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"content": "\u003cp>Bashar Jackson, better known as the rapper Pop Smoke, has died. He was 20 years old. The news was confirmed to NPR in a statement from Republic Records, a label Jackson had worked with.\u003c/p>\n\u003cp>Jackson’s cause of death was not confirmed, though in \u003ca href=\"https://www.youtube.com/watch?v=6pzGhUe3UVA\">a press conference today\u003c/a>, LAPD Captain Steve Lurie said that “at 4:55 this morning,” LAPD officers received a phone call “from back east” that a house in the Hollywood Hills had been broken into, and that when officers arrived on the scene they discovered a shooting victim. The victim was then transported to Cedars-Sinai Hospital, where they were pronounced dead.\u003c/p>\n\u003cp>“We are devastated by the unexpected and tragic loss of Pop Smoke,” Republic Records’ statement reads. “Our prayers and thoughts go out to his family, friends and fans, as we mourn this loss together.”\u003c/p>\n\u003cp>Jackson was raised in Canarsie, Brooklyn, growing up in a neighborhood and moment defined by cultural exchange. He was raised in a Panamanian household, he lived around West Indians, he played African drums in church and his first love as a recording artist was a beat from a U.K. producer who goes by 808Melo. That beat turned into Jackson’s first song, “MPR,” which he released in December 2018. Even in that early work, you could hear what millions more would gravitate towards over the next year: Jackson had a \u003cem>voice\u003c/em> — billowing and ghoulish, scorched and scarily effortless. And his ear for beats was unlike any other in the nascent New York drill scene, a regional bubble of rappers taking on propulsive drum patterns with gritty street talk. Jackson dared to rap with a thick Brooklyn accent over grime-inflected beats with bass lines that sounded like transmissions from another planet.\u003c/p>\n\u003cp>The lodestar for a New York drill hit may forever be Jackson’s “Welcome To The Party.” — the city typically has its own song of the summer every year, and “Welcome To The Party” was the runaway favorite in 2019. A bludgeoning ode to excess, the single — which received remixes from Nicki Minaj, ASAP Ferg, Meek Mill and more — catapulted Jackson into the upper echelon of the city’s rap talent. A deal with Republic Records followed soon after, as did his debut mixtape, \u003cem>Meet The Woo\u003c/em>, and his second national hit, “Dior.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With Jackson’s rapid success came increased attention from the NYPD. The rapper had a history of crime, but he and others from the New York drill scene were \u003ca href=\"https://www.google.com/url?q=https://www.rollingstone.com/music/music-news/rolling-loud-nypd-pulled-5-rappers-from-festival-repercussions-901144/&sa=D&ust=1582156803692000&usg=AFQjCNGR43jldNf5YJMlZLE-cSBpjcLS4Q\">trying to come clean\u003c/a> as they entered the spotlight. Still, during 2019’s Rolling Loud NYC, the first time the rap-focused festival landed in the genre’s birthplace, the NYPD removed Jackson, Sheff G, 22Gz and two more of the drill scene’s rising rappers from the lineup.\u003c/p>\n\u003cp>As drill continues to rise in popularity, Jackson may be remembered as the face of the the scene’s ongoing battle with the NYPD.\u003c/p>\n\u003cp>The situation at Rolling Loud didn’t slow him down; if anything, it seemed to put a battery in his back. \u003cem>Meet The Woo\u003c/em> \u003cem>2\u003c/em>, released just weeks ago on Feb. 7, was a thrilling update to the first tape’s sound, debuting at No. 7 on the Billboard 200 albums chart. It’s easy to say that it sounds like a rapper mastering his form but the truth is that Pop Smoke’s music was distinctly his own, defying pat categorization or classification.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Andrew Flanagan.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"http://npr.org\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pop+Smoke%2C+Rising+New+York+Rapper%2C+Dead+At+20&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bashar Jackson, better known as the rapper Pop Smoke, has died. He was 20 years old. The news was confirmed to NPR in a statement from Republic Records, a label Jackson had worked with.\u003c/p>\n\u003cp>Jackson’s cause of death was not confirmed, though in \u003ca href=\"https://www.youtube.com/watch?v=6pzGhUe3UVA\">a press conference today\u003c/a>, LAPD Captain Steve Lurie said that “at 4:55 this morning,” LAPD officers received a phone call “from back east” that a house in the Hollywood Hills had been broken into, and that when officers arrived on the scene they discovered a shooting victim. The victim was then transported to Cedars-Sinai Hospital, where they were pronounced dead.\u003c/p>\n\u003cp>“We are devastated by the unexpected and tragic loss of Pop Smoke,” Republic Records’ statement reads. “Our prayers and thoughts go out to his family, friends and fans, as we mourn this loss together.”\u003c/p>\n\u003cp>Jackson was raised in Canarsie, Brooklyn, growing up in a neighborhood and moment defined by cultural exchange. He was raised in a Panamanian household, he lived around West Indians, he played African drums in church and his first love as a recording artist was a beat from a U.K. producer who goes by 808Melo. That beat turned into Jackson’s first song, “MPR,” which he released in December 2018. Even in that early work, you could hear what millions more would gravitate towards over the next year: Jackson had a \u003cem>voice\u003c/em> — billowing and ghoulish, scorched and scarily effortless. And his ear for beats was unlike any other in the nascent New York drill scene, a regional bubble of rappers taking on propulsive drum patterns with gritty street talk. Jackson dared to rap with a thick Brooklyn accent over grime-inflected beats with bass lines that sounded like transmissions from another planet.\u003c/p>\n\u003cp>The lodestar for a New York drill hit may forever be Jackson’s “Welcome To The Party.” — the city typically has its own song of the summer every year, and “Welcome To The Party” was the runaway favorite in 2019. A bludgeoning ode to excess, the single — which received remixes from Nicki Minaj, ASAP Ferg, Meek Mill and more — catapulted Jackson into the upper echelon of the city’s rap talent. A deal with Republic Records followed soon after, as did his debut mixtape, \u003cem>Meet The Woo\u003c/em>, and his second national hit, “Dior.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400;\">Music by the collective\u003c/span> \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Discos Resaca\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">—\u003c/span>\u003cspan style=\"font-weight: 400;\">Spanish for hangover—leaves listeners feeling anything but zapped. The family of Bay Area musicians specializes in cumbia—the popular, accordion-forward and rhythmically percussive genre of Latin music with variations from Colombia, Peru, Mexico and beyond.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Yet Resaca’s sounds are distinctly from the Bay Area: they mix traditional cumbias with hip-hop and oldies, honoring the band members’ roots while providing a solid party soundtrack. Resaca recently released their first LP, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">, an album of 11 original cumbias with vocals by Las Mariposas del Alma, the Oakland-based Meza sisters who lead the collective with soaring harmonies.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> (And I’ll Tell You) is full of powerful stories, a traditional feature of cumbia. Some songs tell tall tales (“Chupacabra”), others big up their communities throughout the Bay (“Cumbia de San Jose” and “San Juan”) and several tell the history of the area’s cumbia movement (“Movimiento De Cumbia”). The album’s love songs meld boleros, corridos, cumbia and cha-cha with mid-tempo soul, forming a familiar aural history.\u003c/span>\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=202612447/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>\u003cspan style=\"font-weight: 400;\">“For many of us, storytelling is a part of our lives—the elders are always telling stories. Sometimes they’re true, sometimes they’re stretched, sometimes they’re a bit scary, but that’s a huge part of the culture and that’s what these songs are and that’s what this album is,” says accordion player Ivan Flores, Resaca’s bandleader and founder who’s spent more than 20 years playing in local groups including La Colectiva Tokeson and Lado Oriente.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Discos Resaca is an evolving family of musicians, though its core is a group of eight to ten cumbia veterans, including guitarists Fabian Martinez and Erik Molina, percussionist\u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/candelarias-second-life/Content?oid=19389948\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Wilson Posada\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and conguero Pedro Rosales. They’ve performed in various configurations for years, including as\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=s8rc3iq3m4M&fbclid=IwAR1E060uDv0_O6AE4HsXQ-1T6u0jaMRqVnuRtDFBByDYMgcrI5TNIuyVWME\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Los Leones de la Cumbia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and at venues and warehouse parties throughout the East Bay. The band first met the three Meza sisters during a performance with\u003c/span>\u003ca href=\"https://www.chulitavinylclub.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Chulita Vinyl Club\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> at the Legionnaire in Oakland in 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“My sister Jasmin was part of Chulita Vinyl Club and…the Discos Resaca collective was filming a video for one of their songs,” says Mariposa Nathaly Meza. “Because of their vision, and the collective and the way that they think, they were asking whoever wanted to to get on stage to dance or sing or whatever, and we happened to be there.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca brought Las Mariposas del Alma into the fold soon after, and they also regularly collaborate with\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=b4ZysTcZRn8\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Philthy Dronez\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, Combo Tezeta and the rapper\u003c/span>\u003ca href=\"https://www.needledrop.co/artists/deuce-eclipse/\"> \u003cspan style=\"font-weight: 400;\">Deuce Eclipse\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> (who’s featured on “Charamusca”).\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We’re promoting everyone in the Bay Area, all the bands….It’s more of a collective advancement,” Flores says. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/rzOX28sO-H8\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca have their own tales to tell, too. Flores wrote the album’s title track days after attending the funeral of his mentor, San Jose bandleader and songwriter Kiko Morales. Title track “Y Te Cuento” is about dealing with loss, and Flores said the completed song “just came to me. It’s almost like I had help writing it, if you catch where I’m going.” The song also resonates with the Mezas, whose mother passed away in November 2017—the same month Morales died.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“That song helps us heal,” Meza says. “When you’re sad or going through a loss, you wouldn’t think to listen to something like cumbia and relate to it. It’s a great song that you can grieve to, but not necessarily feel bad; it feels bittersweet.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">While “Y Te Cuento” may unite listeners through the pangs of loss, Resaca and Las Mariposas connected international communities of soulero fans, sweet soul collectors and cumbia heads with their cover of\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ogf0PjQgV8k\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">The Fuzz’s 1971 soul song\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> “I Love You For All Seasons.” The collective’s blisteringly gorgeous take is a “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=I4dSz4RPtYs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">cumbioldie\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">” that mixes the syncopation of traditional cumbias with mid-tempo soul sung in English and Spanish. The 45” single quickly sold out and brought the collective distribution in Japan through Shin Miyata’s\u003c/span>\u003ca href=\"https://aldianews.com/articles/culture/music/record-label-opens-door-chicano-culture-japan/55196\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Barrio Gold Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/I4dSz4RPtYs\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We grew up where, if you’re at a BBQ, you’re going to here an oldie, you’re going to hear a corrido, you’re going to hear banda, you’re going to hear cumbia, salsa,” says Flores, adding that fans of cumbia and oldies don’t always mix. “So, by us doing that, we’re representing our upbringing, representing our culture through music, blending what’s familiar and comfortable to us and what we like into one.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Fans of Resaca’s cumbioldie will appreciate the histories of the evolving cumbia community on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">Flores recalls that when he performed with La Colectiva in 2004 and 2005, there were few other cumbia groups in the Bay Area, and the scene was mostly happening at warehouse parties in West and pockets of East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“They were always jam packed…and a lot of [attendees] became musicians and started bands. Now, it’s come out of the underground and every club has a cumbia night. It blows my mind,” Flores says. “But it makes so much sense—everyone always had a great time and it’s not really a genre or vibe that promotes any kind of aggression. There’s so many bands out now, it’s amazing to see it grow.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Today, you can find a cumbia DJ or performance most nights\u003c/span>\u003ca href=\"https://www.facebook.com/groups/Cumbiabayarea/?ref=search\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">all over the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">: there’s the \u003c/span>\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Sonido Clash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> collective in San Jose, Sonido Baylando’s\u003c/span>\u003ca href=\"https://www.facebook.com/events/1002949240059196/\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Cumbia Town\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, multiple nights at the Legionnaire,\u003c/span>\u003ca href=\"https://www.facebook.com/groups/Cumbiabayarea/?ref=search\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Cumbia Cartel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> performances at various venues, gigs at\u003c/span>\u003ca href=\"https://www.facebook.com/events/181503973085130/?acontext=%7B%22ref%22%3A%2244%22%2C%22action_history%22%3A%22%5B%7B%5C%22surface%5C%22%3A%5C%22permalink%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22RHC%5C%22%2C%5C%22extra_data%5C%22%3A%5B%5D%7D%5D%22%7D\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">La Estrellita Café\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> in Eastlake and bands like\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13809210/la-misa-negras-second-album-serves-cumbia-with-a-punk-attitude\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\"> La Misa Negra\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">. DJ Roger Mas (whose label,\u003c/span>\u003ca href=\"https://www.discogs.com/label/686604-Discos-M%C3%A1s\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Discos Mas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, releases a plethora of cumbias) and others play cumbias and pan-Latin music at El Superritmo at the Make Out Room, and LA’s \u003c/span>\u003ca href=\"https://www.cumbiaton.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Cumbiaton\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> hosts events in the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13875090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KN3A8831-800x533.jpg\" alt=\"The Meza sisters of Mariposas Del Alma.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Meza sisters of Mariposas Del Alma. \u003ccite>(Paolo J Riveros for Cumbiation LA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The prevalence of cumbia in local nightlife is exciting, though some club owners aren’t always concerned with cumbia’s message or cultural expression, Flores says, and simply care that it brings bodies through the door.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“To quote a line from ‘\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=2woP4PiWI_E\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">El Moviemento de Cumbia’\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">: ‘Not long ago, you guys didn’t want to hear this, and now everywhere I look people are dancing and listening to cumbia,’” Flores says. “We come in and try to balance it out by saying we’re going to have a good time, and you’re probably going to drink, but we’re going to say what we want to say. We talk a lot in between songs, too, about our inspirations.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca’s platform, and that of other cumbia groups and DJs in the community, is inherently political in a rapidly gentrifying and often inequitable region. “On the daily, attempts are made to erase our local history, shutting down long time local businesses, destroying iconic artwork, closing schools…the list goes on. ‘\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=eVQZdkqZDh4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">La Gentrificadora\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">’ is our contribution to the movement,” Resaca wrote of its next single on\u003c/span>\u003ca href=\"https://www.instagram.com/p/B36ZUDggXMU/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Contributing to a movement and to their communities is at the core of Discos Resaca’s message. The collective regularly performs at all-ages community festivals in San Jose (where Flores was born and raised, and lived before being priced out) and bring their families.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We enjoy getting back to the community where everything started. San Jose is one of our favorite spots to play; it’s great to see familiar faces and people who are just finding out about us,” Meza says. “People see that we were born and raised here too. Especially for the youth, they’re looking, and watching and getting inspired, which is very important for everyone.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Discos Resaca and Las Mariposas Del Alma perform at the\u003c/span>\u003c/i>\u003ca href=\"https://ivyroom.ticketfly.com/e/underground-cumbiamba-discos-resaca-calafia-armada-dj-sue-problema-cvc--86693459471/\"> \u003ci>\u003cspan style=\"font-weight: 400;\">Ivy Room in Albany\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400;\"> alongside Calafia Armada on Feb. 21.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "On 'Y Te Cuento,' a collaboration with Mariposas Del Alma, cumbia is a language for processing grief and joy alike.",
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"title": "Discos Resaca's Cumbia Traces the Movement of the Bay Area's Latinx Diaspora | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">Music by the collective\u003c/span> \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Discos Resaca\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">—\u003c/span>\u003cspan style=\"font-weight: 400;\">Spanish for hangover—leaves listeners feeling anything but zapped. The family of Bay Area musicians specializes in cumbia—the popular, accordion-forward and rhythmically percussive genre of Latin music with variations from Colombia, Peru, Mexico and beyond.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Yet Resaca’s sounds are distinctly from the Bay Area: they mix traditional cumbias with hip-hop and oldies, honoring the band members’ roots while providing a solid party soundtrack. Resaca recently released their first LP, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">, an album of 11 original cumbias with vocals by Las Mariposas del Alma, the Oakland-based Meza sisters who lead the collective with soaring harmonies.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> (And I’ll Tell You) is full of powerful stories, a traditional feature of cumbia. Some songs tell tall tales (“Chupacabra”), others big up their communities throughout the Bay (“Cumbia de San Jose” and “San Juan”) and several tell the history of the area’s cumbia movement (“Movimiento De Cumbia”). The album’s love songs meld boleros, corridos, cumbia and cha-cha with mid-tempo soul, forming a familiar aural history.\u003c/span>\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=202612447/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>\u003cspan style=\"font-weight: 400;\">“For many of us, storytelling is a part of our lives—the elders are always telling stories. Sometimes they’re true, sometimes they’re stretched, sometimes they’re a bit scary, but that’s a huge part of the culture and that’s what these songs are and that’s what this album is,” says accordion player Ivan Flores, Resaca’s bandleader and founder who’s spent more than 20 years playing in local groups including La Colectiva Tokeson and Lado Oriente.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Discos Resaca is an evolving family of musicians, though its core is a group of eight to ten cumbia veterans, including guitarists Fabian Martinez and Erik Molina, percussionist\u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/candelarias-second-life/Content?oid=19389948\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Wilson Posada\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and conguero Pedro Rosales. They’ve performed in various configurations for years, including as\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=s8rc3iq3m4M&fbclid=IwAR1E060uDv0_O6AE4HsXQ-1T6u0jaMRqVnuRtDFBByDYMgcrI5TNIuyVWME\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Los Leones de la Cumbia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and at venues and warehouse parties throughout the East Bay. The band first met the three Meza sisters during a performance with\u003c/span>\u003ca href=\"https://www.chulitavinylclub.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Chulita Vinyl Club\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> at the Legionnaire in Oakland in 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“My sister Jasmin was part of Chulita Vinyl Club and…the Discos Resaca collective was filming a video for one of their songs,” says Mariposa Nathaly Meza. “Because of their vision, and the collective and the way that they think, they were asking whoever wanted to to get on stage to dance or sing or whatever, and we happened to be there.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca brought Las Mariposas del Alma into the fold soon after, and they also regularly collaborate with\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=b4ZysTcZRn8\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Philthy Dronez\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, Combo Tezeta and the rapper\u003c/span>\u003ca href=\"https://www.needledrop.co/artists/deuce-eclipse/\"> \u003cspan style=\"font-weight: 400;\">Deuce Eclipse\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> (who’s featured on “Charamusca”).\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We’re promoting everyone in the Bay Area, all the bands….It’s more of a collective advancement,” Flores says. \u003c/span>\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/rzOX28sO-H8'\n title='//www.youtube.com/embed/rzOX28sO-H8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca have their own tales to tell, too. Flores wrote the album’s title track days after attending the funeral of his mentor, San Jose bandleader and songwriter Kiko Morales. Title track “Y Te Cuento” is about dealing with loss, and Flores said the completed song “just came to me. It’s almost like I had help writing it, if you catch where I’m going.” The song also resonates with the Mezas, whose mother passed away in November 2017—the same month Morales died.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“That song helps us heal,” Meza says. “When you’re sad or going through a loss, you wouldn’t think to listen to something like cumbia and relate to it. It’s a great song that you can grieve to, but not necessarily feel bad; it feels bittersweet.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">While “Y Te Cuento” may unite listeners through the pangs of loss, Resaca and Las Mariposas connected international communities of soulero fans, sweet soul collectors and cumbia heads with their cover of\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ogf0PjQgV8k\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">The Fuzz’s 1971 soul song\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> “I Love You For All Seasons.” The collective’s blisteringly gorgeous take is a “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=I4dSz4RPtYs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">cumbioldie\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">” that mixes the syncopation of traditional cumbias with mid-tempo soul sung in English and Spanish. The 45” single quickly sold out and brought the collective distribution in Japan through Shin Miyata’s\u003c/span>\u003ca href=\"https://aldianews.com/articles/culture/music/record-label-opens-door-chicano-culture-japan/55196\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Barrio Gold Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\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/I4dSz4RPtYs'\n title='//www.youtube.com/embed/I4dSz4RPtYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">“We grew up where, if you’re at a BBQ, you’re going to here an oldie, you’re going to hear a corrido, you’re going to hear banda, you’re going to hear cumbia, salsa,” says Flores, adding that fans of cumbia and oldies don’t always mix. “So, by us doing that, we’re representing our upbringing, representing our culture through music, blending what’s familiar and comfortable to us and what we like into one.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Fans of Resaca’s cumbioldie will appreciate the histories of the evolving cumbia community on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">Flores recalls that when he performed with La Colectiva in 2004 and 2005, there were few other cumbia groups in the Bay Area, and the scene was mostly happening at warehouse parties in West and pockets of East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“They were always jam packed…and a lot of [attendees] became musicians and started bands. Now, it’s come out of the underground and every club has a cumbia night. It blows my mind,” Flores says. “But it makes so much sense—everyone always had a great time and it’s not really a genre or vibe that promotes any kind of aggression. There’s so many bands out now, it’s amazing to see it grow.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Today, you can find a cumbia DJ or performance most nights\u003c/span>\u003ca href=\"https://www.facebook.com/groups/Cumbiabayarea/?ref=search\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">all over the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">: there’s the \u003c/span>\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Sonido Clash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> collective in San Jose, Sonido Baylando’s\u003c/span>\u003ca href=\"https://www.facebook.com/events/1002949240059196/\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Cumbia Town\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, multiple nights at the Legionnaire,\u003c/span>\u003ca href=\"https://www.facebook.com/groups/Cumbiabayarea/?ref=search\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Cumbia Cartel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> performances at various venues, gigs at\u003c/span>\u003ca href=\"https://www.facebook.com/events/181503973085130/?acontext=%7B%22ref%22%3A%2244%22%2C%22action_history%22%3A%22%5B%7B%5C%22surface%5C%22%3A%5C%22permalink%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22RHC%5C%22%2C%5C%22extra_data%5C%22%3A%5B%5D%7D%5D%22%7D\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">La Estrellita Café\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> in Eastlake and bands like\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13809210/la-misa-negras-second-album-serves-cumbia-with-a-punk-attitude\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\"> La Misa Negra\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">. DJ Roger Mas (whose label,\u003c/span>\u003ca href=\"https://www.discogs.com/label/686604-Discos-M%C3%A1s\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Discos Mas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, releases a plethora of cumbias) and others play cumbias and pan-Latin music at El Superritmo at the Make Out Room, and LA’s \u003c/span>\u003ca href=\"https://www.cumbiaton.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Cumbiaton\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> hosts events in the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13875090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KN3A8831-800x533.jpg\" alt=\"The Meza sisters of Mariposas Del Alma.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Meza sisters of Mariposas Del Alma. \u003ccite>(Paolo J Riveros for Cumbiation LA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The prevalence of cumbia in local nightlife is exciting, though some club owners aren’t always concerned with cumbia’s message or cultural expression, Flores says, and simply care that it brings bodies through the door.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“To quote a line from ‘\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=2woP4PiWI_E\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">El Moviemento de Cumbia’\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">: ‘Not long ago, you guys didn’t want to hear this, and now everywhere I look people are dancing and listening to cumbia,’” Flores says. “We come in and try to balance it out by saying we’re going to have a good time, and you’re probably going to drink, but we’re going to say what we want to say. We talk a lot in between songs, too, about our inspirations.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca’s platform, and that of other cumbia groups and DJs in the community, is inherently political in a rapidly gentrifying and often inequitable region. “On the daily, attempts are made to erase our local history, shutting down long time local businesses, destroying iconic artwork, closing schools…the list goes on. ‘\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=eVQZdkqZDh4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">La Gentrificadora\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">’ is our contribution to the movement,” Resaca wrote of its next single on\u003c/span>\u003ca href=\"https://www.instagram.com/p/B36ZUDggXMU/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Contributing to a movement and to their communities is at the core of Discos Resaca’s message. The collective regularly performs at all-ages community festivals in San Jose (where Flores was born and raised, and lived before being priced out) and bring their families.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We enjoy getting back to the community where everything started. San Jose is one of our favorite spots to play; it’s great to see familiar faces and people who are just finding out about us,” Meza says. “People see that we were born and raised here too. Especially for the youth, they’re looking, and watching and getting inspired, which is very important for everyone.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Discos Resaca and Las Mariposas Del Alma perform at the\u003c/span>\u003c/i>\u003ca href=\"https://ivyroom.ticketfly.com/e/underground-cumbiamba-discos-resaca-calafia-armada-dj-sue-problema-cvc--86693459471/\"> \u003ci>\u003cspan style=\"font-weight: 400;\">Ivy Room in Albany\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400;\"> alongside Calafia Armada on Feb. 21.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. [aside postid='arts_13849044']\u003c/p>\n\u003cp>“I think perhaps we are living through something that is very similar to the Weimar Republic without knowing it,” Salonen said in a statement. “We witnessed a number of years of relative prosperity, calm, rationality, optimism and growth. And very suddenly things started unraveling, with the financial crash and rise of populist movements around the world.”\u003c/p>\n\u003cp>“On the Precipice” takes place June 17–26, 2021, with the San Francisco Symphony giving the U.S. premiere of Bryce Dressner’s violin concerto (that’s Bryce Dressner of indie rock band The National), performed by violinist Pekka Kuusisto. (Kuusisto and Dressner are among Salonen’s Collaborative Partners, his “brain trust” of eight interdisciplinary artists who serve as advisers and guest curators.) The orchestra is also slated to perform a semi-staged evening of musical theater centered on Weill and Brecht’s satirical \u003cem>Die Sieben Todsünden \u003c/em>(The Seven Deadly Sins), which was written after the composers fled to Paris to escape Nazi Germany.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As part of another program, “Voices of Change: Reporting on the Human Condition,” the orchestra will perform the West Coast premiere of Julia Wolfe’s \u003cem>Her Story\u003c/em>, a San Francisco Symphony co-commission commemorating the 100-year anniversary of the ratification of women’s suffrage. The program, taking place Nov. 12 and 14, 2020, includes a piano concerto composed by Florence Price, the first black woman to be widely recognized as a symphonic composer.\u003c/p>\n\u003cp>On Feb. 4 and 6, 2021, the Symphony performs Gabriel Kahane’s \u003cem>emergency shelter intake form\u003c/em>, a song cycle that deals with systemic inequality and homelessness, featuring mezzo-soprano Alicia Hall Moran and vocalists Holland Andrews, Gabriel Kahane and \u003ca href=\"https://www.kqed.org/arts/13844854/holcombe-waller-honors-lgbtq-community-with-requiem-mass\" target=\"_blank\" rel=\"noopener noreferrer\">Holcombe Waller\u003c/a> with a community chorus.\u003c/p>\n\u003cp>Much of the San Francisco Symphony’s 2020–21 season anchors around Salonen’s projects with his Collaborative Partners, who—in addition to the aforementioned Kuusisto and Dressner—include bassist Esperanza Spalding, classical vocalist Julia Bullock, experimental flutist Claire Chase, composer and pianist Nicholas Britell, composer Nico Muhly and artificial intelligence entrepreneur Carol Reiley.\u003c/p>\n\u003cp>The season opens with three weeks of concerts and events centered around the Collaborative Partners’ interpretations of Bach, and the programming will be announced in July 2020. See the rest of the SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">2020–21 season\u003c/a> here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think perhaps we are living through something that is very similar to the Weimar Republic without knowing it,” Salonen said in a statement. “We witnessed a number of years of relative prosperity, calm, rationality, optimism and growth. And very suddenly things started unraveling, with the financial crash and rise of populist movements around the world.”\u003c/p>\n\u003cp>“On the Precipice” takes place June 17–26, 2021, with the San Francisco Symphony giving the U.S. premiere of Bryce Dressner’s violin concerto (that’s Bryce Dressner of indie rock band The National), performed by violinist Pekka Kuusisto. (Kuusisto and Dressner are among Salonen’s Collaborative Partners, his “brain trust” of eight interdisciplinary artists who serve as advisers and guest curators.) The orchestra is also slated to perform a semi-staged evening of musical theater centered on Weill and Brecht’s satirical \u003cem>Die Sieben Todsünden \u003c/em>(The Seven Deadly Sins), which was written after the composers fled to Paris to escape Nazi Germany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As part of another program, “Voices of Change: Reporting on the Human Condition,” the orchestra will perform the West Coast premiere of Julia Wolfe’s \u003cem>Her Story\u003c/em>, a San Francisco Symphony co-commission commemorating the 100-year anniversary of the ratification of women’s suffrage. The program, taking place Nov. 12 and 14, 2020, includes a piano concerto composed by Florence Price, the first black woman to be widely recognized as a symphonic composer.\u003c/p>\n\u003cp>On Feb. 4 and 6, 2021, the Symphony performs Gabriel Kahane’s \u003cem>emergency shelter intake form\u003c/em>, a song cycle that deals with systemic inequality and homelessness, featuring mezzo-soprano Alicia Hall Moran and vocalists Holland Andrews, Gabriel Kahane and \u003ca href=\"https://www.kqed.org/arts/13844854/holcombe-waller-honors-lgbtq-community-with-requiem-mass\" target=\"_blank\" rel=\"noopener noreferrer\">Holcombe Waller\u003c/a> with a community chorus.\u003c/p>\n\u003cp>Much of the San Francisco Symphony’s 2020–21 season anchors around Salonen’s projects with his Collaborative Partners, who—in addition to the aforementioned Kuusisto and Dressner—include bassist Esperanza Spalding, classical vocalist Julia Bullock, experimental flutist Claire Chase, composer and pianist Nicholas Britell, composer Nico Muhly and artificial intelligence entrepreneur Carol Reiley.\u003c/p>\n\u003cp>The season opens with three weeks of concerts and events centered around the Collaborative Partners’ interpretations of Bach, and the programming will be announced in July 2020. See the rest of the SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">2020–21 season\u003c/a> here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Tribute to a California DJ Who Connected Lovers on the Air for 80 Years",
"title": "A Tribute to a California DJ Who Connected Lovers on the Air for 80 Years",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Art Laboe, widely credited as the first DJ to play rock and roll on the West Coast, died earlier this month in Palm Springs at the age of 97, after a broadcasting career spanning some 80 years. He coined the term \"oldies but goodies,\" and his beloved radio show drew a racially diverse audience from across California and beyond. California Report Magazine host Sasha Khokha got a chance to interview him for a 2019 story. This week, we're reprising that piece as a tribute to Laboe. Listen to the story in the audio link above.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 8, 2019:\u003cbr>\n\u003c/strong>[dropcap]I[/dropcap] never knew who Art Laboe was, or what he meant to so many Californians, until I moved to Fresno, and started dating someone who grew up on Laboe's music. We would drive on country roads lined with orange groves and tune into Laboe's Sunday radio show, where people from all over the state would send in lovey-dovey dedications to each other. And then there was Laboe's signature on-air smooch into the microphone.\u003c/p>\n\u003cp>My now-husband Karl was a low-rider growing up, cruising in his Nissan mini-truck with tinted windows, custom-painted graphics on the side and a booming stereo. He would blast Laboe's show, which played songs by artists like Rick James, Teena Marie, Tierra and the Temptations — from the 12-inch woofers, while waxing his car and cleaning the custom spoke wheels with a toothbrush.\u003c/p>\n\u003cp>By the time I met Karl, he had moved away from the low-rider lifestyle, but not Art Laboe, or the love songs. He's one of generations of Californians — especially Chicanos and Latinx folks — who've grown up on Laboe's music, first listening as their grandparents did.\u003c/p>\n\u003cfigure id=\"attachment_11723560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723560\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg\" alt=\"\" width=\"800\" height=\"958\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-160x192.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1020x1221.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1002x1200.jpg 1002w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe developed a radio persona that was daring and rebellious for its time. Here he broadcasts from the Palm Springs studios of KCMJ in 1946 while getting a haircut. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After all, Laboe has been spinning oldies and love songs since 1943. He coined the term “oldies but goodies” and was one of the first DJs on the West Coast to play rock 'n' roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He still takes to the airwaves from a Palm Springs studio six nights a week from 7 p.m. to midnight, hosting \u003ca href=\"https://www.facebook.com/ArtLaboeConnection/\" target=\"_blank\" rel=\"noopener noreferrer\">The Art Laboe Connection\u003c/a> — a show broadcast on more than a dozen stations across California.\u003c/p>\n\u003cp>\u003cem>Watch a tribute to Art Laboe produced by videographer Bryan Mendez:\u003c/em>\u003cbr>\nhttps://www.youtube.com/watch?v=jx6zqCY8GMU\u003c/p>\n\u003cp>Laboe spends hours every day playing songs that are about the heart.\u003c/p>\n\u003cp>“Love is a powerful medicine, whether you’re falling in love, or out of love,” he says.\u003c/p>\n\u003ch3>Connecting loved ones, in and out of prison\u003c/h3>\n\u003cp>These days, many of those calling in with regular dedications have loved ones in prison.\u003c/p>\n\u003cp>\"He's just an amazing DJ. I would listen to him until my last breath,\" says longtime listener Rosie Morales, of Sylmar.\u003c/p>\n\u003cfigure id=\"attachment_11723897\" class=\"wp-caption alignright\" style=\"max-width: 351px\">\u003cimg class=\" wp-image-11723897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg\" alt=\"\" width=\"351\" height=\"233\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut.jpg 1920w\" sizes=\"(max-width: 351px) 100vw, 351px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe receives thousands of letters from incarcerated people each year. Some envelopes contain a week's work of dedications for their loved ones. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She calls in every single day with a dedication to her husband Scrappy, who's serving a life sentence in Kern Valley State Prison in Delano. She can't call her husband directly right now, because he's in solitary confinement. But she can hear Laboe smooch kisses sent by her husband into his microphone.\u003c/p>\n\u003cp>\"He's able to communicate to our loved ones when we can't,\" Morales says. \"He brings that spark into relationships.\"\u003c/p>\n\u003cp>“They’re there, man and wife, every night, man and wife, doing it to each other, dedications,\" Laboe laughs. \"Conjugal, but not conjugal.\"\u003c/p>\n\u003cp>Some incarcerated people send in a week's worth of dedications to their spouses or lovers, with a different love song for each day of the week.\u003c/p>\n\u003cfigure id=\"attachment_11723729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723729\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe has been spinning love songs for 75 years. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Art’s so concerned about the prisoners, because for every person that's inside there can be 10 or 20 family members on the outside affected by that person being in jail,\" says his longtime audio engineer, Joanna Morones, who answers phones to take dedications.\u003c/p>\n\u003cp>\"He really caters to that family dynamic, you know, and connecting them. We're told every night, ‘I can't go visit him. I won't be able to go see him for two weeks, but I can talk to him on the radio.’ The guys in prison sit there and wait to hear their wives’ voice on the radio,\" Morones says.\u003c/p>\n\u003ch3>Getting his start — thanks to the WWII draft\u003c/h3>\n\u003cp>Laboe's obsession with radio started when he was eight years old, when his sister sent his parents what he called \"this box that talked.\" He set up a ham radio station in his bedroom at age 14, broadcasting to his neighbors.\u003c/p>\n\u003cp>When he was 18, he walked into radio station KSAN in San Francisco and asked for a job.\u003c/p>\n\u003cp>He had no real experience, and he hadn’t yet honed his rich baritone. But he did have one thing: a radio operator’s license.\u003c/p>\n\u003cp>The station had lost its engineers to the draft — this was World War II. The manager offered him a job on the spot. As long as he changed his last name, which the manager thought sounded \"too ethnic\" for the airwaves in 1943.\u003c/p>\n\u003cp>So Art Egnoian — the son of Armenian immigrants — took the name of the station’s receptionist and became Art Laboe.\u003c/p>\n\u003cfigure id=\"attachment_11723557\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-11723557\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg\" alt=\"\" width=\"768\" height=\"936\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut-160x195.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Laboe claims to have invented the on-air dedication, where listeners write or call in to send music and love notes to each other on the air. Here he reads dedications with Eddie Rodriguez in 1945, at radio station KPMO in Pomona. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his music, and his fan base, have never been whitewashed. Laboe has built a huge fan base, starting with the teenagers who attended his live concerts or dances back in the 1950s. He made a name for himself hosting rock 'n' roll concerts in the Los Angeles suburb of El Monte, pioneering racially integrated, all-ages dance parties with live bands.\u003c/p>\n\u003cp>\"I can do some nice talking in Armenian. But I can do almost that good in Spanish, too,\" Laboe smiles. \"I’m happy that [our concerts and shows appeal to] everybody. If you come to one of our concerts, you’ll see a mixture, a complete mixture of what we have in California.\"\u003c/p>\n\u003cfigure id=\"attachment_11723561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg\" alt=\"Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-1020x726.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 94, Laboe is still hosting live shows across California and the west, wearing his signature bedazzled track suit and a sparkly bowler hat.\u003c/p>\n\u003cp>Laboe says he knows people his age always say this kind of thing, but he is nostalgic for the old days — a time when people used to have a little more kindness for each other.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It would be good if we had a little bit more of what we used to have in the world,\" Laboe says. \"Nevertheless, people are people and they still have the same basic wants and needs. Everyone is capable of love and affection, if they could just have a little bit more of it for each other.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art Laboe, widely credited as the first DJ to play rock and roll on the West Coast, died earlier this month in Palm Springs at the age of 97, after a broadcasting career spanning some 80 years. He coined the term \"oldies but goodies,\" and his beloved radio show drew a racially diverse audience from across California and beyond. California Report Magazine host Sasha Khokha got a chance to interview him for a 2019 story. This week, we're reprising that piece as a tribute to Laboe. Listen to the story in the audio link above.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 8, 2019:\u003cbr>\n\u003c/strong>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> never knew who Art Laboe was, or what he meant to so many Californians, until I moved to Fresno, and started dating someone who grew up on Laboe's music. We would drive on country roads lined with orange groves and tune into Laboe's Sunday radio show, where people from all over the state would send in lovey-dovey dedications to each other. And then there was Laboe's signature on-air smooch into the microphone.\u003c/p>\n\u003cp>My now-husband Karl was a low-rider growing up, cruising in his Nissan mini-truck with tinted windows, custom-painted graphics on the side and a booming stereo. He would blast Laboe's show, which played songs by artists like Rick James, Teena Marie, Tierra and the Temptations — from the 12-inch woofers, while waxing his car and cleaning the custom spoke wheels with a toothbrush.\u003c/p>\n\u003cp>By the time I met Karl, he had moved away from the low-rider lifestyle, but not Art Laboe, or the love songs. He's one of generations of Californians — especially Chicanos and Latinx folks — who've grown up on Laboe's music, first listening as their grandparents did.\u003c/p>\n\u003cfigure id=\"attachment_11723560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723560\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg\" alt=\"\" width=\"800\" height=\"958\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-160x192.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1020x1221.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1002x1200.jpg 1002w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe developed a radio persona that was daring and rebellious for its time. Here he broadcasts from the Palm Springs studios of KCMJ in 1946 while getting a haircut. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After all, Laboe has been spinning oldies and love songs since 1943. He coined the term “oldies but goodies” and was one of the first DJs on the West Coast to play rock 'n' roll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He still takes to the airwaves from a Palm Springs studio six nights a week from 7 p.m. to midnight, hosting \u003ca href=\"https://www.facebook.com/ArtLaboeConnection/\" target=\"_blank\" rel=\"noopener noreferrer\">The Art Laboe Connection\u003c/a> — a show broadcast on more than a dozen stations across California.\u003c/p>\n\u003cp>\u003cem>Watch a tribute to Art Laboe produced by videographer Bryan Mendez:\u003c/em>\u003cbr>\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/jx6zqCY8GMU'\n title='//www.youtube.com/embed/jx6zqCY8GMU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Laboe spends hours every day playing songs that are about the heart.\u003c/p>\n\u003cp>“Love is a powerful medicine, whether you’re falling in love, or out of love,” he says.\u003c/p>\n\u003ch3>Connecting loved ones, in and out of prison\u003c/h3>\n\u003cp>These days, many of those calling in with regular dedications have loved ones in prison.\u003c/p>\n\u003cp>\"He's just an amazing DJ. I would listen to him until my last breath,\" says longtime listener Rosie Morales, of Sylmar.\u003c/p>\n\u003cfigure id=\"attachment_11723897\" class=\"wp-caption alignright\" style=\"max-width: 351px\">\u003cimg class=\" wp-image-11723897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg\" alt=\"\" width=\"351\" height=\"233\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut.jpg 1920w\" sizes=\"(max-width: 351px) 100vw, 351px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe receives thousands of letters from incarcerated people each year. Some envelopes contain a week's work of dedications for their loved ones. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She calls in every single day with a dedication to her husband Scrappy, who's serving a life sentence in Kern Valley State Prison in Delano. She can't call her husband directly right now, because he's in solitary confinement. But she can hear Laboe smooch kisses sent by her husband into his microphone.\u003c/p>\n\u003cp>\"He's able to communicate to our loved ones when we can't,\" Morales says. \"He brings that spark into relationships.\"\u003c/p>\n\u003cp>“They’re there, man and wife, every night, man and wife, doing it to each other, dedications,\" Laboe laughs. \"Conjugal, but not conjugal.\"\u003c/p>\n\u003cp>Some incarcerated people send in a week's worth of dedications to their spouses or lovers, with a different love song for each day of the week.\u003c/p>\n\u003cfigure id=\"attachment_11723729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723729\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe has been spinning love songs for 75 years. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Art’s so concerned about the prisoners, because for every person that's inside there can be 10 or 20 family members on the outside affected by that person being in jail,\" says his longtime audio engineer, Joanna Morones, who answers phones to take dedications.\u003c/p>\n\u003cp>\"He really caters to that family dynamic, you know, and connecting them. We're told every night, ‘I can't go visit him. I won't be able to go see him for two weeks, but I can talk to him on the radio.’ The guys in prison sit there and wait to hear their wives’ voice on the radio,\" Morones says.\u003c/p>\n\u003ch3>Getting his start — thanks to the WWII draft\u003c/h3>\n\u003cp>Laboe's obsession with radio started when he was eight years old, when his sister sent his parents what he called \"this box that talked.\" He set up a ham radio station in his bedroom at age 14, broadcasting to his neighbors.\u003c/p>\n\u003cp>When he was 18, he walked into radio station KSAN in San Francisco and asked for a job.\u003c/p>\n\u003cp>He had no real experience, and he hadn’t yet honed his rich baritone. But he did have one thing: a radio operator’s license.\u003c/p>\n\u003cp>The station had lost its engineers to the draft — this was World War II. The manager offered him a job on the spot. As long as he changed his last name, which the manager thought sounded \"too ethnic\" for the airwaves in 1943.\u003c/p>\n\u003cp>So Art Egnoian — the son of Armenian immigrants — took the name of the station’s receptionist and became Art Laboe.\u003c/p>\n\u003cfigure id=\"attachment_11723557\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-11723557\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg\" alt=\"\" width=\"768\" height=\"936\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut-160x195.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Laboe claims to have invented the on-air dedication, where listeners write or call in to send music and love notes to each other on the air. Here he reads dedications with Eddie Rodriguez in 1945, at radio station KPMO in Pomona. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his music, and his fan base, have never been whitewashed. Laboe has built a huge fan base, starting with the teenagers who attended his live concerts or dances back in the 1950s. He made a name for himself hosting rock 'n' roll concerts in the Los Angeles suburb of El Monte, pioneering racially integrated, all-ages dance parties with live bands.\u003c/p>\n\u003cp>\"I can do some nice talking in Armenian. But I can do almost that good in Spanish, too,\" Laboe smiles. \"I’m happy that [our concerts and shows appeal to] everybody. If you come to one of our concerts, you’ll see a mixture, a complete mixture of what we have in California.\"\u003c/p>\n\u003cfigure id=\"attachment_11723561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg\" alt=\"Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-1020x726.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 94, Laboe is still hosting live shows across California and the west, wearing his signature bedazzled track suit and a sparkly bowler hat.\u003c/p>\n\u003cp>Laboe says he knows people his age always say this kind of thing, but he is nostalgic for the old days — a time when people used to have a little more kindness for each other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There is no sound on Earth quite like the music of Mulatu Astatke. Though Ethiopia is his home, every six years or so a new group of music listeners in the United States discovers his signature sound—based on a five-tone pentatonic scale, with all sorts of wonderful melodies and tonality swirling around. In 1972, Astatke toured extensively with Duke Ellington. And 15 years ago, the film director Jim Jarmusch used Astatke’s songs to great effect in the movie \u003cem>Broken Flowers\u003c/em>, prompting a revival of interest in his music. Luckily for us, at 76 years old, Astatke is still touring, conducting and playing behind the vibraphones. Mulatu Astatke brings his group to town for two nights, Feb. 28 and 29, at the UC Theatre in Berkeley. \u003ca href=\"https://www.theuctheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The Bay Area’s Russian-speaking community is small yet vibrant, with historic bakeries, \u003ca href=\"https://www.kqed.org/arts/13872976/san-franciscos-49-year-old-russian-bookstore-opens-a-progressive-new-chapter\" target=\"_blank\" rel=\"noopener noreferrer\">shops\u003c/a> and houses of worship serving a multi-generational, multi-ethnic group of immigrants from the former Soviet Union. Every year, one of its cultural hubs, the Russian Center of San Francisco, opens its doors to the broader public to showcase the ways Russian speakers in the Bay Area are keeping traditions alive.\u003c/p>\n\u003cp>\u003ca href=\"https://russiancentersf.com/events/russian-festival-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">The Russian Festival\u003c/a>, taking place Feb. 21–23, offers three days of folk music, dance, crafts and plenty of bliny, pirozhki and vodka infusions (with flavors like horseradish and pickle) spread out through the building’s three floors. The opening night on Friday features an accordion performance by Dina Gutkina, Armenian music by the Yeraz Quartet, ballet performances and a dance party that goes late. The rest of the weekend showcases choral works, ballroom dancing, the San Francisco Balalaika Ensemble, face painting and games for kids and more.\u003c/p>\n\u003cp>In addition to food and performances, exploring the Russian Center is part of the fun at the festival. The building’s top floor contains a museum, where event-goers can peruse folk costumes (like impressively intricate kokoshnik tiaras), artifacts and art from pre-revolutionary Russia, World War II memorabilia and other mementos that multiple generations of immigrants have brought from the old country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area’s Russian-speaking community is small yet vibrant, with historic bakeries, \u003ca href=\"https://www.kqed.org/arts/13872976/san-franciscos-49-year-old-russian-bookstore-opens-a-progressive-new-chapter\" target=\"_blank\" rel=\"noopener noreferrer\">shops\u003c/a> and houses of worship serving a multi-generational, multi-ethnic group of immigrants from the former Soviet Union. Every year, one of its cultural hubs, the Russian Center of San Francisco, opens its doors to the broader public to showcase the ways Russian speakers in the Bay Area are keeping traditions alive.\u003c/p>\n\u003cp>\u003ca href=\"https://russiancentersf.com/events/russian-festival-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">The Russian Festival\u003c/a>, taking place Feb. 21–23, offers three days of folk music, dance, crafts and plenty of bliny, pirozhki and vodka infusions (with flavors like horseradish and pickle) spread out through the building’s three floors. The opening night on Friday features an accordion performance by Dina Gutkina, Armenian music by the Yeraz Quartet, ballet performances and a dance party that goes late. The rest of the weekend showcases choral works, ballroom dancing, the San Francisco Balalaika Ensemble, face painting and games for kids and more.\u003c/p>\n\u003cp>In addition to food and performances, exploring the Russian Center is part of the fun at the festival. The building’s top floor contains a museum, where event-goers can peruse folk costumes (like impressively intricate kokoshnik tiaras), artifacts and art from pre-revolutionary Russia, World War II memorabilia and other mementos that multiple generations of immigrants have brought from the old country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Claude VonStroke, a.k.a. Barclay Crenshaw, remembers the first party he threw in San Francisco’s Golden Gate Park in 2003. He’d only obtained a permit to host a picnic, not to bring a sound system, but that didn’t matter—only around 12 people showed up anyway, including the DJs. At the time, a smoother, more minimal sound reigned in San Francisco’s electronic music scene, and Crenshaw and his collaborators were seen as a band of outsiders.\u003c/p>\n\u003cp>Yet slowly, the crew’s DIY appeal caught on, along with the funky, danceable style of house music they championed—a sound heavy on low-end frequencies, with elastic \u003cem>boings \u003c/em>and propulsive grooves better suited for shaking your booty than nodding your head. The Golden Gate Park party started to become a word-of-mouth phenomenon, and in 2005, VonStroke and his cohorts established \u003ca href=\"https://dirtybirdrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dirtybird Records\u003c/a>.\u003c/p>\n\u003cp>Now, Dirtybird is one of the United States’ most popular house music labels. This year it celebrates 15 years in business with a new album from Crenshaw, \u003cem>Freaks & Beaks\u003c/em>, out Feb. 21.\u003c/p>\n\u003cp>Before Dirtybird acquired a cult following for touring house music barbecues and festivals, Crenshaw remembers, he and his collaborators Chris and Justin Martin weren’t always embraced in the Lower Haight dance scene. In fact, it took them blowing up in Europe after their third release, Crenshaw’s \u003cem>Deep Throat\u003c/em>, for the label’s hometown to catch on.\u003c/p>\n\u003cp>https://youtu.be/CzALJvtJWkE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In the Lower Haight, you’d really have to earn it. It was kind of too cool for school,” Crenshaw says. “It was hard for them to accept this gritty, bumpy, slightly aggressive, dirtier sound.”\u003c/p>\n\u003cp>Yet the initial lukewarm reception didn’t deter Crenshaw. An outsider approach has always been part of his hallmark: though originally from Detroit, the birthplace of techno, he was a hip-hop head growing up and didn’t attend his first rave until he was 25 years old. His route to becoming a house music producer was an unconventional one. While embarking on a career in film (he was a production assistant on 1997’s \u003cem>Batman & Robin\u003c/em> and \u003cem>Con Air\u003c/em>) he began an ambitious self-funded project: an exhaustive documentary on the history of electronic music, titled \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0415882/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">Intellect\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>For \u003cem>Intellect\u003c/em>, Crenshaw interviewed over 50 DJs, including big names like Derrick May and Paul Van Dyk. While filming the project, he ran out of money—then borrowed money from friends, and ran out of that. (“Everyone hated me,” he says.) Because he didn’t have enough funds to license music from all the artists he interviewed in the film, he had to learn to figure out how to make the soundtrack himself, creating his own interpretations of the featured DJs’ styles.\u003c/p>\n\u003cp>“It was kind of like graduate school—I made my own grad school, basically,” he says.\u003c/p>\n\u003cp>As Crenshaw found his groove as a producer, a scene began to coalesce around Dirtybird in the late 2000s. Artists like J.Phlip, Worthy, Tim Green and Style of Eye joined the label, and Crenshaw began curating Dirtybird parties at the Mezzanine—one of the venue’s biggest draws from 2008 until it closed on New Year’s Eve last year.\u003c/p>\n\u003cp>https://youtu.be/uc8lkLQ3sO4\u003c/p>\n\u003cp>After Crenshaw relocated to Los Angeles (he regularly returns to San Francisco for Dirtybird events), business continued to pick up. In 2015, Crenshaw started the Dirtybird Campout, which takes place this year in Modesto. He’s intentionally kept the event small (at around 7,000 attendees) to retain its feeling of intimacy. Unlike at EDM mega-fests like Electric Daisy Carnival, DJs and fans alike participate in summer camp activities like archery and kayaking, and dance parties rage on until sunrise.\u003c/p>\n\u003cp>With the help of his wife, Aundy, who is the label’s chief operating and marketing officer, Crenshaw has grown Dirtybird in many different directions: live events on both coasts, the \u003ca href=\"https://claudevonstroke.com/birdhouse\" target=\"_blank\" rel=\"noopener noreferrer\">Birdhouse\u003c/a> Radio Show, merch, even an art book (also out Feb. 21) illustrated by San Francisco artist Jeremy Fish. Yet through it all, the label has remained independent and held on to its outsider appeal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have a vibe—it’s not a big barrier between the artists the fans at our shows,” Crenshaw says. “No one is untouchable.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In the Lower Haight, you’d really have to earn it. It was kind of too cool for school,” Crenshaw says. “It was hard for them to accept this gritty, bumpy, slightly aggressive, dirtier sound.”\u003c/p>\n\u003cp>Yet the initial lukewarm reception didn’t deter Crenshaw. An outsider approach has always been part of his hallmark: though originally from Detroit, the birthplace of techno, he was a hip-hop head growing up and didn’t attend his first rave until he was 25 years old. His route to becoming a house music producer was an unconventional one. While embarking on a career in film (he was a production assistant on 1997’s \u003cem>Batman & Robin\u003c/em> and \u003cem>Con Air\u003c/em>) he began an ambitious self-funded project: an exhaustive documentary on the history of electronic music, titled \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0415882/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">Intellect\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>For \u003cem>Intellect\u003c/em>, Crenshaw interviewed over 50 DJs, including big names like Derrick May and Paul Van Dyk. While filming the project, he ran out of money—then borrowed money from friends, and ran out of that. (“Everyone hated me,” he says.) Because he didn’t have enough funds to license music from all the artists he interviewed in the film, he had to learn to figure out how to make the soundtrack himself, creating his own interpretations of the featured DJs’ styles.\u003c/p>\n\u003cp>“It was kind of like graduate school—I made my own grad school, basically,” he says.\u003c/p>\n\u003cp>As Crenshaw found his groove as a producer, a scene began to coalesce around Dirtybird in the late 2000s. Artists like J.Phlip, Worthy, Tim Green and Style of Eye joined the label, and Crenshaw began curating Dirtybird parties at the Mezzanine—one of the venue’s biggest draws from 2008 until it closed on New Year’s Eve last year.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uc8lkLQ3sO4'\n title='//www.youtube.com/embed/uc8lkLQ3sO4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After Crenshaw relocated to Los Angeles (he regularly returns to San Francisco for Dirtybird events), business continued to pick up. In 2015, Crenshaw started the Dirtybird Campout, which takes place this year in Modesto. He’s intentionally kept the event small (at around 7,000 attendees) to retain its feeling of intimacy. Unlike at EDM mega-fests like Electric Daisy Carnival, DJs and fans alike participate in summer camp activities like archery and kayaking, and dance parties rage on until sunrise.\u003c/p>\n\u003cp>With the help of his wife, Aundy, who is the label’s chief operating and marketing officer, Crenshaw has grown Dirtybird in many different directions: live events on both coasts, the \u003ca href=\"https://claudevonstroke.com/birdhouse\" target=\"_blank\" rel=\"noopener noreferrer\">Birdhouse\u003c/a> Radio Show, merch, even an art book (also out Feb. 21) illustrated by San Francisco artist Jeremy Fish. Yet through it all, the label has remained independent and held on to its outsider appeal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have a vibe—it’s not a big barrier between the artists the fans at our shows,” Crenshaw says. “No one is untouchable.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the world of George Orwell’s \u003cem>1984\u003c/em>, citizens are monitored around the clock, eavesdropped upon by machines, and subjected to confusing political spin.\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>Destroy Art Inc., the curators of \u003ca href=\"https://19842020.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Welcome to 1984//2020: Punk on the Western Front\u003c/a>, noticed parallels between the 1949 novel and contemporary reality, too. And they’ve put together a huge exhibit of punk-related art to reflect that.\u003c/p>\n\u003cp>Featuring work by a multi-generational mix of punk rock creatives, \u003cem>1984//2020\u003c/em> promises to be a thought-provoking exploration of the zeitgeist, filtered through a lens that’s both historical and musical.\u003c/p>\n\u003cp>Art by established punk icons like photographer Edward Colver, Dead Kennedys legend Jello Biafra, and (appropriately named) collage specialist Winston Smith will be featured alongside a new generation of artists, including Karoline Collins, Shannon Deathless and Jason Ruggles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Winston Smith’s recent exhibit at the Haight Street Art Center hinted at a 1984-2020 theme that promises to be expanded further here. In addition, the work of recently deceased Bay Area photographer \u003ca href=\"https://www.kqed.org/arts/13871151/murray-bowles-legendary-bay-area-punk-photographer-dies-at-68\" target=\"_blank\" rel=\"noopener noreferrer\">Murray Bowles\u003c/a> will also be on view.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As well as Feb. 29’s opening night party (7pm-midnight), an accompanying discussion follows the next day at 2pm by key artists from the exhibition, as well as a women-focused event at the gallery on Mar. 21. The WXMXN, Punk & Community discussion panel includes the likes of Alice Bag, Michelle Cruz and Kamala Parks, and will precede a screening of Amanda Silberling’s documentary \u003cem>Women in Punk\u003c/em>. —\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>\u003cem>Happy\u003c/em>, a new photography book by David King, the English-born San Francisco artist who died at 71 last October, comprises full-page images made from small objects and a yellow surface. King took thousands of these photographs, some of which appear in a same-named exhibition at \u003ca href=\"https://www.parklifestore.com/2020/01/14/david-anthony-king-show-at-park-life-opens-fri-jan-31-2020/\">Park Life Gallery\u003c/a>, as natural light fluctuations in his home studio drew longer and shorter lines in shadow. The objects, Luca Antonucci of \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> notes in a brief dedication at the end of the book, are culled from what King called his Museum of Small Things. They reference retrofuturism, genteel domesticity and pop culture depictions of masculinity from the mid-20th century. As King fought against cancer, he meditated on the bright, bubblegum imagery that imprinted riotous color on the gray postwar cityscape of his United Kingdom upbringing. [aside postID=arts_13868611]\u003c/p>\n\u003cp>King earlier published a book, \u003cem>Walking Photos\u003c/em>, showing his eye for shapes and textures hidden in the built environment of San Francisco, and \u003cem>Happy\u003c/em> similarly surfaces enchanting formal aspects of everyday objects. A tiny blue pushcart with elongated shadows, for instance, registers as a working-class symbol as well as an abstraction of cascading rectangles. Other objects appear in pairs, drawing attention to qualities less conspicuous singly. The focal point of identical businessmen figurines becomes the divergent paint cracks, and two burly, mustachioed men in bowler hats look less tough, more cabaret as they lunge side-by-side. Even before the vintage comic book covers, which echo the dramatic angles and negative space of his own work, King’s interest in the latent camp of masculine caricature is evident.\u003c/p>\n\u003cfigure id=\"attachment_13874778\" class=\"wp-caption alignleft\" style=\"max-width: 452px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/happy1.jpg\" alt=\"The cover of David King's posthumous artist book, 'Happy.'\" width=\"452\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/happy1.jpg 452w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/happy1-160x215.jpg 160w\" sizes=\"(max-width: 452px) 100vw, 452px\">\u003cfigcaption class=\"wp-caption-text\">The cover of David King’s posthumous artist book, ‘Happy.’ \u003ccite>(David King/Courtesy Colpa Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King moved from New York to San Francisco in 1982 with his band mates in Arsenal, including his wife Dione, and reformed the punk group as Sleeping Dogs. In the 1990s, he continued his art education at the San Francisco Art Institute. He found work as a commercial graphic designer and broadened his mediums to include photography, film, stencil and woodworking, reaching across generations and scenes to find admiring peers in the burgeoning Mission School. In recent years King also sought to reconcile the severity of his best-known image, an anti-establishment logo for influential anarcho-punk group Crass, with the levity and humor of his personal aesthetic. \u003cem>David King Stencils\u003c/em>, a monograph recently published by Gingko Press, includes introductions by artists and historians Steven Heller, Matt Borruso and Barry McGee.\u003c/p>\n\u003cp>\u003cem>Happy\u003c/em> continues a string of scrapbook-like Colpa Press publications King created from his personal archives of original and found imagery in the past several years. King chose the title before he died, and close associates made many of the selection and sequencing decisions in the book and Park Life Gallery exhibition. Organizers of the show, which includes a handful of photos that don’t appear in the book, describe the pictures as documentation of his practice as a collector: King’s bevy of objects was the artwork itself, gaining meaning in the aggregate. Still, they’re individually stirring, bringing viewers into his state of mind as a child, enchanted by the fizzy chintz of candy advertisements on enamel signs. In one exhibition photo, not included in the book, a dyed paper flower leans at an angle suggestive of sighing into delightful freefall.\u003c/p>\n\u003cp>\u003cem>David King’s ‘Happy’ is on view at Park Life Gallery through March 1, 2020. \u003ca href=\"https://www.parklifestore.com/2020/01/14/david-anthony-king-show-at-park-life-opens-fri-jan-31-2020/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Happy\u003c/em>, a new photography book by David King, the English-born San Francisco artist who died at 71 last October, comprises full-page images made from small objects and a yellow surface. King took thousands of these photographs, some of which appear in a same-named exhibition at \u003ca href=\"https://www.parklifestore.com/2020/01/14/david-anthony-king-show-at-park-life-opens-fri-jan-31-2020/\">Park Life Gallery\u003c/a>, as natural light fluctuations in his home studio drew longer and shorter lines in shadow. The objects, Luca Antonucci of \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> notes in a brief dedication at the end of the book, are culled from what King called his Museum of Small Things. They reference retrofuturism, genteel domesticity and pop culture depictions of masculinity from the mid-20th century. As King fought against cancer, he meditated on the bright, bubblegum imagery that imprinted riotous color on the gray postwar cityscape of his United Kingdom upbringing. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King earlier published a book, \u003cem>Walking Photos\u003c/em>, showing his eye for shapes and textures hidden in the built environment of San Francisco, and \u003cem>Happy\u003c/em> similarly surfaces enchanting formal aspects of everyday objects. A tiny blue pushcart with elongated shadows, for instance, registers as a working-class symbol as well as an abstraction of cascading rectangles. Other objects appear in pairs, drawing attention to qualities less conspicuous singly. The focal point of identical businessmen figurines becomes the divergent paint cracks, and two burly, mustachioed men in bowler hats look less tough, more cabaret as they lunge side-by-side. Even before the vintage comic book covers, which echo the dramatic angles and negative space of his own work, King’s interest in the latent camp of masculine caricature is evident.\u003c/p>\n\u003cfigure id=\"attachment_13874778\" class=\"wp-caption alignleft\" style=\"max-width: 452px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/happy1.jpg\" alt=\"The cover of David King's posthumous artist book, 'Happy.'\" width=\"452\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/happy1.jpg 452w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/happy1-160x215.jpg 160w\" sizes=\"(max-width: 452px) 100vw, 452px\">\u003cfigcaption class=\"wp-caption-text\">The cover of David King’s posthumous artist book, ‘Happy.’ \u003ccite>(David King/Courtesy Colpa Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>King moved from New York to San Francisco in 1982 with his band mates in Arsenal, including his wife Dione, and reformed the punk group as Sleeping Dogs. In the 1990s, he continued his art education at the San Francisco Art Institute. He found work as a commercial graphic designer and broadened his mediums to include photography, film, stencil and woodworking, reaching across generations and scenes to find admiring peers in the burgeoning Mission School. In recent years King also sought to reconcile the severity of his best-known image, an anti-establishment logo for influential anarcho-punk group Crass, with the levity and humor of his personal aesthetic. \u003cem>David King Stencils\u003c/em>, a monograph recently published by Gingko Press, includes introductions by artists and historians Steven Heller, Matt Borruso and Barry McGee.\u003c/p>\n\u003cp>\u003cem>Happy\u003c/em> continues a string of scrapbook-like Colpa Press publications King created from his personal archives of original and found imagery in the past several years. King chose the title before he died, and close associates made many of the selection and sequencing decisions in the book and Park Life Gallery exhibition. Organizers of the show, which includes a handful of photos that don’t appear in the book, describe the pictures as documentation of his practice as a collector: King’s bevy of objects was the artwork itself, gaining meaning in the aggregate. Still, they’re individually stirring, bringing viewers into his state of mind as a child, enchanted by the fizzy chintz of candy advertisements on enamel signs. In one exhibition photo, not included in the book, a dyed paper flower leans at an angle suggestive of sighing into delightful freefall.\u003c/p>\n\u003cp>\u003cem>David King’s ‘Happy’ is on view at Park Life Gallery through March 1, 2020. \u003ca href=\"https://www.parklifestore.com/2020/01/14/david-anthony-king-show-at-park-life-opens-fri-jan-31-2020/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Music legend Quincy Jones produced hits for Frank Sinatra and Michael Jackson, and worked as an arranger for jazz legends like Ella Fitzgerald. So when he champions a new artist, the world listens.\u003c/p>\n\u003cp>https://youtu.be/06Ef6GdPg3U\u003c/p>\n\u003cp>Sheléa, Quincy Jones’ latest protégé, has quite an impressive resume. She’s a singer, pianist and producer who once performed with Stevie Wonder for Michelle and Barack Obama, and she’s coming to the Bay Area on Feb. 23 to perform with the San Jose State University Jazz Orchestra at the \u003ca href=\"https://sanjosejazz.org/artist/quincy-jones-presents-shelea-w-sjsu-jazz-orchestra/\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Theatre\u003c/a>. That event is part of the \u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Jazz Winter Fest\u003c/a>, which features two weeks of concerts at a variety of venues in the South Bay on Feb. 14–29.\u003c/p>\n\u003cp>The San Jose Jazz Winter Fest roster includes a variety of jazz and blues acts—plus New Orleans roots bands, Afro-Cuban ensembles and groups that mix jazz and hip-hop. Other highlights include the \u003ca href=\"https://sanjosejazz.org/artist/ladies-sing-the-blues-kim-nalley-denise-perrier-and-tiffany-austin/\" target=\"_blank\" rel=\"noopener noreferrer\">Ladies Sing the Blues\u003c/a> showcase with Bay Area luminaries Tiffany Austin, Kim Nalley and Denise Perrier on Feb. 27 at Oshman Family JCC Palo Alto; an evening with phenomenal mezzo-soprano \u003ca href=\"https://sanjosejazz.org/artist/stacey-kent-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Stacey Kent\u003c/a> at Feb. 25 at Cafe Stritch; and a Latin jazz night with \u003ca href=\"https://sanjosejazz.org/artist/ladies-sing-the-blues-kim-nalley-denise-perrier-and-tiffany-austin/\" target=\"_blank\" rel=\"noopener noreferrer\">Miguel Zenon Quartet\u003c/a> on Feb. 26, also at Cafe Stritch.\u003c/p>\n\u003cp>See the complete schedule \u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music legend Quincy Jones produced hits for Frank Sinatra and Michael Jackson, and worked as an arranger for jazz legends like Ella Fitzgerald. So when he champions a new artist, the world listens.\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/06Ef6GdPg3U'\n title='//www.youtube.com/embed/06Ef6GdPg3U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sheléa, Quincy Jones’ latest protégé, has quite an impressive resume. She’s a singer, pianist and producer who once performed with Stevie Wonder for Michelle and Barack Obama, and she’s coming to the Bay Area on Feb. 23 to perform with the San Jose State University Jazz Orchestra at the \u003ca href=\"https://sanjosejazz.org/artist/quincy-jones-presents-shelea-w-sjsu-jazz-orchestra/\" target=\"_blank\" rel=\"noopener noreferrer\">Hammer Theatre\u003c/a>. That event is part of the \u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Jazz Winter Fest\u003c/a>, which features two weeks of concerts at a variety of venues in the South Bay on Feb. 14–29.\u003c/p>\n\u003cp>The San Jose Jazz Winter Fest roster includes a variety of jazz and blues acts—plus New Orleans roots bands, Afro-Cuban ensembles and groups that mix jazz and hip-hop. Other highlights include the \u003ca href=\"https://sanjosejazz.org/artist/ladies-sing-the-blues-kim-nalley-denise-perrier-and-tiffany-austin/\" target=\"_blank\" rel=\"noopener noreferrer\">Ladies Sing the Blues\u003c/a> showcase with Bay Area luminaries Tiffany Austin, Kim Nalley and Denise Perrier on Feb. 27 at Oshman Family JCC Palo Alto; an evening with phenomenal mezzo-soprano \u003ca href=\"https://sanjosejazz.org/artist/stacey-kent-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Stacey Kent\u003c/a> at Feb. 25 at Cafe Stritch; and a Latin jazz night with \u003ca href=\"https://sanjosejazz.org/artist/ladies-sing-the-blues-kim-nalley-denise-perrier-and-tiffany-austin/\" target=\"_blank\" rel=\"noopener noreferrer\">Miguel Zenon Quartet\u003c/a> on Feb. 26, also at Cafe Stritch.\u003c/p>\n\u003cp>See the complete schedule \u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Brick & Mortar Music Hall Cuts Ties With Controversial Co-Owner, Signs Ten-Year Lease",
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"content": "\u003cp>\u003cem>This report contains a correction.\u003c/em>\u003c/p>\n\u003cp>Controversial Bay Area nightlife figure Jason Perkins no longer co-owns the Brick & Mortar Music Hall, and the independent music venue has secured a ten-year lease extension on its 250-capacity Mission District location, according to the new partnership group at the helm. [aside postID=arts_13853477,arts_10973414,arts_13873227]\u003c/p>\n\u003cp>Michael Rosen in January notified the San Francisco Entertainment Commission of the change in ownership, as required by the venue’s entertainment permit, saying the Brick & Mortar is now run by Michael O’Connor, Barry Smyth of the Crafty Fox Ale House and himself.\u003c/p>\n\u003cp>“We’re looking to get a new sense of goodwill in the community,” Rosen said, without mentioning Perkins. Rosen described “initiatives that can communicate a different approach to running the business than in the past,” including flyering for an informational community event.\u003c/p>\n\u003cp>O’Connor, previously Perkins’ partner in several businesses under the now-defunct Parish Entertainment Group, said the venue renewed its lease for ten years in December and declined to comment further. The extension runs against a trend of small- to mid-sized independent venues \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">closing\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\">ceding booking\u003c/a> to the corporate promoters Live Nation and Goldenvoice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brick & Mortar Music Hall’s \u003ca href=\"https://www.brickandmortarmusic.com/\">calendar\u003c/a> currently lists near-daily indie rock, hip-hop and soul events presented by promoters such as Noise Pop and Sean Healy.\u003c/p>\n\u003cp>Perkins was once the co-owner of several venues, bars and restaurants in the Bay Area and Northern California, and \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\">styled himself as a crusader\u003c/a> against public corruption while also appearing to use his short-lived music magazine to impugn local artists in unsigned editorials.\u003c/p>\n\u003cp>In recent years, however, Perkins faced costly breach-of-contract litigation as well as accusations, including from a former employee who leaked video evidence, that he harassed and accosted homeless people in the Mission District. Perkins, who didn’t respond to a request for comment, has declared in court filings that he now lives with his family in Israel.\u003c/p>\n\u003cp>The security footage showed a 2018 altercation between Perkins and a homeless man that, according to the former employee, followed Perkins leaving threatening notes on tents. (Perkins has denied leaving the notes, and said the video showed self-defense.) After the outcry, news outlets reported that Allen Scott, an executive at Another Planet Entertainment, had earlier bought Perkins’ stake in the New Parish in Oakland.\u003c/p>\n\u003cp>In the background, \u003ca href=\"https://www.kqed.org/arts/13853477/how-a-club-owner-raised-ticket-fees-pocketed-bonuses-and-lost-big-in-court\">as KQED previously reported\u003c/a>, Perkins faced lawsuits from ticketing service providers Ticketfly and Crowdtorch alleging he sought and received hundreds of thousands of dollars in signing bonuses for Brick & Mortar before deliberately reneging on the contracts.\u003c/p>\n\u003cp>Crowdtorch won judgment against Perkins and O’Connor in 2017 for $323,000. Last year a judge dismissed the defendants’ appeal of a ruling favoring Ticketfly, which is now owned by Eventbrite. Ticketfly’s attorney recently filed a request for default judgment totaling $824,824.\u003c/p>\n\u003cp>Perkins’ businesses Place Pigalle in San Francisco, Leo’s Music Club in Oakland and Sierra Valley Lodge in Calpine all closed following his conflicts with city officials and property owners.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Feb. 11: The original version of this story contained an inaccurate timeline of Perkins’ divestment from the New Parish. Perkins sold his stake in the Oakland club before, not after, public outcry over his altercation with a homeless man. The story has been edited to correct the inaccuracy. An original headline also alluded to Perkins being removed from the ownership of Brick & Mortar Music Hall by his partners in the venture; one of the club’s current owners has since stated this is not the case. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This report contains a correction.\u003c/em>\u003c/p>\n\u003cp>Controversial Bay Area nightlife figure Jason Perkins no longer co-owns the Brick & Mortar Music Hall, and the independent music venue has secured a ten-year lease extension on its 250-capacity Mission District location, according to the new partnership group at the helm. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michael Rosen in January notified the San Francisco Entertainment Commission of the change in ownership, as required by the venue’s entertainment permit, saying the Brick & Mortar is now run by Michael O’Connor, Barry Smyth of the Crafty Fox Ale House and himself.\u003c/p>\n\u003cp>“We’re looking to get a new sense of goodwill in the community,” Rosen said, without mentioning Perkins. Rosen described “initiatives that can communicate a different approach to running the business than in the past,” including flyering for an informational community event.\u003c/p>\n\u003cp>O’Connor, previously Perkins’ partner in several businesses under the now-defunct Parish Entertainment Group, said the venue renewed its lease for ten years in December and declined to comment further. The extension runs against a trend of small- to mid-sized independent venues \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">closing\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\">ceding booking\u003c/a> to the corporate promoters Live Nation and Goldenvoice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brick & Mortar Music Hall’s \u003ca href=\"https://www.brickandmortarmusic.com/\">calendar\u003c/a> currently lists near-daily indie rock, hip-hop and soul events presented by promoters such as Noise Pop and Sean Healy.\u003c/p>\n\u003cp>Perkins was once the co-owner of several venues, bars and restaurants in the Bay Area and Northern California, and \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\">styled himself as a crusader\u003c/a> against public corruption while also appearing to use his short-lived music magazine to impugn local artists in unsigned editorials.\u003c/p>\n\u003cp>In recent years, however, Perkins faced costly breach-of-contract litigation as well as accusations, including from a former employee who leaked video evidence, that he harassed and accosted homeless people in the Mission District. Perkins, who didn’t respond to a request for comment, has declared in court filings that he now lives with his family in Israel.\u003c/p>\n\u003cp>The security footage showed a 2018 altercation between Perkins and a homeless man that, according to the former employee, followed Perkins leaving threatening notes on tents. (Perkins has denied leaving the notes, and said the video showed self-defense.) After the outcry, news outlets reported that Allen Scott, an executive at Another Planet Entertainment, had earlier bought Perkins’ stake in the New Parish in Oakland.\u003c/p>\n\u003cp>In the background, \u003ca href=\"https://www.kqed.org/arts/13853477/how-a-club-owner-raised-ticket-fees-pocketed-bonuses-and-lost-big-in-court\">as KQED previously reported\u003c/a>, Perkins faced lawsuits from ticketing service providers Ticketfly and Crowdtorch alleging he sought and received hundreds of thousands of dollars in signing bonuses for Brick & Mortar before deliberately reneging on the contracts.\u003c/p>\n\u003cp>Crowdtorch won judgment against Perkins and O’Connor in 2017 for $323,000. Last year a judge dismissed the defendants’ appeal of a ruling favoring Ticketfly, which is now owned by Eventbrite. Ticketfly’s attorney recently filed a request for default judgment totaling $824,824.\u003c/p>\n\u003cp>Perkins’ businesses Place Pigalle in San Francisco, Leo’s Music Club in Oakland and Sierra Valley Lodge in Calpine all closed following his conflicts with city officials and property owners.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Feb. 11: The original version of this story contained an inaccurate timeline of Perkins’ divestment from the New Parish. Perkins sold his stake in the Oakland club before, not after, public outcry over his altercation with a homeless man. The story has been edited to correct the inaccuracy. An original headline also alluded to Perkins being removed from the ownership of Brick & Mortar Music Hall by his partners in the venture; one of the club’s current owners has since stated this is not the case. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"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",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"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?",
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"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",
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"politicalbreakdown": {
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"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",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
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