters, Accused of Sexual Misconduct",
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"content": "\u003cp>\u003cem>\u003cstrong>Warning\u003c/strong>\u003c/em>\u003cem>: This article contains descriptions of alleged sexual assault and misconduct\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Three women have come forward with allegations of sexual misconduct against musician Mark Kozelek, who frequently performs as Sun Kil Moon. The accusations were published \u003ca href=\"https://pitchfork.com/news/mark-kozelek-of-sun-kil-moon-accused-of-sexual-misconduct-by-three-women/\" target=\"_blank\" rel=\"noopener noreferrer\">by Pitchfork on Thursday in a report by Amy Zimmerman\u003c/a>.\u003c/p>\n\u003cp>When reached by NPR, a representative responded that Kozelek was not available to comment on the allegations. In its piece, Pitchfork reported that it reached out to Kozelek and his representatives over a dozen times over a period of months seeking comment, and that none of its messages were returned.[aside postid='arts_13883674']\u003c/p>\n\u003cp>A mental health specialist who lives in Los Angeles named Sarah Catherine Golden told Pitchfork that she met Kozelek in 2017 while traveling. After talking with her at one of Kozelek’s shows, she told Pitchfork, he invited her back to his hotel. Once at the hotel, she recounted to the website, Kozelek got undressed and asked her to get into bed with him. According to Golden, when she declined he began masturbating, groped her and attempted to kiss her. She also accused Kozelek of forcibly putting her hand on his penis.\u003c/p>\n\u003cp>Another woman, who used the pseudonym Andrea in Pitchfork’s reporting, says she met Kozelek in 2014, when she was 19. She described a relationship with Kozelek that lasted several months and began with Kozelek exposing herself and intercourse that, she told a friend in a Facebook message the next day, “wasn’t really consensual.” The woman described some of her later encounters with Kozelek as consensual, but told Pitchfork that there were others where “the lines [were] really blurred.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pitchfork also reported a third allegation, from a woman musician who asked not to be named. She alleges that Kozelek “invited her and another female musician to his hotel room after a festival in 2014 and acted inappropriately with her as well.” No other details were provided.[aside postid='arts_13883723']\u003c/p>\n\u003cp>Kozelek is best known as the singer and guitarist of the pioneering slowcore band Red House Painters, with whom he released six studio albums, and for the music he has released more recently under the moniker Sun Kil Moon. He has also drawn attention for antagonizing other artists (as he did with a largely one-sided feud with The War On Drugs in 2014), mocking his fans (as he did at Hopscotch Festival in 2014, calling the crowd \u003ca href=\"https://pitchfork.com/news/56588-mark-kozelek-tells-fucking-hillbilly-audience-to-shut-the-fuck-up/\" target=\"_blank\" rel=\"noopener noreferrer\">“f****** hillbillies”\u003c/a>) and for harassing female journalists, including Pitchfork’s Allison Hussey and \u003cem>The Guardian\u003c/em> critic Laura Snapes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Three months after Golden’s alleged assault, according to Pitchfork, she emailed Kozelek and said, in part, “Do you know that you were really inappropriate? As in, you broke me…You put my hand on your d***. I froze. I was so stuck there.” He reportedly did not email her back.\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=Mark+Kozelek%2C+Of+Sun+Kil+Moon+And+Red+House+Painters%2C+Accused+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Warning\u003c/strong>\u003c/em>\u003cem>: This article contains descriptions of alleged sexual assault and misconduct\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Three women have come forward with allegations of sexual misconduct against musician Mark Kozelek, who frequently performs as Sun Kil Moon. The accusations were published \u003ca href=\"https://pitchfork.com/news/mark-kozelek-of-sun-kil-moon-accused-of-sexual-misconduct-by-three-women/\" target=\"_blank\" rel=\"noopener noreferrer\">by Pitchfork on Thursday in a report by Amy Zimmerman\u003c/a>.\u003c/p>\n\u003cp>When reached by NPR, a representative responded that Kozelek was not available to comment on the allegations. In its piece, Pitchfork reported that it reached out to Kozelek and his representatives over a dozen times over a period of months seeking comment, and that none of its messages were returned.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kozelek is best known as the singer and guitarist of the pioneering slowcore band Red House Painters, with whom he released six studio albums, and for the music he has released more recently under the moniker Sun Kil Moon. He has also drawn attention for antagonizing other artists (as he did with a largely one-sided feud with The War On Drugs in 2014), mocking his fans (as he did at Hopscotch Festival in 2014, calling the crowd \u003ca href=\"https://pitchfork.com/news/56588-mark-kozelek-tells-fucking-hillbilly-audience-to-shut-the-fuck-up/\" target=\"_blank\" rel=\"noopener noreferrer\">“f****** hillbillies”\u003c/a>) and for harassing female journalists, including Pitchfork’s Allison Hussey and \u003cem>The Guardian\u003c/em> critic Laura Snapes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Three months after Golden’s alleged assault, according to Pitchfork, she emailed Kozelek and said, in part, “Do you know that you were really inappropriate? As in, you broke me…You put my hand on your d***. I froze. I was so stuck there.” He reportedly did not email her back.\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=Mark+Kozelek%2C+Of+Sun+Kil+Moon+And+Red+House+Painters%2C+Accused+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Slim’s, the San Francisco nightclub that presented an eclectic array of live rock, blues, jazz, folk, R&B and rap artists for over 30 years, has been sold to new owners promising to book “mostly EDM, Top 40 DJs” and “no live band[s] like what Slim’s had.”\u003c/p>\n\u003cp>The new club in the former Slim’s location at 333 11th Street will be called YOLO, according to a permit application to the City of San Francisco. The application also promises a dress code, ropes or barricades for lines at the front entrance, and security staff in suits and ties. The new owners, Michael Hu and Peter Lin, have been co-owners for the past eight years of \u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pure Nightclub\u003c/a> in downtown Sunnyvale, a lounge concept club with VIP sections and bottle service. It looks like \u003ca href=\"https://www.purenightclub408.com/\" rel=\"noopener noreferrer\" target=\"_blank\">this\u003c/a>.\u003c/p>\n\u003cp>In other words, it’s not at all like Slim’s, whose \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">closure in March\u003c/a> marked the beginning of the pandemic and the end of a Bay Area institution. In its three-decade run, Slim’s hosted a constant stream of live bands, including intimate shows by Radiohead, Prince, Coldplay, Bruno Mars and thousands of others inside its brick walls.\u003c/p>\n\u003cp>That type of booking, which cemented Slim’s as an “iconic space, and historic space,” as entertainment commissioner Steven Lee put it in \u003ca href=\"https://sanfrancisco.granicus.com/MediaPlayer.php?view_id=99&clip_id=36319\" target=\"_blank\" rel=\"noopener noreferrer\">an Aug. 4 permit approval meeting\u003c/a>, does not extend to the club’s new format. YOLO’s booking will tag-team with Pure Nightclub, Wu announced in the permit meeting, with the same DJs playing alternating weekend nights at both clubs.\u003c/p>\n\u003cp>While Top 40 and EDM DJs \u003ca href=\"https://www.purenightclub408.com/hall-of-fame/\" target=\"_blank\" rel=\"noopener noreferrer\">are a staple\u003c/a> at Pure, the club has also held afterparties “hosted” by well-known rappers and R&B stars (past afterparties have included DaBaby, YG, Blueface and Nipsey Hussle)—not so much a full concert but an appearance, during which a small handful of songs might be performed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Central to YOLO’s permit application is the questionable assertion that “the music output from a DJ performance will be much less than a live band,” presumably referring to the greater control a club has over the volume of a DJ, versus a band’s amplifiers and drums.\u003c/p>\n\u003cp>However, as commissioner Laura Thomas pointed out in the meeting, the commission has for years received no sound complaints about Slim’s due to the installation of extensive soundproofing in the building, which YOLO aims to keep in place. The primary issue causing “a long series of complaints,” which other commissioners echoed, has been people congregating around and leaving the street’s clubs and bars loudly at late hours.\u003c/p>\n\u003cp>Wu said he had not yet spoken with any residential neighbors, and was strongly advised by the commission to do so. (Wu also added that, due to the pandemic, “I don’t see us opening anytime soon.”) YOLO is asking to retain the Extended Hours Premises permit granted to Slim’s, which would allow the club to stay open until 4am—an option the owners say they’d like to have, but would not exercise often, claiming that most events would end by 2am.\u003c/p>\n\u003cp>Not discussed during the meeting was the section in the permit application about YOLO’s dress code, which openly states that “our dress code is merely a tool to use to deny unwanted guests,” and bans sports apparel and baggy or oversized clothes. The application also provides that YOLO’s dress code could change based on “the type of events we’ll have.” \u003c/p>\n\u003cp>Just before Wu and Lin received conditional approval for their permits, a lone comment from the public was read: “Would you still have live music like Slim’s did? There aren’t enough rock venues in the city.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question went unanswered, and the meeting moved to the next item on the agenda.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Slim’s, the San Francisco nightclub that presented an eclectic array of live rock, blues, jazz, folk, R&B and rap artists for over 30 years, has been sold to new owners promising to book “mostly EDM, Top 40 DJs” and “no live band[s] like what Slim’s had.”\u003c/p>\n\u003cp>The new club in the former Slim’s location at 333 11th Street will be called YOLO, according to a permit application to the City of San Francisco. The application also promises a dress code, ropes or barricades for lines at the front entrance, and security staff in suits and ties. The new owners, Michael Hu and Peter Lin, have been co-owners for the past eight years of \u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pure Nightclub\u003c/a> in downtown Sunnyvale, a lounge concept club with VIP sections and bottle service. It looks like \u003ca href=\"https://www.purenightclub408.com/\" rel=\"noopener noreferrer\" target=\"_blank\">this\u003c/a>.\u003c/p>\n\u003cp>In other words, it’s not at all like Slim’s, whose \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">closure in March\u003c/a> marked the beginning of the pandemic and the end of a Bay Area institution. In its three-decade run, Slim’s hosted a constant stream of live bands, including intimate shows by Radiohead, Prince, Coldplay, Bruno Mars and thousands of others inside its brick walls.\u003c/p>\n\u003cp>That type of booking, which cemented Slim’s as an “iconic space, and historic space,” as entertainment commissioner Steven Lee put it in \u003ca href=\"https://sanfrancisco.granicus.com/MediaPlayer.php?view_id=99&clip_id=36319\" target=\"_blank\" rel=\"noopener noreferrer\">an Aug. 4 permit approval meeting\u003c/a>, does not extend to the club’s new format. YOLO’s booking will tag-team with Pure Nightclub, Wu announced in the permit meeting, with the same DJs playing alternating weekend nights at both clubs.\u003c/p>\n\u003cp>While Top 40 and EDM DJs \u003ca href=\"https://www.purenightclub408.com/hall-of-fame/\" target=\"_blank\" rel=\"noopener noreferrer\">are a staple\u003c/a> at Pure, the club has also held afterparties “hosted” by well-known rappers and R&B stars (past afterparties have included DaBaby, YG, Blueface and Nipsey Hussle)—not so much a full concert but an appearance, during which a small handful of songs might be performed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Central to YOLO’s permit application is the questionable assertion that “the music output from a DJ performance will be much less than a live band,” presumably referring to the greater control a club has over the volume of a DJ, versus a band’s amplifiers and drums.\u003c/p>\n\u003cp>However, as commissioner Laura Thomas pointed out in the meeting, the commission has for years received no sound complaints about Slim’s due to the installation of extensive soundproofing in the building, which YOLO aims to keep in place. The primary issue causing “a long series of complaints,” which other commissioners echoed, has been people congregating around and leaving the street’s clubs and bars loudly at late hours.\u003c/p>\n\u003cp>Wu said he had not yet spoken with any residential neighbors, and was strongly advised by the commission to do so. (Wu also added that, due to the pandemic, “I don’t see us opening anytime soon.”) YOLO is asking to retain the Extended Hours Premises permit granted to Slim’s, which would allow the club to stay open until 4am—an option the owners say they’d like to have, but would not exercise often, claiming that most events would end by 2am.\u003c/p>\n\u003cp>Not discussed during the meeting was the section in the permit application about YOLO’s dress code, which openly states that “our dress code is merely a tool to use to deny unwanted guests,” and bans sports apparel and baggy or oversized clothes. The application also provides that YOLO’s dress code could change based on “the type of events we’ll have.” \u003c/p>\n\u003cp>Just before Wu and Lin received conditional approval for their permits, a lone comment from the public was read: “Would you still have live music like Slim’s did? There aren’t enough rock venues in the city.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question went unanswered, and the meeting moved to the next item on the agenda.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Three associates of fallen R&B star R. Kelly were arrested and charged Tuesday by New York federal authorities. The three are being accused of attempting to harass, threaten, intimidate and bribe several of Kelly’s alleged victims of sexual abuse.\u003c/p>\n\u003cp>The men are 31-year-old Richard Arline, Jr. a self-described friend of the singer; Donnell Russell, 45, a self-described “manager, advisor and friend” of Kelly; and Michael Williams, age 37, whom prosecutors say is a relative of one of Kelly’s former publicists.\u003c/p>\n\u003cp>The charges were filed in the Eastern District of New York [EDNY]. According to prosecutors, Arline tried to bribe one of Kelly’s alleged victims earlier this year with a proposed payment of $500,000, in order to keep her from cooperating with the government and testifying against Kelly at trial. Prosecutors also say that Arline claimed that he has been in touch with Kelly, while he is being held in custody, via a three-way phone call.\u003c/p>\n\u003cp>Russell, prosecutors say, tried to harass and intimidate another alleged Kelly victim and her mother between November 2018 and February of this year, after the woman filed a civil lawsuit against the singer. They accuse Russell of threatening to release sexually explicit photos of the woman, and to reveal elements of her sexual history, if she did not withdraw the suit. [aside postid='pop_104682']\u003c/p>\n\u003cp>The prosecutors say that Russell, using an alias, also sent versions of those photos to producers and executives at Lifetime and A&E television on Dec. 4, 2018—the day that Lifetime was to hold an advance screening of part of its \u003cem>Surviving R. Kelly \u003c/em>docuseries. That screening and a panel discussion was canceled due to a gun threat that was called in shortly before the event was to take place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Williams is charged with setting fire on June 11 to an SUV that was parked outside of a residence where one of Kelly’s alleged victims was staying in Florida; the SUV was leased by the woman’s father. According to prosecutors, investigators also found a fire accelerant around the residence. Additionally, prosecutors say, Williams searched the internet for information about the flammability of fertilizer and diesel fuel; materials about witness intimidation and tampering; and information about countries that do not have extradition treaties with the U.S.\u003c/p>\n\u003cp>Almost immediately after the charges against the men were announced on Wednesday, one of Kelly’s attorneys, Steve Greenberg, posted on \u003ca href=\"https://twitter.com/SGcrimlaw/status/1293582381610340355?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>: “Without question, Robert Kelly had nothing to do with any of these alleged acts by those charged. He hasn’t attempted to intimidate anyone, or encouraged anyone else to do so. No involvement whatsoever.” [aside postid='pop_108417']\u003c/p>\n\u003cp>The New York prosecutors had already alleged that Kelly and his associates—including “managers, bodyguards, drivers, personal assistants and runners for Kelly, as well as members of Kelly’s entourage”—were acting as an \u003ca href=\"https://www.npr.org/2020/03/13/815500741/new-york-federal-prosecutors-file-new-charges-against-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">organized crime ring\u003c/a>.\u003c/p>\n\u003cp>They have also contended that Kelly obstructed justice by destroying evidence and bribing witnesses during his last criminal trial, which ended with a not guilty verdict in Chicago in 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kelly is currently facing two sets of federal criminal charges: one from EDNY and the other in Illinois. In total, these comprise 22 charges for allegedly abusing 11 girls and women over the course of more than two decades, from 1994 to 2018.\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=Three+R.+Kelly+Associates+Arrested+For+Trying+To+Bribe%2C+Intimidate+Alleged+Victims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The New York prosecutors had already alleged that Kelly and his associates—including “managers, bodyguards, drivers, personal assistants and runners for Kelly, as well as members of Kelly’s entourage”—were acting as an \u003ca href=\"https://www.npr.org/2020/03/13/815500741/new-york-federal-prosecutors-file-new-charges-against-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">organized crime ring\u003c/a>.\u003c/p>\n\u003cp>They have also contended that Kelly obstructed justice by destroying evidence and bribing witnesses during his last criminal trial, which ended with a not guilty verdict in Chicago in 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kelly is currently facing two sets of federal criminal charges: one from EDNY and the other in Illinois. In total, these comprise 22 charges for allegedly abusing 11 girls and women over the course of more than two decades, from 1994 to 2018.\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=Three+R.+Kelly+Associates+Arrested+For+Trying+To+Bribe%2C+Intimidate+Alleged+Victims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"order": 10
},
"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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