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"content": "\u003cp>Since shelter in place started, I’ve lost my taste for mainstream pop songs.\u003c/p>\n\u003cp>At first, being home alone 24/7 made me antsy. But now, instead of hustling from work to gym to party, I’m meditating, journaling and trying to become fascinated with my inner life instead of fixating on a stressful external world I can’t control.\u003c/p>\n\u003cp>I noticed my listening habits changing along with this shift in lifestyle. Pop songs packaged into a neat 3.5 minutes feel too structured and rushed when there’s nowhere to be. And the lyrics of mainstream releases describe things that belong to the old world. None of us are going to clubs and dancing with friends or strangers; relationships have taken on completely new shapes.\u003c/p>\n\u003cp>When this all started, I turned to an old favorite album, \u003ca href=\"https://www.npr.org/2018/02/06/582178492/meditating-on-the-healing-power-of-alice-coltranes-journey-in-satchidananda\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Journey in Satchidananda\u003c/em>\u003c/a> by Alice Coltrane, featuring avant-garde saxophonist Pharoah Sanders. Glittering with Coltrane’s resonant harp playing, the album’s mood is uplifting yet pensive, contemplative yet serene—a perfect soundtrack for making peace with a difficult reality while hopefully looking towards the future. Coltrane composed it shortly after the death of her husband, the legendary saxophonist John Coltrane, and it marked the start of a spiritual journey that eventually led to her opening an ashram in Southern California.\u003c/p>\n\u003cp>Playing that album on repeat renewed my appreciation for longwinded sonic explorations. My playlists suddenly became full of Coltrane, Sanders, trumpet player Don Cherry and pianist Lonnie Liston Smith, all top-tier jazz players whose music took a spiritual, psychedelic bend in the ’70s. That eventually led me to Nigerian disco and Afrobeat, Brazilian tropical house and other genres with funky pulses, smooth grooves and luxuriously lengthy runtimes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With Oakland-based streaming service \u003ca href=\"https://bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> waiving its fees on May 1 so that 100% of sales go to independent artists and labels affected by the pandemic, what better time to indulge in unhurried, mood-elevating and escapist tunes? Here are some recommendations sure to inspire a little joy and maybe a kitchen dance party—something we all need right now.\u003c/p>\n\u003ch2>Orlando Julius, \u003cem>Disco Hi-Life\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2352894750/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>When COVID-19 anxiety begins to fill your brain, Orlando Julius’ \u003cem>Disco Hi-Life\u003c/em> is an antidote best administered immediately and in large doses. The title track’s brilliant groove, sprightly horns, and uncomplicated, celebratory lyrics all come together in a propulsive dance floor jam that will keep you moving for all nine minutes of its duration. The Nigerian Afro-soul saxophonist, composer and singer originally recorded the project for Unicef in celebration of 1979’s status as International Year of the Child, and the record was only pressed in small, promotional batches. But \u003cem>Disco Hi-Life\u003c/em> quickly transcended its originally narrow audience, with French label Hot Casa Records rereleasing the album in 2014.\u003c/p>\n\u003ch2>Brijean, \u003ci>Walkie Talkie\u003c/i>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1625707333/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Top-notch auxiliary percussion makes a welcome appearance in the ebullient house, disco and funk-inflected tunes of Brijean, a collaboration between Oakland conga wizard Brijean Murphy and producer Doug Stuart, best known for his work in the jazzy indie pop band Bells Atlas. \u003cem>Walkie Talkie\u003c/em>, Brijean’s 2019 EP, pairs sepia-toned, ’70s synths with hip-shaking rhythms. Murphy’s impressively elaborate conga work is the standout element (she even adorably whispers “Nailed it!” after a solo on lead single “Show and Tell”). \u003cem>Walkie Talkie\u003c/em> is as fun as it is dynamic.\u003c/p>\n\u003ch2>The Mattson 2, \u003cem>Mattson 2 Play a Love Supreme\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1134656116/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Identical twins The Mattson 2 made a bold move when they decided to cover John Coltrane’s \u003cem>A Love Supreme\u003c/em>, one of the most revered recordings in jazz history. On the exalted 1965 album, Coltrane channels a higher power through improvisation on saxophone (as the historic St. John Coltrane Church in San Francisco attests), and so the Mattson 2 tap into a spiritual musical connection they call “twinchronicity” in their 2018 version. The Los Angeles brothers reimagine the project with synths and guitars, rather than brass, as the main melodic instruments, injecting \u003cem>A Love Supreme\u003c/em> with a warbly, psychedelic contemporary feel.\u003c/p>\n\u003ch2>Xuxa Santamaria, \u003ci>Chancletas D’Oro\u003c/i>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4072831390/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland duo Xuxa Santamaria brings the drama on \u003cem>Chancletas D’Oro\u003c/em>, an ambitious album where high-energy rhythms and moody synths interplay like dappled light. In their danceable, bilingual Spanish-English pop, the group explores—and sometimes twists, sometimes dismantles—narratives about women in myth and history, questioning gender roles that promote submissiveness and subjugation. A disco pulse mingles with darkwave reverberations, and even trap drums occasionally sneak in. \u003cem>Chanceltas D’Oro\u003c/em> is an achievement for the ways it collapses the space between styles, cultures and even points in history to create a singular sound and concept.\u003c/p>\n\u003ch2>Chit Chat Records, \u003cem>Brazilian Compilation Series Vol. 1 & 2\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3475982109/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Los Angeles label Chit Chat Records recruited São Paulo dance duo Fatnotronic to curate two effervescent compilations with an eclectic array of remixes of ’70s Brazilian disco and boogie tracks. Released in 2015 and ’17, the series features L.A. duo Poolside (fun fact: aforementioned Brijean Murphy tours with them as a live percussionist), Daniel.T and Tony Adams. The sonic equivalent of a catnap on the beach, these comps are flush with warm tones, live horns and violins and rhythms that transport you to a balmy, seaside discotheque with a sweaty glass in hand.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since shelter in place started, I’ve lost my taste for mainstream pop songs.\u003c/p>\n\u003cp>At first, being home alone 24/7 made me antsy. But now, instead of hustling from work to gym to party, I’m meditating, journaling and trying to become fascinated with my inner life instead of fixating on a stressful external world I can’t control.\u003c/p>\n\u003cp>I noticed my listening habits changing along with this shift in lifestyle. Pop songs packaged into a neat 3.5 minutes feel too structured and rushed when there’s nowhere to be. And the lyrics of mainstream releases describe things that belong to the old world. None of us are going to clubs and dancing with friends or strangers; relationships have taken on completely new shapes.\u003c/p>\n\u003cp>When this all started, I turned to an old favorite album, \u003ca href=\"https://www.npr.org/2018/02/06/582178492/meditating-on-the-healing-power-of-alice-coltranes-journey-in-satchidananda\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Journey in Satchidananda\u003c/em>\u003c/a> by Alice Coltrane, featuring avant-garde saxophonist Pharoah Sanders. Glittering with Coltrane’s resonant harp playing, the album’s mood is uplifting yet pensive, contemplative yet serene—a perfect soundtrack for making peace with a difficult reality while hopefully looking towards the future. Coltrane composed it shortly after the death of her husband, the legendary saxophonist John Coltrane, and it marked the start of a spiritual journey that eventually led to her opening an ashram in Southern California.\u003c/p>\n\u003cp>Playing that album on repeat renewed my appreciation for longwinded sonic explorations. My playlists suddenly became full of Coltrane, Sanders, trumpet player Don Cherry and pianist Lonnie Liston Smith, all top-tier jazz players whose music took a spiritual, psychedelic bend in the ’70s. That eventually led me to Nigerian disco and Afrobeat, Brazilian tropical house and other genres with funky pulses, smooth grooves and luxuriously lengthy runtimes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Oakland-based streaming service \u003ca href=\"https://bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> waiving its fees on May 1 so that 100% of sales go to independent artists and labels affected by the pandemic, what better time to indulge in unhurried, mood-elevating and escapist tunes? Here are some recommendations sure to inspire a little joy and maybe a kitchen dance party—something we all need right now.\u003c/p>\n\u003ch2>Orlando Julius, \u003cem>Disco Hi-Life\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2352894750/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>When COVID-19 anxiety begins to fill your brain, Orlando Julius’ \u003cem>Disco Hi-Life\u003c/em> is an antidote best administered immediately and in large doses. The title track’s brilliant groove, sprightly horns, and uncomplicated, celebratory lyrics all come together in a propulsive dance floor jam that will keep you moving for all nine minutes of its duration. The Nigerian Afro-soul saxophonist, composer and singer originally recorded the project for Unicef in celebration of 1979’s status as International Year of the Child, and the record was only pressed in small, promotional batches. But \u003cem>Disco Hi-Life\u003c/em> quickly transcended its originally narrow audience, with French label Hot Casa Records rereleasing the album in 2014.\u003c/p>\n\u003ch2>Brijean, \u003ci>Walkie Talkie\u003c/i>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1625707333/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Top-notch auxiliary percussion makes a welcome appearance in the ebullient house, disco and funk-inflected tunes of Brijean, a collaboration between Oakland conga wizard Brijean Murphy and producer Doug Stuart, best known for his work in the jazzy indie pop band Bells Atlas. \u003cem>Walkie Talkie\u003c/em>, Brijean’s 2019 EP, pairs sepia-toned, ’70s synths with hip-shaking rhythms. Murphy’s impressively elaborate conga work is the standout element (she even adorably whispers “Nailed it!” after a solo on lead single “Show and Tell”). \u003cem>Walkie Talkie\u003c/em> is as fun as it is dynamic.\u003c/p>\n\u003ch2>The Mattson 2, \u003cem>Mattson 2 Play a Love Supreme\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1134656116/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Identical twins The Mattson 2 made a bold move when they decided to cover John Coltrane’s \u003cem>A Love Supreme\u003c/em>, one of the most revered recordings in jazz history. On the exalted 1965 album, Coltrane channels a higher power through improvisation on saxophone (as the historic St. John Coltrane Church in San Francisco attests), and so the Mattson 2 tap into a spiritual musical connection they call “twinchronicity” in their 2018 version. The Los Angeles brothers reimagine the project with synths and guitars, rather than brass, as the main melodic instruments, injecting \u003cem>A Love Supreme\u003c/em> with a warbly, psychedelic contemporary feel.\u003c/p>\n\u003ch2>Xuxa Santamaria, \u003ci>Chancletas D’Oro\u003c/i>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4072831390/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland duo Xuxa Santamaria brings the drama on \u003cem>Chancletas D’Oro\u003c/em>, an ambitious album where high-energy rhythms and moody synths interplay like dappled light. In their danceable, bilingual Spanish-English pop, the group explores—and sometimes twists, sometimes dismantles—narratives about women in myth and history, questioning gender roles that promote submissiveness and subjugation. A disco pulse mingles with darkwave reverberations, and even trap drums occasionally sneak in. \u003cem>Chanceltas D’Oro\u003c/em> is an achievement for the ways it collapses the space between styles, cultures and even points in history to create a singular sound and concept.\u003c/p>\n\u003ch2>Chit Chat Records, \u003cem>Brazilian Compilation Series Vol. 1 & 2\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3475982109/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Los Angeles label Chit Chat Records recruited São Paulo dance duo Fatnotronic to curate two effervescent compilations with an eclectic array of remixes of ’70s Brazilian disco and boogie tracks. 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"content": "\u003cp>The San Francisco Symphony on Wednesday announced the cancellation of all concerts remaining in its 2019-20 season as well as pay cuts affecting nearly 200 workers due to shelter-in-place orders to curb the spread of the novel coronavirus. [aside postID=arts_13865435,arts_13876535,arts_13877348]\u003c/p>\n\u003cp>The move to call off programming through Aug. 1 brings the symphony’s total number of canceled events to 64 and represents a step further than most arts presenters have taken. It comes a day after California Governor Gavin Newsom said at a press conference that concerts won’t resume until the final phase of reopening the economy—still months away.\u003c/p>\n\u003cp>Because the season marks the end of Michael Tilson Thomas’ quarter century tenure as music director, the symphony is also launching a 25-day “digital celebration” of his career. In a statement, Thomas said that the season’s cancellation saddens him greatly. “We would have been performing essential works in which we have developed our special sound, style and collaboration.”\u003c/p>\n\u003cp>The symphony has been dormant since the second week of March, when local officials forbade non-essential gatherings in city-owned facilities. According to the announcement, the symphony faces more than $13 million in lost revenue and $5.4 million in net losses due to the cancellations of Davies Symphony Hall and SoundBox events as well as a three-week tour to New York and Europe.\u003c/p>\n\u003cp>To counter the losses, the symphony is implementing what leadership in the statement call “shared sacrifice” reductions: Stagehands, staff and members of the orchestra and chorus have agreed to salary reductions averaging 25 percent in effect from April 19 to Sept. 5. Thomas will not be compensated for canceled concerts. All workers retain healthcare and insurance benefits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A symphony spokesperson confirmed the pay reductions impact nearly 200 workers, saying senior leadership is taking the “highest cuts.” The spokesperson also said the organization applied for and has received funds through the federal CARES Act.\u003c/p>\n\u003cp>In a statement, chief executive Mark Hanson described the plan as balancing individual and institutional needs. “Our top priority from the very beginning of the COVID-19 pandemic has been to take care of the people who are the San Francisco Symphony family,” Hanson said.\u003c/p>\n\u003cp>Like most performing arts groups, the symphony is encouraging ticketholders to donate the cost of their tickets or to ask for a gift certificate for the value of their tickets. A group of board members and donors have pledged to match ticket donations through an initial $1 million fund.\u003c/p>\n\u003cp>According to its 2018-19 season impact report, the symphony derives 35 percent of its operating revenue from ticket sales and runs on an $80 million annual budget. The nonprofit organization disclosed net assets worth $321,864,438 on its most recent publicly available tax return form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco arts organizations project losing up to $73 million in earned income and donations if—as the symphony is now anticipating—the novel coronavirus crisis proceeds through the summer, according to the results of a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey\u003c/a> of 145 local groups released in March.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The move to call off programming through Aug. 1 brings the symphony’s total number of canceled events to 64 and represents a step further than most arts presenters have taken. It comes a day after California Governor Gavin Newsom said at a press conference that concerts won’t resume until the final phase of reopening the economy—still months away.\u003c/p>\n\u003cp>Because the season marks the end of Michael Tilson Thomas’ quarter century tenure as music director, the symphony is also launching a 25-day “digital celebration” of his career. In a statement, Thomas said that the season’s cancellation saddens him greatly. “We would have been performing essential works in which we have developed our special sound, style and collaboration.”\u003c/p>\n\u003cp>The symphony has been dormant since the second week of March, when local officials forbade non-essential gatherings in city-owned facilities. According to the announcement, the symphony faces more than $13 million in lost revenue and $5.4 million in net losses due to the cancellations of Davies Symphony Hall and SoundBox events as well as a three-week tour to New York and Europe.\u003c/p>\n\u003cp>To counter the losses, the symphony is implementing what leadership in the statement call “shared sacrifice” reductions: Stagehands, staff and members of the orchestra and chorus have agreed to salary reductions averaging 25 percent in effect from April 19 to Sept. 5. Thomas will not be compensated for canceled concerts. All workers retain healthcare and insurance benefits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A symphony spokesperson confirmed the pay reductions impact nearly 200 workers, saying senior leadership is taking the “highest cuts.” The spokesperson also said the organization applied for and has received funds through the federal CARES Act.\u003c/p>\n\u003cp>In a statement, chief executive Mark Hanson described the plan as balancing individual and institutional needs. “Our top priority from the very beginning of the COVID-19 pandemic has been to take care of the people who are the San Francisco Symphony family,” Hanson said.\u003c/p>\n\u003cp>Like most performing arts groups, the symphony is encouraging ticketholders to donate the cost of their tickets or to ask for a gift certificate for the value of their tickets. A group of board members and donors have pledged to match ticket donations through an initial $1 million fund.\u003c/p>\n\u003cp>According to its 2018-19 season impact report, the symphony derives 35 percent of its operating revenue from ticket sales and runs on an $80 million annual budget. The nonprofit organization disclosed net assets worth $321,864,438 on its most recent publicly available tax return form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco arts organizations project losing up to $73 million in earned income and donations if—as the symphony is now anticipating—the novel coronavirus crisis proceeds through the summer, according to the results of a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey\u003c/a> of 145 local groups released in March.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While the world has gone relatively quiet amid the coronavirus pandemic, International Jazz Day plans on bringing some joyful sounds from across the globe together in celebration of the music. Jazz Day, which falls on April 30 of each year, was initially established in 2011 by musician and UNESCO Goodwill Ambassador \u003ca href=\"https://www.npr.org/artists/15294441/herbie-hancock\" target=\"_blank\" rel=\"noopener noreferrer\">Herbie Hancock\u003c/a> to bring together communities worldwide to celebrate the humanity of the universal art form through workshops, discussions and an all-star \u003ca href=\"https://jazzday.com/2020/04/virtual-ijd-announce/\" target=\"_blank\" rel=\"noopener noreferrer\">global concert\u003c/a>.\u003c/p>\n\u003cp>Cape Town, South Africa, was supposed to host this year’s celebrations, but the events were canceled in late March due to the pandemic. Instead, the day’s activities will remain truly international by taking place online and hosted by Hancock.\u003c/p>\n\u003ch3>Featured Events:\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>International Jazz Day Panel with Nate Chinen\u003c/strong>\u003cbr>\nTime: 1:30 p.m. ET\u003c/li>\n\u003cli>\u003cstrong>International Jazz Day Global Concert \u003c/strong>\u003cbr>\nTime: 3 p.m. ET\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=C54ape_UfwY\u003c/p>\n\u003cp>The marquee Global Concert, which begins at 12:00 p.m. PT on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>, will feature streamed performances from bassist \u003ca href=\"https://www.npr.org/artists/15439719/marcus-miller\" target=\"_blank\" rel=\"noopener noreferrer\">Marcus Miller\u003c/a> (U.S.), pianist \u003ca href=\"https://www.npr.org/artists/17022256/lang-lang\" target=\"_blank\" rel=\"noopener noreferrer\">Lang Lang\u003c/a> (China), saxophonist Igor Butman (Russia), vocalist Youn Sun Nah (South Korea), and bassist Alune Wade (Senegal), among other worldwide leaders in the genre.\u003c/p>\n\u003cp>In the spirit of Jazz Day’s mission of inclusion, a free series of educational master classes and children’s activities in six languages conducted by renowned musicians will be streamed in the hours leading up to the concert. The pre-concert program will also include a panel discussion on the importance of art and the international community during the public health crisis, hosted by NPR Music and WBGO’s Nate Chinen and featuring performer Marcus Miller and South African vocalist Sibongile Khumalo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the need to celebrate Jazz Day in isolation this year, Herbie Hancock remains optimistic in the message and impact of the festivities.\u003c/p>\n\u003cp>“Now more than ever before,” he says, “let’s band together and spread the ethics of Jazz Day’s global movement around the planet and use this as a golden opportunity for humankind to reconnect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information can be found on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>.\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=Stream+These+Virtual+Events+To+Celebrate+International+Jazz+Day+On+April+30&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the world has gone relatively quiet amid the coronavirus pandemic, International Jazz Day plans on bringing some joyful sounds from across the globe together in celebration of the music. Jazz Day, which falls on April 30 of each year, was initially established in 2011 by musician and UNESCO Goodwill Ambassador \u003ca href=\"https://www.npr.org/artists/15294441/herbie-hancock\" target=\"_blank\" rel=\"noopener noreferrer\">Herbie Hancock\u003c/a> to bring together communities worldwide to celebrate the humanity of the universal art form through workshops, discussions and an all-star \u003ca href=\"https://jazzday.com/2020/04/virtual-ijd-announce/\" target=\"_blank\" rel=\"noopener noreferrer\">global concert\u003c/a>.\u003c/p>\n\u003cp>Cape Town, South Africa, was supposed to host this year’s celebrations, but the events were canceled in late March due to the pandemic. Instead, the day’s activities will remain truly international by taking place online and hosted by Hancock.\u003c/p>\n\u003ch3>Featured Events:\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>International Jazz Day Panel with Nate Chinen\u003c/strong>\u003cbr>\nTime: 1:30 p.m. ET\u003c/li>\n\u003cli>\u003cstrong>International Jazz Day Global Concert \u003c/strong>\u003cbr>\nTime: 3 p.m. ET\u003c/li>\n\u003c/ul>\n\u003chr>\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/C54ape_UfwY'\n title='//www.youtube.com/embed/C54ape_UfwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The marquee Global Concert, which begins at 12:00 p.m. PT on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>, will feature streamed performances from bassist \u003ca href=\"https://www.npr.org/artists/15439719/marcus-miller\" target=\"_blank\" rel=\"noopener noreferrer\">Marcus Miller\u003c/a> (U.S.), pianist \u003ca href=\"https://www.npr.org/artists/17022256/lang-lang\" target=\"_blank\" rel=\"noopener noreferrer\">Lang Lang\u003c/a> (China), saxophonist Igor Butman (Russia), vocalist Youn Sun Nah (South Korea), and bassist Alune Wade (Senegal), among other worldwide leaders in the genre.\u003c/p>\n\u003cp>In the spirit of Jazz Day’s mission of inclusion, a free series of educational master classes and children’s activities in six languages conducted by renowned musicians will be streamed in the hours leading up to the concert. The pre-concert program will also include a panel discussion on the importance of art and the international community during the public health crisis, hosted by NPR Music and WBGO’s Nate Chinen and featuring performer Marcus Miller and South African vocalist Sibongile Khumalo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the need to celebrate Jazz Day in isolation this year, Herbie Hancock remains optimistic in the message and impact of the festivities.\u003c/p>\n\u003cp>“Now more than ever before,” he says, “let’s band together and spread the ethics of Jazz Day’s global movement around the planet and use this as a golden opportunity for humankind to reconnect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information can be found on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>.\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=Stream+These+Virtual+Events+To+Celebrate+International+Jazz+Day+On+April+30&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Many Musicians Exempt From Controversial Gig-Worker Law Under Proposed Changes",
"headTitle": "Many Musicians Exempt From Controversial Gig-Worker Law Under Proposed Changes | KQED",
"content": "\u003cp>When concerts resume in California, many musicians will have one less thing to worry about. \u003c/p>\n\u003cp>Industry groups and elected officials have reached an agreement to amend Assembly Bill 5 (AB 5), the controversial gig worker law, to exempt certain musicians and music professionals. [aside postID=arts_13871229,news_11794049,news_news_11812496]\u003c/p>\n\u003cp>AB 5 was intended to protect worker’s rights by making it more difficult for so-called “gig economy” companies such as Uber and Lyft to classify their drivers as independent contractors. \u003c/p>\n\u003cp>But the bill, signed into law in September, has drawn criticism from independent musicians who say it increases their costs and limits their opportunities for work. The pending amendments announced this month are designed to address these unintended consequences. \u003c/p>\n\u003cp>The amendments exempt musicians and music professionals whose work is primarily original and inventive, as opposed to directed by an employer. Still, AB5 will continue to apply to significant groups of musicians, including performers in orchestral, festival and theme park settings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Bay Area music community has been almost completely unified in its desire to see our state government acknowledge and address the deleterious effects of AB 5 on music industry workers,” Karl Alfonso Defensor Evangelista, an Oakland composer and improviser who’s organized local experimental musicians to oppose the law, said in a statement to KQED. \u003c/p>\n\u003cp>Evangelista said that while he awaits the final language and believes other local industries remain adversely affected by the law, he welcomes the amendments. “I speak on behalf of many of my colleagues when I say that this music exemption is a step in the right direction.”\u003c/p>\n\u003cp>Evangelista continued, “This is going to have a positive effect on a lot of musicians and institutions that are already suffering the pandemic lockdown.” \u003c/p>\n\u003cp>Kale Cumings, president of American Federation of Musicians Local 6 in San Francisco, who helped negotiate the amendment, said in an interview that the changes avoid imposing an onerous employer-employee relationship on most musicians in collaborative situations. \u003c/p>\n\u003cp>But, Cumings added, neither the law nor the changes address the lack of a safety net for freelance musicians—as this season’s concert cancellations \u003ca href=\"https://www.kqed.org/arts/13876535/classical-musicians-say-coronavirus-cancellations-are-financially-catastrophic\">have shown\u003c/a>. “The conversation it’s brought up is very important,” he said. “How to organize musicians in a way that doesn’t penalize or limit their independence but still brings them into the American workforce?”\u003c/p>\n\u003cp>AB 5, authored by San Diego assemblywoman Lorena Gonzalez, codifies a 2018 California Supreme Court decision by establishing a three part “ABC Test” to determine whether or not companies can classify workers as independent contractors. The idea is to afford many gig economy workers employee protections such as health coverage and workers compensation. \u003c/p>\n\u003cp>But the test’s requirement that freelancers perform work outside of the employer’s main business would upend the model of small music venues and nonprofit performing arts presenters. These employers would have to onboard performers as regular employees for even one season or event, and musicians found many employers would opt to reduce bookings instead of comply. \u003c/p>\n\u003cp>As a workaround, many musicians contemplated forming their own limited-liability corporations, but related expenses would eat into their already-thin profit margins. Further, this would force them to hire backing musicians as employees even for one recording session or performance, sowing confusion among collaborative ensembles and for artists who alternate as band leaders. \u003c/p>\n\u003cp>For these reasons and more, the bill drew opposition from groups including the Recording Industry Association of America, American Association of Independent Music, American Federation of Musicians and Music Artists Coalition. Most industry opponents supported the spirit of the bill while calling it ill-suited to the music recording and performance ecosystems. \u003c/p>\n\u003cp>After more than a year of consulting with the industry, Gonzalez and the groups announced the exemptions on April 17. The “new amendments will acknowledge and add to the existing flexibility California has allowed in the music industry while protecting the right for musicians to have basic employment protections just like every other worker,” Gonzalez said in a statement. \u003c/p>\n\u003cp>The amendment broadly relieves musicians, composers, songwriters, engineers and others involved in the music production process of applying the law’s ABC test. They can continue to use a previous standard for determining if someone is an employee known as the Borello test, which mainly hinges on whether or not a worker controls the manner and means of the work.\u003c/p>\n\u003cp>The amendment also applies the previous, less-strict test to musicians in standalone live performances, unless they’re a part of a group headlining at a concert venue with more than 1,500 attendees or performing at a music festival that draws more than 18,000 attendees. In other words, AB-5 would apply to performers at, say, Outside Lands or the Bill Graham Civic Auditorium. \u003c/p>\n\u003cp>Then there’s the exemptions from the exemption: Musical groups regularly performing at theme parks, and musicians in symphony orchestras, performing as a part of a tour or performing in a musical theater production are still subject to the AB 5 standard. The reason, according to Gonzalez’s statement, is these musicians are significantly controlled or directed by employers.\u003c/p>\n\u003cp>“The amendment appropriately narrows the effect of AB5 to clarify that music professionals, due to the unique nature of our business, cannot be treated as an employer every time they collaborate,” Mich Glazier, chairman and chief executive of the Recording Industry Association of American, said in a statement. \u003c/p>\n\u003cp>“Having worked personally with every stakeholder in the process for the last year, I can say that each elected official, coalition, association, union and individual working on behalf of their constituency truly cared about not only the members they work to protect, but also our industry as a whole,” added Jordan Bromley, a Music Artists Coalition board member, in a statement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The amendments will be voted on when the legislature reconvenes. If passed, they would go into effect Jan. 1, 2021. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When concerts resume in California, many musicians will have one less thing to worry about. \u003c/p>\n\u003cp>Industry groups and elected officials have reached an agreement to amend Assembly Bill 5 (AB 5), the controversial gig worker law, to exempt certain musicians and music professionals. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>AB 5 was intended to protect worker’s rights by making it more difficult for so-called “gig economy” companies such as Uber and Lyft to classify their drivers as independent contractors. \u003c/p>\n\u003cp>But the bill, signed into law in September, has drawn criticism from independent musicians who say it increases their costs and limits their opportunities for work. The pending amendments announced this month are designed to address these unintended consequences. \u003c/p>\n\u003cp>The amendments exempt musicians and music professionals whose work is primarily original and inventive, as opposed to directed by an employer. Still, AB5 will continue to apply to significant groups of musicians, including performers in orchestral, festival and theme park settings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Bay Area music community has been almost completely unified in its desire to see our state government acknowledge and address the deleterious effects of AB 5 on music industry workers,” Karl Alfonso Defensor Evangelista, an Oakland composer and improviser who’s organized local experimental musicians to oppose the law, said in a statement to KQED. \u003c/p>\n\u003cp>Evangelista said that while he awaits the final language and believes other local industries remain adversely affected by the law, he welcomes the amendments. “I speak on behalf of many of my colleagues when I say that this music exemption is a step in the right direction.”\u003c/p>\n\u003cp>Evangelista continued, “This is going to have a positive effect on a lot of musicians and institutions that are already suffering the pandemic lockdown.” \u003c/p>\n\u003cp>Kale Cumings, president of American Federation of Musicians Local 6 in San Francisco, who helped negotiate the amendment, said in an interview that the changes avoid imposing an onerous employer-employee relationship on most musicians in collaborative situations. \u003c/p>\n\u003cp>But, Cumings added, neither the law nor the changes address the lack of a safety net for freelance musicians—as this season’s concert cancellations \u003ca href=\"https://www.kqed.org/arts/13876535/classical-musicians-say-coronavirus-cancellations-are-financially-catastrophic\">have shown\u003c/a>. “The conversation it’s brought up is very important,” he said. “How to organize musicians in a way that doesn’t penalize or limit their independence but still brings them into the American workforce?”\u003c/p>\n\u003cp>AB 5, authored by San Diego assemblywoman Lorena Gonzalez, codifies a 2018 California Supreme Court decision by establishing a three part “ABC Test” to determine whether or not companies can classify workers as independent contractors. The idea is to afford many gig economy workers employee protections such as health coverage and workers compensation. \u003c/p>\n\u003cp>But the test’s requirement that freelancers perform work outside of the employer’s main business would upend the model of small music venues and nonprofit performing arts presenters. These employers would have to onboard performers as regular employees for even one season or event, and musicians found many employers would opt to reduce bookings instead of comply. \u003c/p>\n\u003cp>As a workaround, many musicians contemplated forming their own limited-liability corporations, but related expenses would eat into their already-thin profit margins. Further, this would force them to hire backing musicians as employees even for one recording session or performance, sowing confusion among collaborative ensembles and for artists who alternate as band leaders. \u003c/p>\n\u003cp>For these reasons and more, the bill drew opposition from groups including the Recording Industry Association of America, American Association of Independent Music, American Federation of Musicians and Music Artists Coalition. Most industry opponents supported the spirit of the bill while calling it ill-suited to the music recording and performance ecosystems. \u003c/p>\n\u003cp>After more than a year of consulting with the industry, Gonzalez and the groups announced the exemptions on April 17. The “new amendments will acknowledge and add to the existing flexibility California has allowed in the music industry while protecting the right for musicians to have basic employment protections just like every other worker,” Gonzalez said in a statement. \u003c/p>\n\u003cp>The amendment broadly relieves musicians, composers, songwriters, engineers and others involved in the music production process of applying the law’s ABC test. They can continue to use a previous standard for determining if someone is an employee known as the Borello test, which mainly hinges on whether or not a worker controls the manner and means of the work.\u003c/p>\n\u003cp>The amendment also applies the previous, less-strict test to musicians in standalone live performances, unless they’re a part of a group headlining at a concert venue with more than 1,500 attendees or performing at a music festival that draws more than 18,000 attendees. In other words, AB-5 would apply to performers at, say, Outside Lands or the Bill Graham Civic Auditorium. \u003c/p>\n\u003cp>Then there’s the exemptions from the exemption: Musical groups regularly performing at theme parks, and musicians in symphony orchestras, performing as a part of a tour or performing in a musical theater production are still subject to the AB 5 standard. The reason, according to Gonzalez’s statement, is these musicians are significantly controlled or directed by employers.\u003c/p>\n\u003cp>“The amendment appropriately narrows the effect of AB5 to clarify that music professionals, due to the unique nature of our business, cannot be treated as an employer every time they collaborate,” Mich Glazier, chairman and chief executive of the Recording Industry Association of American, said in a statement. \u003c/p>\n\u003cp>“Having worked personally with every stakeholder in the process for the last year, I can say that each elected official, coalition, association, union and individual working on behalf of their constituency truly cared about not only the members they work to protect, but also our industry as a whole,” added Jordan Bromley, a Music Artists Coalition board member, in a statement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The amendments will be voted on when the legislature reconvenes. If passed, they would go into effect Jan. 1, 2021. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. But Ticketmaster, along with \u003ca href=\"https://www.billboard.com/articles/business/touring/9359919/aeg-ticket-refunds-concerts-coronavirus\">rival company AEG\u003c/a> — \u003ca href=\"https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html\">announced new refund policies\u003c/a> last week, which still require a concert to be canceled or officially rescheduled with new dates to trigger a refund. Those policies don’t go into effect until May 1.\u003c/p>\n\u003cp>Dean Budnick says Live Nation and AEG simply don’t have the money to give back. “Because contractually, they’ve released that money to concert promoters, to event producers who put on those events,” he explains.\u003c/p>\n\u003cp>Budnick says with smaller, club level shows, those funds are usually held in escrow, so they’re easier to access. But for big shows at stadiums, ticket purchasers’ money is already in the hands of venues and artists.\u003c/p>\n\u003cp>“Now you may say, ‘Well gee, that is Ticketmaster’s fault because that’s their contract that they entered into,’ ” he points out.\u003c/p>\n\u003cp>Budnick says over the past few decades, artists have gotten a larger share of ticket sales to make up for declining record sales. That’s led to higher ticket prices and more service fees to be shared among the venues and promoters.\u003c/p>\n\u003cp>Keith Jopling, a consulting director for the media analysis firm MIDiA Research, says that in a post-shutdown world, the deals between all parties in the ecosystem are likely to change.\u003c/p>\n\u003cp>“Everyone on that value chain will be expected to take a hit on that, including artists,” he says. \u003c/p>\n\u003cp>But right now, it’s out-of-work stage hands, food vendors, security guards and ticket holders who are feeling the pain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Crystal Reilly, a teacher from Michigan, bought Red Wings hockey tickets as a gift for her dad. The game was set to take place last month and she still can’t get a refund. With schools closed for the foreseeable future, Reilly says getting that money back is important.\u003c/p>\n\u003cp>“I’m not working right now. I won’t work until September, so having that extra 230 bucks would be really awesome,” she says.\u003c/p>\n\u003cp>Some customers, including Reilly and Cachelle Cronin, are part of a group exploring a class action suit. It’s just \u003ca href=\"https://www.classaction.org/blog/class-action-against-ticketmaster-live-nation-seeks-refunds-for-rescheduled-events\">one such complaint\u003c/a> going through the courts now. Elsewhere, others have reached out to their credit card companies to try to get their money back. But either way, they’ll be waiting for a while. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Ticket+Holders+Are+Struggling+To+Get+Refunds+For+Concerts+And+Live+Events&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. But Ticketmaster, along with \u003ca href=\"https://www.billboard.com/articles/business/touring/9359919/aeg-ticket-refunds-concerts-coronavirus\">rival company AEG\u003c/a> — \u003ca href=\"https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html\">announced new refund policies\u003c/a> last week, which still require a concert to be canceled or officially rescheduled with new dates to trigger a refund. Those policies don’t go into effect until May 1.\u003c/p>\n\u003cp>Dean Budnick says Live Nation and AEG simply don’t have the money to give back. “Because contractually, they’ve released that money to concert promoters, to event producers who put on those events,” he explains.\u003c/p>\n\u003cp>Budnick says with smaller, club level shows, those funds are usually held in escrow, so they’re easier to access. But for big shows at stadiums, ticket purchasers’ money is already in the hands of venues and artists.\u003c/p>\n\u003cp>“Now you may say, ‘Well gee, that is Ticketmaster’s fault because that’s their contract that they entered into,’ ” he points out.\u003c/p>\n\u003cp>Budnick says over the past few decades, artists have gotten a larger share of ticket sales to make up for declining record sales. That’s led to higher ticket prices and more service fees to be shared among the venues and promoters.\u003c/p>\n\u003cp>Keith Jopling, a consulting director for the media analysis firm MIDiA Research, says that in a post-shutdown world, the deals between all parties in the ecosystem are likely to change.\u003c/p>\n\u003cp>“Everyone on that value chain will be expected to take a hit on that, including artists,” he says. \u003c/p>\n\u003cp>But right now, it’s out-of-work stage hands, food vendors, security guards and ticket holders who are feeling the pain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland MC Passwurdz is a professional battle rapper. That means he gets paid to go on stage and publicly humiliate his opponents.\u003c/p>\n\u003cp>It’s an art form that dates back to the early days of Hip Hop and has been depicted in movies like \u003cem>8 Mile\u003c/em>. On top of being a competition of lyrical prowess, these battles provide comedic relief for audiences – and a cathartic release for artists, as well.\u003c/p>\n\u003cp>Passwurdz, aka \u003ca href=\"https://www.instagram.com/pass510/\" target=\"_blank\" rel=\"noopener noreferrer\">Pass\u003c/a>, is also part of the duo ANML PLNT (along with Jordan Jennings, aka Apes), which released an album earlier this year, called “The Box.”\u003c/p>\n\u003cp>Now that people are dealing with the emotions of daily uncertainty, I figured it’d be a good time to get some tips from a professional about how to use battle raps to constructively release some pent up emotions.\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=KQINC2595187587&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow is a lightly edited excerpt of my conversation with Passwurdz.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Do you find therapy in writing these raps and clowning people?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: Yeah, definitely. 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Because it takes a lot of focus and it’s a lot of writing too.\u003c/p>\n\u003cfigure id=\"attachment_13879233\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111.jpg\" alt=\"Passwurdz at a rap battle\" width=\"750\" height=\"1125\" class=\"size-full wp-image-13879233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111-160x240.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Passwurdz at a rap battle \u003ccite>(\u003ca href=\"https://heartstringweddings.com/\">Huy Nguyen\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A three minute round is a whole song. But instead there’s no chorus, there’s no beats, you’re just rapping the whole time. There’s a lot of writing. But the process of putting that together, I treat this shit like a puzzle: What can I say here to connect this concept and dot to make the crowd go crazy?\u003c/p>\n\u003cp>\u003cem>Pen: So as people are listening to this, they’ve been domesticated for some time now, and while they’re in their house, I’m sure they’ve brewed up some anger. If they’re looking for a way to vent, a valve to get some heat off their chest and they’re looking to start battle rapping or just throw some bars out there, do you have any words of advice for them?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: Absolutely. I do have words of advice. I would say watch some battles. I would say watch\u003ca href=\"https://www.youtube.com/watch?v=85lxWGUV_ZY\"> Loaded Lux, watch Aye Verb\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UCflIAeM03JFL9ml03LwYF-g\">URL\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UCIuFtIO8i_XqA8lM7q4B1FQ\">King of the Dot\u003c/a>. And I would use your mirror. I would rap to yourself. I’d write some things down. Record yourself battling an imaginary person. Pick a rapper, a famous rapper, and just battle him. You might destroy him.\u003c/p>\n\u003cp>\u003cem>Pen: Write 16 bars about your supervisor?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: You feel me? All that! Straight up, but I’d definitely recommend filming yourself rapping… And figure out who you could send it to that might want to see you bar out.\u003c/p>\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://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>Oakland MC Passwurdz is a professional battle rapper. That means he gets paid to go on stage and publicly humiliate his opponents.\u003c/p>\n\u003cp>It’s an art form that dates back to the early days of Hip Hop and has been depicted in movies like \u003cem>8 Mile\u003c/em>. On top of being a competition of lyrical prowess, these battles provide comedic relief for audiences – and a cathartic release for artists, as well.\u003c/p>\n\u003cp>Passwurdz, aka \u003ca href=\"https://www.instagram.com/pass510/\" target=\"_blank\" rel=\"noopener noreferrer\">Pass\u003c/a>, is also part of the duo ANML PLNT (along with Jordan Jennings, aka Apes), which released an album earlier this year, called “The Box.”\u003c/p>\n\u003cp>Now that people are dealing with the emotions of daily uncertainty, I figured it’d be a good time to get some tips from a professional about how to use battle raps to constructively release some pent up emotions.\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=KQINC2595187587&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow is a lightly edited excerpt of my conversation with Passwurdz.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Do you find therapy in writing these raps and clowning people?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: Yeah, definitely. It’s like when you’re punching a pillow or something. You know what I mean? Getting out that aggression in a different channel is kind of good for everybody. If that means we are not going to fight or do something crazy, instead we just yell at each other, we can do that. And yeah, honestly, just any exercise in writing for me is really therapeutic. Because it takes a lot of focus and it’s a lot of writing too.\u003c/p>\n\u003cfigure id=\"attachment_13879233\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111.jpg\" alt=\"Passwurdz at a rap battle\" width=\"750\" height=\"1125\" class=\"size-full wp-image-13879233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111-160x240.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Passwurdz at a rap battle \u003ccite>(\u003ca href=\"https://heartstringweddings.com/\">Huy Nguyen\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A three minute round is a whole song. But instead there’s no chorus, there’s no beats, you’re just rapping the whole time. There’s a lot of writing. But the process of putting that together, I treat this shit like a puzzle: What can I say here to connect this concept and dot to make the crowd go crazy?\u003c/p>\n\u003cp>\u003cem>Pen: So as people are listening to this, they’ve been domesticated for some time now, and while they’re in their house, I’m sure they’ve brewed up some anger. If they’re looking for a way to vent, a valve to get some heat off their chest and they’re looking to start battle rapping or just throw some bars out there, do you have any words of advice for them?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: Absolutely. I do have words of advice. I would say watch some battles. I would say watch\u003ca href=\"https://www.youtube.com/watch?v=85lxWGUV_ZY\"> Loaded Lux, watch Aye Verb\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UCflIAeM03JFL9ml03LwYF-g\">URL\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UCIuFtIO8i_XqA8lM7q4B1FQ\">King of the Dot\u003c/a>. And I would use your mirror. I would rap to yourself. I’d write some things down. Record yourself battling an imaginary person. Pick a rapper, a famous rapper, and just battle him. You might destroy him.\u003c/p>\n\u003cp>\u003cem>Pen: Write 16 bars about your supervisor?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: You feel me? All that! Straight up, but I’d definitely recommend filming yourself rapping… And figure out who you could send it to that might want to see you bar out.\u003c/p>\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://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>Depending on who you ask, \u003ca href=\"https://www.facebook.com/tonybennett/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Bennett\u003c/a>’s “I Left My Heart in San Francisco” is either an overplayed cliché or the ultimate ode to the windswept beauty of the city.\u003c/p>\n\u003cp>This weekend, city residents will get the opportunity to pledge allegiance either way with a city-wide sing-along of the 1962 classic. The idea is to make some joyful noise for the medical professionals battling COVID-19 while boosting shelter-in-place morale, \u003ca href=\"https://www.kqed.org/arts/13876925/only-italians-should-sing-on-balconies-as-these-other-nations-prove\" target=\"_blank\" rel=\"noopener noreferrer\">Italian balcony-style\u003c/a>.\u003c/p>\n\u003cp>The event was thought up by Charlotte Mailliard Shultz, San Francisco’s Chief of Protocol, and Mayor London Breed has thrown her support behind it. “By taking a moment to join together in song to celebrate our frontline health workers and everyone working to make a difference during this pandemic, we can recognize how connected we are to one another,” Breed said, “not just here in San Francisco, but all over the world.”\u003c/p>\n\u003cp>https://youtu.be/GLS5m5-b52w\u003c/p>\n\u003cp>Bennett’s very first performance of “I Left My Heart in San Francisco” took place in December 1961 inside the \u003ca href=\"https://www.fairmont.com/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Fairmont Hotel\u003c/a>’s Venetian Room. Endorsing Saturday’s event, Bennett just released a brand new rendition of the song for people to sing along with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bennett said: “San Francisco has been in my heart for over 50 years. I am so proud and impressed with how the City by the Bay has continued to ‘bend the curve’ during the COVID-19 crisis and serve as an inspiration to the world of how together and alone we can make a difference.”\u003c/p>\n\u003cp>The “I Left My Heart in San Francisco” sing-along starts at noon this Saturday, April 25. Participants are encouraged to share their efforts on social media using the hashtag #SingOutSF.\u003c/p>\n\u003cp>We’ll leave you with a lyric video so you can brush up on your vocal stylings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SC73kdOL5hk\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on who you ask, \u003ca href=\"https://www.facebook.com/tonybennett/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Bennett\u003c/a>’s “I Left My Heart in San Francisco” is either an overplayed cliché or the ultimate ode to the windswept beauty of the city.\u003c/p>\n\u003cp>This weekend, city residents will get the opportunity to pledge allegiance either way with a city-wide sing-along of the 1962 classic. The idea is to make some joyful noise for the medical professionals battling COVID-19 while boosting shelter-in-place morale, \u003ca href=\"https://www.kqed.org/arts/13876925/only-italians-should-sing-on-balconies-as-these-other-nations-prove\" target=\"_blank\" rel=\"noopener noreferrer\">Italian balcony-style\u003c/a>.\u003c/p>\n\u003cp>The event was thought up by Charlotte Mailliard Shultz, San Francisco’s Chief of Protocol, and Mayor London Breed has thrown her support behind it. “By taking a moment to join together in song to celebrate our frontline health workers and everyone working to make a difference during this pandemic, we can recognize how connected we are to one another,” Breed said, “not just here in San Francisco, but all over the world.”\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/GLS5m5-b52w'\n title='//www.youtube.com/embed/GLS5m5-b52w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bennett’s very first performance of “I Left My Heart in San Francisco” took place in December 1961 inside the \u003ca href=\"https://www.fairmont.com/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Fairmont Hotel\u003c/a>’s Venetian Room. Endorsing Saturday’s event, Bennett just released a brand new rendition of the song for people to sing along with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bennett said: “San Francisco has been in my heart for over 50 years. I am so proud and impressed with how the City by the Bay has continued to ‘bend the curve’ during the COVID-19 crisis and serve as an inspiration to the world of how together and alone we can make a difference.”\u003c/p>\n\u003cp>The “I Left My Heart in San Francisco” sing-along starts at noon this Saturday, April 25. Participants are encouraged to share their efforts on social media using the hashtag #SingOutSF.\u003c/p>\n\u003cp>We’ll leave you with a lyric video so you can brush up on your vocal stylings.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SC73kdOL5hk'\n title='//www.youtube.com/embed/SC73kdOL5hk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Cardi B went live on Instagram last month to tell her fans they should be taking COVID-19 seriously, a Brooklyn DJ laid her speech over a beat and turned it into an \u003ca href=\"https://www.nytimes.com/2020/03/17/arts/music/coronavirus-cardi-b.html\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes success\u003c/a>.\u003c/p>\n\u003cp>The song—”Coronavirus Remix”—is one of thousands of examples of how artists around the world are using music to spread awareness about the pandemic. Researchers say that in an outbreak, songs about a disease can do more than entertain and uplift—they can transmit important health information to a large number of people quickly and make the message stick.\u003c/p>\n\u003cp>\u003ca href=\"https://steinhardt.nyu.edu/people/carlos-chirinos\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Chirinos\u003c/a>, a professor at New York University, saw this happen during the 2014 \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2014/11/09/362315884/reggae-vibe-ebola-message-african-superstars-try-to-go-viral\" target=\"_blank\" rel=\"noopener noreferrer\">Ebola crisis\u003c/a>, with songs like “Ebola is Real” and “Africa Stop Ebola.”\u003c/p>\n\u003cp>“If songs are catchy, they’re packaging information [about the disease] in three minutes,” he says. “And if people like the song, they’re likely to repeat it and listen to it again and again.”\u003c/p>\n\u003cp>Chirinos is seeing the same musical phenomenon in the coronavirus pandemic and has been collecting songs for his research\u003cstrong>. \u003c/strong>From Vietnam to Uganda and Panama, here’s a sampling of trending COVID-19 anthems from around the world.\u003c/p>\n\u003ch3>\u003cstrong>Vietnam\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ctF5aMV05kM&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Vietnam, the Ministry of Health rewrote the lyrics to the 2017 hit song “Ghen” by Min and Erik—originally about a jealous ex — into a PSA about the coronavirus. Renamed “\u003ca href=\"https://www.youtube.com/watch?v=BtulL3oArQw\" target=\"_blank\" rel=\"noopener noreferrer\">Ghen Cô Vy\u003c/a>,” the new version sparked a choreography from dancer Quang Đăng demonstrating the correct way to wash your hands: under the nails, around the thumbs, between the fingers.\u003c/p>\n\u003cp>The dance racked up more than 5 million views on the choreographer’s YouTube channel and took off on Tiktok, generating a \u003ca href=\"https://www.tiktok.com/tag/ghencovychallenge?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">#ghencovychallenge\u003c/a> with more than 31 million hashtag views. In the videos, people replicate Đăng’s moves as the song reinforces that you should avoid touching your face and lather up with soap for 20 seconds before rinsing off your hands.\u003c/p>\n\u003ch3>\u003cstrong>Hong Kong\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=6IOS7-4n12c&feature=emb_logo\u003c/p>\n\u003cp>In early February, Hong Kong performer Kathy Mak released a \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">spoof\u003c/a> of the song “Torn,” the ’90s hit by Natalia Imbruglia, that pokes fun at the paranoia of the pandemic.\u003c/p>\n\u003cp>“I sterilize, I sanitize/ My hands are always freaking dry,” she sings. “There’s just so many things that I can’t touch/ I’m torn.”\u003c/p>\n\u003cp>A lot of listeners share her sentiments. Two \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">different\u003c/a> videos of the song have racked up over a million views combined.\u003c/p>\n\u003ch3>\u003cstrong>Senegal\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=06YbY1MLp4A&feature=emb_logo\u003c/p>\n\u003cp>In Senegal, hip-hop collective Y’en a Marre has collaborated with the country’s health ministry to create a song in French called “Fagaru Ci Coronavirus” or “Shield Against Coronavirus.”\u003c/p>\n\u003cp>Since its March 19 release, the song and accompanying music video—featuring the group wearing medical gear and rapping in a hospital—aims to educate people on the threats of COVID-19 while encouraging compliance in prevention tactics.\u003c/p>\n\u003cp>The group, which is known in the country for rallying young people around social justice issues, promotes solidarity. One of the lyrics: \u003cem>“Soutenons nous mutuallement et combettons le tous ensemble\u003c/em>” or “\u003cem>Support each other and fight it all together.”\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Uganda\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=PUHrck2g7Ic&feature=emb_logo\u003c/p>\n\u003cp>Ugandan reggae artist and political activist Bobi Wine recently \u003ca href=\"https://www.latimes.com/world-nation/story/2020-03-29/ugandas-bobi-wine-sings-against-virus-criticizes-leaders\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out\u003c/a> against what he says is the failure of African governments to invest in their health-care systems—so he released an upbeat jam on March 25 called “Corona Virus Alert” amid a growing number of cases in the country.\u003c/p>\n\u003cp>With lyrics like “serious fever is a symptom/ dry cough is a symptom/ even sneezing is a symptom,” it provides instructions for what to do if you feel sick and encourages people to take the disease seriously. He points out that everyone must do their part in sanitizing and social distancing to stop transmission of the disease. So far, the song has racked up over a million views on YouTube.\u003c/p>\n\u003ch3>\u003cstrong>Panama\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=qkkQfY2sBMs\u003c/p>\n\u003cp>Salsa musician and former presidential candidate Rubén Blades is a source of national pride for Panamanians. The artist, who recorded the best-selling salsa record of all time in 1978, honed in on the sentiment of patriotism on March 26 with a song and music video called “Para Panama,” or “For Panama.”\u003c/p>\n\u003cp>The song frames staying home as a statement of solidarity for the country’s well-being. And it pays homage to health-care workers with lines like: \u003cem>“Arriesgan su vida para socorrernos/ eso no se olvida/ y hay que agradecerlo”\u003c/em> or “\u003cem>They risk their lives to help us/ that can’t be forgotten/ and has to be appreciated.”\u003c/em>\u003c/p>\n\u003cp>The music video also features crowd-sourced videos of Panamanians singing along to the song’s chorus in their homes as a symbol of gratitude for the country’s doctors and nurses.\u003c/p>\n\u003ch3>\u003cstrong>Puerto Rico\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=x3c18yP6uDc\u003c/p>\n\u003cp>International rap star Bad Bunny \u003ca href=\"https://www.npr.org/sections/altlatino/2020/03/13/815040558/reviving-classic-reggaeton-bad-bunnys-new-album-yhlqmdlg-breaks-records\" target=\"_blank\" rel=\"noopener noreferrer\">broke Billboard records\u003c/a> earlier this year with the highest charting all-Spanish-language album in history—but now the Puerto Rican artist is switching gears from singing about the club to telling his young audience to stop going out and practice social distancing.\u003c/p>\n\u003cp>On the SoundCloud track titled “En Casita” or “At Home,” he sings: “\u003cem>Yo que te quería ver/ pero no se va poder/toca quedarme en casa\u003c/em>,” translating to “\u003cem>I wanted to see you/ but that won’t be possible/I have to stay home\u003c/em>.”\u003c/p>\n\u003cp>With more than one million streams on the song since its April 4 debut, Bad Bunny’s lyrics also emphasize that although it can be annoying to feel stuck inside, it’s a necessary sacrifice for vulnerable populations—especially given that Puerto Rico is the U.S. territory with the most \u003ca href=\"https://www.npr.org/2020/04/06/828439886/puerto-ricans-are-at-risk-from-the-coronavirus-and-a-lack-of-information\" target=\"_blank\" rel=\"noopener noreferrer\">older Americans\u003c/a> per capita.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Is there a COVID-19 song you can’t stop listening to? Send us an email goatsandsoda@npr.org.\u003c/strong>\u003c/em>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bad+Bunny+And+Bobi+Wine+Are+Among+The+Global+Artists+Singing+About+Coronavirus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Cardi B went live on Instagram last month to tell her fans they should be taking COVID-19 seriously, a Brooklyn DJ laid her speech over a beat and turned it into an \u003ca href=\"https://www.nytimes.com/2020/03/17/arts/music/coronavirus-cardi-b.html\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes success\u003c/a>.\u003c/p>\n\u003cp>The song—”Coronavirus Remix”—is one of thousands of examples of how artists around the world are using music to spread awareness about the pandemic. Researchers say that in an outbreak, songs about a disease can do more than entertain and uplift—they can transmit important health information to a large number of people quickly and make the message stick.\u003c/p>\n\u003cp>\u003ca href=\"https://steinhardt.nyu.edu/people/carlos-chirinos\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Chirinos\u003c/a>, a professor at New York University, saw this happen during the 2014 \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2014/11/09/362315884/reggae-vibe-ebola-message-african-superstars-try-to-go-viral\" target=\"_blank\" rel=\"noopener noreferrer\">Ebola crisis\u003c/a>, with songs like “Ebola is Real” and “Africa Stop Ebola.”\u003c/p>\n\u003cp>“If songs are catchy, they’re packaging information [about the disease] in three minutes,” he says. “And if people like the song, they’re likely to repeat it and listen to it again and again.”\u003c/p>\n\u003cp>Chirinos is seeing the same musical phenomenon in the coronavirus pandemic and has been collecting songs for his research\u003cstrong>. \u003c/strong>From Vietnam to Uganda and Panama, here’s a sampling of trending COVID-19 anthems from around the world.\u003c/p>\n\u003ch3>\u003cstrong>Vietnam\u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ctF5aMV05kM'\n title='//www.youtube.com/embed/ctF5aMV05kM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Vietnam, the Ministry of Health rewrote the lyrics to the 2017 hit song “Ghen” by Min and Erik—originally about a jealous ex — into a PSA about the coronavirus. Renamed “\u003ca href=\"https://www.youtube.com/watch?v=BtulL3oArQw\" target=\"_blank\" rel=\"noopener noreferrer\">Ghen Cô Vy\u003c/a>,” the new version sparked a choreography from dancer Quang Đăng demonstrating the correct way to wash your hands: under the nails, around the thumbs, between the fingers.\u003c/p>\n\u003cp>The dance racked up more than 5 million views on the choreographer’s YouTube channel and took off on Tiktok, generating a \u003ca href=\"https://www.tiktok.com/tag/ghencovychallenge?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">#ghencovychallenge\u003c/a> with more than 31 million hashtag views. In the videos, people replicate Đăng’s moves as the song reinforces that you should avoid touching your face and lather up with soap for 20 seconds before rinsing off your hands.\u003c/p>\n\u003ch3>\u003cstrong>Hong Kong\u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6IOS7-4n12c'\n title='//www.youtube.com/embed/6IOS7-4n12c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In early February, Hong Kong performer Kathy Mak released a \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">spoof\u003c/a> of the song “Torn,” the ’90s hit by Natalia Imbruglia, that pokes fun at the paranoia of the pandemic.\u003c/p>\n\u003cp>“I sterilize, I sanitize/ My hands are always freaking dry,” she sings. “There’s just so many things that I can’t touch/ I’m torn.”\u003c/p>\n\u003cp>A lot of listeners share her sentiments. Two \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">different\u003c/a> videos of the song have racked up over a million views combined.\u003c/p>\n\u003ch3>\u003cstrong>Senegal\u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/06YbY1MLp4A'\n title='//www.youtube.com/embed/06YbY1MLp4A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Senegal, hip-hop collective Y’en a Marre has collaborated with the country’s health ministry to create a song in French called “Fagaru Ci Coronavirus” or “Shield Against Coronavirus.”\u003c/p>\n\u003cp>Since its March 19 release, the song and accompanying music video—featuring the group wearing medical gear and rapping in a hospital—aims to educate people on the threats of COVID-19 while encouraging compliance in prevention tactics.\u003c/p>\n\u003cp>The group, which is known in the country for rallying young people around social justice issues, promotes solidarity. One of the lyrics: \u003cem>“Soutenons nous mutuallement et combettons le tous ensemble\u003c/em>” or “\u003cem>Support each other and fight it all together.”\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Uganda\u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PUHrck2g7Ic'\n title='//www.youtube.com/embed/PUHrck2g7Ic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ugandan reggae artist and political activist Bobi Wine recently \u003ca href=\"https://www.latimes.com/world-nation/story/2020-03-29/ugandas-bobi-wine-sings-against-virus-criticizes-leaders\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out\u003c/a> against what he says is the failure of African governments to invest in their health-care systems—so he released an upbeat jam on March 25 called “Corona Virus Alert” amid a growing number of cases in the country.\u003c/p>\n\u003cp>With lyrics like “serious fever is a symptom/ dry cough is a symptom/ even sneezing is a symptom,” it provides instructions for what to do if you feel sick and encourages people to take the disease seriously. He points out that everyone must do their part in sanitizing and social distancing to stop transmission of the disease. So far, the song has racked up over a million views on YouTube.\u003c/p>\n\u003ch3>\u003cstrong>Panama\u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qkkQfY2sBMs'\n title='//www.youtube.com/embed/qkkQfY2sBMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Salsa musician and former presidential candidate Rubén Blades is a source of national pride for Panamanians. The artist, who recorded the best-selling salsa record of all time in 1978, honed in on the sentiment of patriotism on March 26 with a song and music video called “Para Panama,” or “For Panama.”\u003c/p>\n\u003cp>The song frames staying home as a statement of solidarity for the country’s well-being. And it pays homage to health-care workers with lines like: \u003cem>“Arriesgan su vida para socorrernos/ eso no se olvida/ y hay que agradecerlo”\u003c/em> or “\u003cem>They risk their lives to help us/ that can’t be forgotten/ and has to be appreciated.”\u003c/em>\u003c/p>\n\u003cp>The music video also features crowd-sourced videos of Panamanians singing along to the song’s chorus in their homes as a symbol of gratitude for the country’s doctors and nurses.\u003c/p>\n\u003ch3>\u003cstrong>Puerto Rico\u003c/strong>\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x3c18yP6uDc'\n title='//www.youtube.com/embed/x3c18yP6uDc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>International rap star Bad Bunny \u003ca href=\"https://www.npr.org/sections/altlatino/2020/03/13/815040558/reviving-classic-reggaeton-bad-bunnys-new-album-yhlqmdlg-breaks-records\" target=\"_blank\" rel=\"noopener noreferrer\">broke Billboard records\u003c/a> earlier this year with the highest charting all-Spanish-language album in history—but now the Puerto Rican artist is switching gears from singing about the club to telling his young audience to stop going out and practice social distancing.\u003c/p>\n\u003cp>On the SoundCloud track titled “En Casita” or “At Home,” he sings: “\u003cem>Yo que te quería ver/ pero no se va poder/toca quedarme en casa\u003c/em>,” translating to “\u003cem>I wanted to see you/ but that won’t be possible/I have to stay home\u003c/em>.”\u003c/p>\n\u003cp>With more than one million streams on the song since its April 4 debut, Bad Bunny’s lyrics also emphasize that although it can be annoying to feel stuck inside, it’s a necessary sacrifice for vulnerable populations—especially given that Puerto Rico is the U.S. territory with the most \u003ca href=\"https://www.npr.org/2020/04/06/828439886/puerto-ricans-are-at-risk-from-the-coronavirus-and-a-lack-of-information\" target=\"_blank\" rel=\"noopener noreferrer\">older Americans\u003c/a> per capita.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Is there a COVID-19 song you can’t stop listening to? Send us an email goatsandsoda@npr.org.\u003c/strong>\u003c/em>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bad+Bunny+And+Bobi+Wine+Are+Among+The+Global+Artists+Singing+About+Coronavirus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When seven Bay Area counties announced shelter-in-place orders to stop the spread of coronavirus on March 16, concert cancellations cost Oakland guitarist and improviser \u003ca href=\"https://www.karlevangelista.com/\">Karl Evangelista\u003c/a> more than a thousand dollars in expected income. Then came the painful postponement of the San Francisco International Arts Festival. That derailed months of planning to convene an international quartet to perform his multimedia composition \u003cem>Apura\u003c/em> and mark its release on the Astral Spirits label. Evangelista had fronted thousands for flights alone. [aside postID=arts_13876535,arts_13876314,arts_13876893]\u003c/p>\n\u003cp>Evangelista, a busy member of the Bay Area experimental music scene, feels fortunate to have only been laid off from one of his teaching gigs, and has lately turned his attention to organizing—and trying to monetize—livestreamed performances. But he’s anxious about the disruption’s lasting effects on a community already challenged by Bay Area housing costs and dwindling venues, as well as the emotional toll of isolation and other creative constraints.\u003c/p>\n\u003cp>“Improvised music being collaborative in nature, this is having a severe psychological impact on musicians who are basically unable to create,” Evangelista says.\u003c/p>\n\u003cp>No corner of the local music scene is spared harm, but the pandemic restrictions uniquely threaten independent artists in the experimental, jazz and improvisation community. Many of them live gig-to-gig on teaching, performing and audio engineering opportunities, all of which are diminished. Few derive meaningful income from physical merchandise or streaming. Layoffs are also hitting their day jobs: \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">arts administration\u003c/a>, \u003ca href=\"https://www.sfchronicle.com/business/article/Mass-layoffs-at-Yelp-Eventbrite-show-15190391.php#\">music technology\u003c/a>, \u003ca href=\"https://www.kqed.org/bayareabites/136828/bay-area-organizations-helping-the-local-food-industry\">food service\u003c/a>, \u003ca href=\"https://twitter.com/lefebvre_sam/status/1247592353738575872\">record stores\u003c/a>.\u003c/p>\n\u003cp>“There isn’t the audience to graduate your career like in some genres,” Brent Miller, composer and co-founder of the San Francisco venue \u003ca href=\"https://centerfornewmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for New Music,\u003c/a> explains. “There’s no clear path.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, the congregating and collaboration that usually justifies the struggle is outlawed.\u003c/p>\n\u003cp>Between earlier challenges and this indefinite period of economic freefall and creative frustration, experimental musicians are nearing a breaking point. “When will this end?” Evangelista wonders. “Not knowing is the most troubling thing.”\u003c/p>\n\u003cp>The results of a new Center for New Music survey, shared exclusively with KQED, show 425 respondents working in generally non-commercial styles have already lost an estimated $1.5 million in expected income, a number projected to grow to $4 million if restrictions persist through the summer. Many fear they’ll be forced to incur personal debt (44%) or pursue another career (33%). 20% of the respondents worry the crisis will force them to leave the Bay Area altogether.\u003c/p>\n\u003cfigure id=\"attachment_13878773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/C4NM-survey-grab-1.png\" alt=\"An infographic from Center for New Music's survey of local experimental musicians.\" width=\"1920\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-160x81.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-800x406.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-768x390.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-1020x518.png 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An infographic from Center for New Music’s survey of local experimental musicians. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most respondents to the survey, coordinated with InterMusic SF, Lisa Mezzacappa, \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Jazz in the Neighborhood\u003c/a> and Bird & Beckett Books & Records, earn money as music educators and freelance performers. More than half of the 262 music teachers have lost significant income in the shift to online instruction, and more than half of the 125 teachers affiliated with a school believe they’re ineligible for unemployment benefits. Although the federal aid package expanded unemployment eligibility to independent contractors, Evangelista says some of his freelance musician friends have been denied without explanation. More than half of the self-employed survey respondents are unsure if they have enough documentation of lost wages to apply.\u003c/p>\n\u003cp>“I knew the survey would show fear,” says Miller. “But I was stunned to see more than 5,000 concerts canceled.” Miller also points out that though the respondents perform mostly in San Francisco, many of them live in other parts of the Bay Area. That means they are ineligible for San Francisco’s Arts Relief Program, and there’s no comparable fund from the cities of Berkeley or Oakland.\u003c/p>\n\u003cp>“Many of us were priced out of San Francisco but still do our work there, and now we’re not eligible,” he says. The Center for New Music, meanwhile, is struggling to make up for lost rental and co-working membership income, which it normally relies on to subsidize experimental music programming.\u003c/p>\n\u003cp>Many musicians with abundant time to practice now lack the space. The 34-unit Jack London Rehearsal in Oakland is closed to comply with the prohibition of non-essential businesses; tenants make appointments to retrieve instruments. \u003ca href=\"http://jordanglennmusic.com/\">Jordan Glenn\u003c/a>, an Oakland drummer and composer accustomed to a rotating cast of collaborators, has had about ten gigs and two recording dates canceled. He set up a dampened kit at home to continue giving lessons through the San Francisco Rock Project, but feels creatively constricted in unanticipated ways.\u003c/p>\n\u003cfigure id=\"attachment_13878774\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg\" alt=\"Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space.\" width=\"750\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss-160x213.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space. \u003ccite>(Heike Liss/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Playing with people, all of my commitments, they’re a kind of practice,” he says. “Without that or the space to play without self-consciousness, I’m left with my head games—it’s getting tough.”\u003c/p>\n\u003cp>Oakland Music Complex, the largest rehearsal space in the Bay Area, is leaving artists to assess the safety of visiting the building, and has reduced April rent by half. Tom Ferguson, an Oakland bassist in bands including \u003ca href=\"https://www.kqed.org/arts/13843080/in-new-oakland-can-you-still-smash-a-piano-and-call-it-art\" target=\"_blank\" rel=\"noopener noreferrer\">Moe Staiano\u003c/a>’s avant-rock group Surplus 1980, says half of the 10 people in his space are full-time musicians, and they’re all avoiding the unit. His upcoming tour with songwriter Bill Baird is canceled, along with recording sound engineering dates. He’s also furloughed from his job at Keith McMillen Instruments.\u003c/p>\n\u003cp>“I miss the social aspect,” Ferguson says. “The reason I’m here is to contribute to the community of artists and musicians, so when there’s no gigs and no recording sessions I feel like a fish out of water.”\u003c/p>\n\u003cp>Experimental musicians, like others in the arts, are exploring livestreaming as an imperfect alternative to concerts. Earlier this month Evangelista organized \u003ca href=\"https://www.facebook.com/events/275032363670668/\">Lockdown Festival\u003c/a>, five hours of continuous performances by local musicians in different locations. It featured performers including Marshall Trammell, Scott Amendola and the duo \u003ca href=\"https://www.kqed.org/arts/13846432/the-10-best-bay-area-albums-of-2018-voicehandler-light-from-another-light\" target=\"_blank\" rel=\"noopener noreferrer\">Voicehandler\u003c/a>, comprising Jacob Felix Heule and Danishta Rivero Still, Evangelista said he found not all artists have the equipment required to livestream, and there’s little guarantee viewers are willing to pay the equivalent of a door fee to watch from home. Few are eager to embrace live video as an interim solution, let alone the new normal.\u003c/p>\n\u003cp>Still, some small venues are beginning to adapt. \u003ca href=\"https://birdbeckett.com/\">Bird & Beckett\u003c/a> in San Francisco is streaming performances from the closed shop on Facebook while collecting donations. \u003ca href=\"https://proartsgallery.org/\">Pro Arts\u003c/a> in Oakland, a nonprofit gallery that’s absorbed many of the experimental gigs displaced from underground venues in recent years, is similarly developing a livestream studio, and recently issued an open-call for digital media submissions to be shown as online events for a fee that benefits artists. Natalia Mount, director of Pro Arts, also wants the gallery to provide resources in other ways, for instance distributing toiletries.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“For us it’s just another day—we’re always on the precipice of closing,” she says. “So at least we can continue to experiment with the space.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When seven Bay Area counties announced shelter-in-place orders to stop the spread of coronavirus on March 16, concert cancellations cost Oakland guitarist and improviser \u003ca href=\"https://www.karlevangelista.com/\">Karl Evangelista\u003c/a> more than a thousand dollars in expected income. Then came the painful postponement of the San Francisco International Arts Festival. That derailed months of planning to convene an international quartet to perform his multimedia composition \u003cem>Apura\u003c/em> and mark its release on the Astral Spirits label. Evangelista had fronted thousands for flights alone. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Evangelista, a busy member of the Bay Area experimental music scene, feels fortunate to have only been laid off from one of his teaching gigs, and has lately turned his attention to organizing—and trying to monetize—livestreamed performances. But he’s anxious about the disruption’s lasting effects on a community already challenged by Bay Area housing costs and dwindling venues, as well as the emotional toll of isolation and other creative constraints.\u003c/p>\n\u003cp>“Improvised music being collaborative in nature, this is having a severe psychological impact on musicians who are basically unable to create,” Evangelista says.\u003c/p>\n\u003cp>No corner of the local music scene is spared harm, but the pandemic restrictions uniquely threaten independent artists in the experimental, jazz and improvisation community. Many of them live gig-to-gig on teaching, performing and audio engineering opportunities, all of which are diminished. Few derive meaningful income from physical merchandise or streaming. Layoffs are also hitting their day jobs: \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">arts administration\u003c/a>, \u003ca href=\"https://www.sfchronicle.com/business/article/Mass-layoffs-at-Yelp-Eventbrite-show-15190391.php#\">music technology\u003c/a>, \u003ca href=\"https://www.kqed.org/bayareabites/136828/bay-area-organizations-helping-the-local-food-industry\">food service\u003c/a>, \u003ca href=\"https://twitter.com/lefebvre_sam/status/1247592353738575872\">record stores\u003c/a>.\u003c/p>\n\u003cp>“There isn’t the audience to graduate your career like in some genres,” Brent Miller, composer and co-founder of the San Francisco venue \u003ca href=\"https://centerfornewmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for New Music,\u003c/a> explains. “There’s no clear path.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, the congregating and collaboration that usually justifies the struggle is outlawed.\u003c/p>\n\u003cp>Between earlier challenges and this indefinite period of economic freefall and creative frustration, experimental musicians are nearing a breaking point. “When will this end?” Evangelista wonders. “Not knowing is the most troubling thing.”\u003c/p>\n\u003cp>The results of a new Center for New Music survey, shared exclusively with KQED, show 425 respondents working in generally non-commercial styles have already lost an estimated $1.5 million in expected income, a number projected to grow to $4 million if restrictions persist through the summer. Many fear they’ll be forced to incur personal debt (44%) or pursue another career (33%). 20% of the respondents worry the crisis will force them to leave the Bay Area altogether.\u003c/p>\n\u003cfigure id=\"attachment_13878773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/C4NM-survey-grab-1.png\" alt=\"An infographic from Center for New Music's survey of local experimental musicians.\" width=\"1920\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-160x81.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-800x406.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-768x390.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-1020x518.png 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An infographic from Center for New Music’s survey of local experimental musicians. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most respondents to the survey, coordinated with InterMusic SF, Lisa Mezzacappa, \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Jazz in the Neighborhood\u003c/a> and Bird & Beckett Books & Records, earn money as music educators and freelance performers. More than half of the 262 music teachers have lost significant income in the shift to online instruction, and more than half of the 125 teachers affiliated with a school believe they’re ineligible for unemployment benefits. Although the federal aid package expanded unemployment eligibility to independent contractors, Evangelista says some of his freelance musician friends have been denied without explanation. More than half of the self-employed survey respondents are unsure if they have enough documentation of lost wages to apply.\u003c/p>\n\u003cp>“I knew the survey would show fear,” says Miller. “But I was stunned to see more than 5,000 concerts canceled.” Miller also points out that though the respondents perform mostly in San Francisco, many of them live in other parts of the Bay Area. That means they are ineligible for San Francisco’s Arts Relief Program, and there’s no comparable fund from the cities of Berkeley or Oakland.\u003c/p>\n\u003cp>“Many of us were priced out of San Francisco but still do our work there, and now we’re not eligible,” he says. The Center for New Music, meanwhile, is struggling to make up for lost rental and co-working membership income, which it normally relies on to subsidize experimental music programming.\u003c/p>\n\u003cp>Many musicians with abundant time to practice now lack the space. The 34-unit Jack London Rehearsal in Oakland is closed to comply with the prohibition of non-essential businesses; tenants make appointments to retrieve instruments. \u003ca href=\"http://jordanglennmusic.com/\">Jordan Glenn\u003c/a>, an Oakland drummer and composer accustomed to a rotating cast of collaborators, has had about ten gigs and two recording dates canceled. He set up a dampened kit at home to continue giving lessons through the San Francisco Rock Project, but feels creatively constricted in unanticipated ways.\u003c/p>\n\u003cfigure id=\"attachment_13878774\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg\" alt=\"Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space.\" width=\"750\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss-160x213.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space. \u003ccite>(Heike Liss/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Playing with people, all of my commitments, they’re a kind of practice,” he says. “Without that or the space to play without self-consciousness, I’m left with my head games—it’s getting tough.”\u003c/p>\n\u003cp>Oakland Music Complex, the largest rehearsal space in the Bay Area, is leaving artists to assess the safety of visiting the building, and has reduced April rent by half. Tom Ferguson, an Oakland bassist in bands including \u003ca href=\"https://www.kqed.org/arts/13843080/in-new-oakland-can-you-still-smash-a-piano-and-call-it-art\" target=\"_blank\" rel=\"noopener noreferrer\">Moe Staiano\u003c/a>’s avant-rock group Surplus 1980, says half of the 10 people in his space are full-time musicians, and they’re all avoiding the unit. His upcoming tour with songwriter Bill Baird is canceled, along with recording sound engineering dates. He’s also furloughed from his job at Keith McMillen Instruments.\u003c/p>\n\u003cp>“I miss the social aspect,” Ferguson says. “The reason I’m here is to contribute to the community of artists and musicians, so when there’s no gigs and no recording sessions I feel like a fish out of water.”\u003c/p>\n\u003cp>Experimental musicians, like others in the arts, are exploring livestreaming as an imperfect alternative to concerts. Earlier this month Evangelista organized \u003ca href=\"https://www.facebook.com/events/275032363670668/\">Lockdown Festival\u003c/a>, five hours of continuous performances by local musicians in different locations. It featured performers including Marshall Trammell, Scott Amendola and the duo \u003ca href=\"https://www.kqed.org/arts/13846432/the-10-best-bay-area-albums-of-2018-voicehandler-light-from-another-light\" target=\"_blank\" rel=\"noopener noreferrer\">Voicehandler\u003c/a>, comprising Jacob Felix Heule and Danishta Rivero Still, Evangelista said he found not all artists have the equipment required to livestream, and there’s little guarantee viewers are willing to pay the equivalent of a door fee to watch from home. Few are eager to embrace live video as an interim solution, let alone the new normal.\u003c/p>\n\u003cp>Still, some small venues are beginning to adapt. \u003ca href=\"https://birdbeckett.com/\">Bird & Beckett\u003c/a> in San Francisco is streaming performances from the closed shop on Facebook while collecting donations. \u003ca href=\"https://proartsgallery.org/\">Pro Arts\u003c/a> in Oakland, a nonprofit gallery that’s absorbed many of the experimental gigs displaced from underground venues in recent years, is similarly developing a livestream studio, and recently issued an open-call for digital media submissions to be shown as online events for a fee that benefits artists. Natalia Mount, director of Pro Arts, also wants the gallery to provide resources in other ways, for instance distributing toiletries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of the effects of the coronavirus crisis has been widespread grassroots organizing, be it among restaurant staff, health care workers or supermarket employees. And few people know about the highs and lows of grassroots movements quite like Aaron Cometbus. He’s the creator of the zine \u003cem>Cometbus\u003c/em>, which has chronicled punkhouses, squats, collectives and the like for the past four decades.\u003c/p>\n\u003cp>Aaron’s latest issue is titled “Post-Mortem.” Its goal? To provide an autopsy on various underground movements: what went wrong, and what went right.\u003c/p>\n\u003cp>Aaron starts his series of interviews in the offices of Epitaph Records, who brought punk to the masses with the Offspring in the mid-1990s, then weaves his way through volunteer bookstores in San Francisco, independent publishers in Seattle, warehouses in New York and an art school in Vermont. (Aaron springs from the East Bay punk scene, and local institutions like Fat Wreck Chords and Thrasher magazine face his line of questioning, too.)\u003c/p>\n\u003cp>Along the way, an unflinching examination unfolds of financial irresponsibilities, reckless sexual liasons, getting harassed by police – and in Aaron’s storytelling, it’s sometimes hard to tell if these are liabilities or assets. Still, he delivers just as many inspiring success stories as he does sad eulogies, and paints DIY not as a relic of the past but as an ongoing continuum.\u003c/p>\n\u003cp>During the shutdown, reading Cometbus #59—with so much real-life, in-person action—is a hopeful reminder of what we’ll be getting back to someday. With bookstores and record stores closed, you’ll have to find \u003cem>Cometbus\u003c/em> #59 \u003ca href=\"https://store.silversprocket.net/products/cometbus-59-post-mortem-by-aaron-cometbus\" target=\"_blank\" rel=\"noopener noreferrer\">online\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>One of the effects of the coronavirus crisis has been widespread grassroots organizing, be it among restaurant staff, health care workers or supermarket employees. And few people know about the highs and lows of grassroots movements quite like Aaron Cometbus. He’s the creator of the zine \u003cem>Cometbus\u003c/em>, which has chronicled punkhouses, squats, collectives and the like for the past four decades.\u003c/p>\n\u003cp>Aaron’s latest issue is titled “Post-Mortem.” Its goal? To provide an autopsy on various underground movements: what went wrong, and what went right.\u003c/p>\n\u003cp>Aaron starts his series of interviews in the offices of Epitaph Records, who brought punk to the masses with the Offspring in the mid-1990s, then weaves his way through volunteer bookstores in San Francisco, independent publishers in Seattle, warehouses in New York and an art school in Vermont. (Aaron springs from the East Bay punk scene, and local institutions like Fat Wreck Chords and Thrasher magazine face his line of questioning, too.)\u003c/p>\n\u003cp>Along the way, an unflinching examination unfolds of financial irresponsibilities, reckless sexual liasons, getting harassed by police – and in Aaron’s storytelling, it’s sometimes hard to tell if these are liabilities or assets. Still, he delivers just as many inspiring success stories as he does sad eulogies, and paints DIY not as a relic of the past but as an ongoing continuum.\u003c/p>\n\u003cp>During the shutdown, reading Cometbus #59—with so much real-life, in-person action—is a hopeful reminder of what we’ll be getting back to someday. With bookstores and record stores closed, you’ll have to find \u003cem>Cometbus\u003c/em> #59 \u003ca href=\"https://store.silversprocket.net/products/cometbus-59-post-mortem-by-aaron-cometbus\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The day shelter-in-place orders came down in the Bay Area, \u003ca href=\"https://kevchoice.wordpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kev Choice\u003c/a> was in the studio with soul singer and Afro-house producer \u003ca href=\"https://jenniferjohnsmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Johns\u003c/a>. They were laying down a track that would later become part of his \u003cem>Social Distancing\u003c/em> album, “Can’t Stop Me,” where jazz piano flutters over congas. Between Choice’s verses, Johns’ resonant voice reminds us that “I’ma still sing my song / I’ma still shine my light,” even during a tragedy.\u003c/p>\n\u003cp>Once the two friends realized this might be the last time they would see each for a while, they rushed to get the vocals done before the stroke of midnight—so Johns could drive home before the order officially took effect. Choice remembers anxiety starting to set in. “I just put her in the booth and said, ‘Sing what you feel right now,’” says the rapper, producer and multi-instrumentalist. “That was the first song I started creating with this [situation] in mind.”\u003c/p>\n\u003cp>“I think it was a lot of racing against the unknown,” Johns recalls. When Choice began to play the chords on his piano, her mind settled. [aside postid='arts_13878306']\u003c/p>\n\u003cp>“We had been talking about being resilient,” she says. “We share a spiritual perspective and a spiritual practice, so [we both believe in] the importance of saying out loud the power that we live with, the power that we are, comes from inside of us … even if the human part of ourselves isn’t quite sold on the idea.”\u003c/p>\n\u003cp>In the days that followed, Choice took his studio equipment home and quickly got to work on an album he envisions as a real-time dispatch from the COVID-19 pandemic. What started as a five-track EP grew into 12 songs that feature over two dozen collaborators—jazz musicians, rappers and producers, all recording remotely in their home studios.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1994259696/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Enveloped in the warm tones of live jazz, funk and soul instrumentation, the nuanced hip-hop project gives voice to anger at government inaction, grief for loss of life and frustrations at adapting to a stifling new normal. Yet an uplifting message floats through \u003cem>Social Distancing\u003c/em>, carried by Choice’s buoyant rapping and piano playing. He doesn’t offer a false sense of hope, but rather a realist perspective ultimately grounded in his faith in the strength of the human spirit.\u003c/p>\n\u003cp>“Growing up in Oakland, we’ve had adversity from so many different angles. We’re ready for whatever fight we have to get into whether that’s oppression, poverty or a disease,” Choice says. “You have to have optimism in those situations when you’re fighting something that seems impossible to overcome.”\u003c/p>\n\u003cp>https://youtu.be/ug4tefu-SCg\u003c/p>\n\u003cp>A classically trained pianist immersed in many of the Bay Area’s different live music scenes, Choice has omnivorous tastes. \u003cem>Social Distancing\u003c/em> puts his jazz band Black London in dialogue with rapper-activist \u003ca href=\"https://www.eastbayexpress.com/oakland/how-rap-legend-mistah-fab-moved-past-his-hyphy-roots-to-become-unofficial-mayor-of-north-oakland/Content?oid=4806986\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a>, Lalin St. Juste of indie pop bad The Seshen, Karega Bailey from \u003ca href=\"https://www.kqed.org/arts/13829305/sol-development-the-black-experience-and-hip-hop-as-healing\" target=\"_blank\" rel=\"noopener noreferrer\">Sol Development\u003c/a> and rising producer and bassist \u003ca href=\"https://www.kqed.org/arts/13811320/behind-the-beats-drew-banga\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>, among many others. Together, they take stock of the foreign emotional landscape all of us are now navigating as the world slows its pace, and we are asked to hold the paradox of retreating into the stillness of our homes (if we’re lucky enough to have them) while an invisible chaos looms outside.\u003c/p>\n\u003cp>“What we thought was important is not important—the likes, the money or the jewelry, none of that is important, all of them are disposable,” says Mistah F.A.B. His verse on the gospel-tinged “Silver Lining” flows with gratitude for quality conversations with his daughter and more time to perfect his crafts. “What’s really important is family, love and peaceful vibes, establishing a peace of mind. If you can master peace then you can create a masterpiece.” [aside postid='arts_13877358']\u003c/p>\n\u003cp>Choice says his perspective is informed by his spiritual community, the Oakland Center for Spiritual Living, which emphasizes meditation and personal development as a means of changing the world. But in the moments when \u003cem>Social Distancing\u003c/em> delves into worldly matters, he’s not afraid to lay blame on those in charge—specifically President Trump—for downplaying the epidemic and not doing enough to bolster the healthcare system and social safety nets. With communities of color being hit by the pandemic the hardest, he also draws connecting threads to the United States’ history of exploitation and genocide.\u003c/p>\n\u003cp>“For us to not have a better response, a better plan—economically and for those who are on the front lines in the medical field—to me is a travesty. And people are dying because of it,” Choice says.\u003c/p>\n\u003cp>Ultimately, \u003cem>Social Distancing\u003c/em> ends on a resolute note. The final track is called “The Vaccine,” but instead of prescribing a solution, Choice gives the listener space to process. It’s an instrumental with Black London, and Howard Wiley’s saxophone, at times tense and at times soothing, rocks the listener into a contemplative reverie.\u003c/p>\n\u003cp>“Music is a healer, it’s a cure, it inspires us. I know doctors who are having super hard days, nurses, people on the front lines,” Choice says. “Hopefully they can listen to this at home and have some sort of consolation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We had been talking about being resilient,” she says. “We share a spiritual perspective and a spiritual practice, so [we both believe in] the importance of saying out loud the power that we live with, the power that we are, comes from inside of us … even if the human part of ourselves isn’t quite sold on the idea.”\u003c/p>\n\u003cp>In the days that followed, Choice took his studio equipment home and quickly got to work on an album he envisions as a real-time dispatch from the COVID-19 pandemic. What started as a five-track EP grew into 12 songs that feature over two dozen collaborators—jazz musicians, rappers and producers, all recording remotely in their home studios.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1994259696/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Enveloped in the warm tones of live jazz, funk and soul instrumentation, the nuanced hip-hop project gives voice to anger at government inaction, grief for loss of life and frustrations at adapting to a stifling new normal. Yet an uplifting message floats through \u003cem>Social Distancing\u003c/em>, carried by Choice’s buoyant rapping and piano playing. He doesn’t offer a false sense of hope, but rather a realist perspective ultimately grounded in his faith in the strength of the human spirit.\u003c/p>\n\u003cp>“Growing up in Oakland, we’ve had adversity from so many different angles. We’re ready for whatever fight we have to get into whether that’s oppression, poverty or a disease,” Choice says. “You have to have optimism in those situations when you’re fighting something that seems impossible to overcome.”\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/ug4tefu-SCg'\n title='//www.youtube.com/embed/ug4tefu-SCg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A classically trained pianist immersed in many of the Bay Area’s different live music scenes, Choice has omnivorous tastes. \u003cem>Social Distancing\u003c/em> puts his jazz band Black London in dialogue with rapper-activist \u003ca href=\"https://www.eastbayexpress.com/oakland/how-rap-legend-mistah-fab-moved-past-his-hyphy-roots-to-become-unofficial-mayor-of-north-oakland/Content?oid=4806986\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a>, Lalin St. Juste of indie pop bad The Seshen, Karega Bailey from \u003ca href=\"https://www.kqed.org/arts/13829305/sol-development-the-black-experience-and-hip-hop-as-healing\" target=\"_blank\" rel=\"noopener noreferrer\">Sol Development\u003c/a> and rising producer and bassist \u003ca href=\"https://www.kqed.org/arts/13811320/behind-the-beats-drew-banga\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>, among many others. Together, they take stock of the foreign emotional landscape all of us are now navigating as the world slows its pace, and we are asked to hold the paradox of retreating into the stillness of our homes (if we’re lucky enough to have them) while an invisible chaos looms outside.\u003c/p>\n\u003cp>“What we thought was important is not important—the likes, the money or the jewelry, none of that is important, all of them are disposable,” says Mistah F.A.B. His verse on the gospel-tinged “Silver Lining” flows with gratitude for quality conversations with his daughter and more time to perfect his crafts. “What’s really important is family, love and peaceful vibes, establishing a peace of mind. If you can master peace then you can create a masterpiece.” \u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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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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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"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/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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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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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"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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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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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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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"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": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"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",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"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/",
"meta": {
"site": "news",
"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",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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