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"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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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>Whether serenading your sweetie, enjoying a night with friends or pampering yourself, Valentine’s Day deserves a good soundtrack. Here, we’ve rounded up 20 Bay Area love songs of the R&B, soul, disco and rap variety.\u003c/p>\n\u003cp>Some selections are newer, like the duet “Best Part” by H.E.R. and Daniel Caesar, the funky “Crush” by Duckwrth, and Rayana Jay’s uptempo R&B track “Love Me Like.” Then, we take it back in time with the disco song “I Need Somebody to Love Tonight” by Sylvester, and wind things down with Darondo’s “Didn’t I” and Tony! Toni! Toné!’s slow jam “Anniversary.”\u003c/p>\n\u003cp>If you need to belt out your emotions, we have you covered with “Love” by Keyshia Cole. And if you’re a player with a softer side, you may appreciate “Cupcake No Fillin” by Trunk Boiz and “What’s Your Zodiac” by the Jacka.\u003c/p>\n\u003cp>Listen below.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2xeutqmT58kONmJp5f0z1T\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>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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"title": "How SF's Dirtybird Grew from Outsider Party to Beloved House Music Label",
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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>\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>\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/CzALJvtJWkE'\n title='//www.youtube.com/embed/CzALJvtJWkE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In 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": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"content": "\u003cp>Over the past year, Oakland-based musician Abraham Padilla, who performs under the moniker \u003ca href=\"https://savagemindmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Savage Mind\u003c/a>, has been in incubation mode, studying, practicing and securing opportunities to turn his creative practice into a viable business.\u003c/p>\n\u003cp>The 24-year-old rapper, trumpeter and pianist self-released his most ambitious album to date, \u003cem>1995\u003c/em>, a soulful collection of tracks with a West Coast bounce, jazz refrains and meditations on the pressures of life as a son of Filipino immigrants trying to make it in music. Padilla produced, arranged and engineered the record himself. And he put it out through his own label, \u003ca href=\"https://soulvisionmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Vision\u003c/a>; he and co-founder, J. RAP, recently formed an LLC to turn their loose collective into a legit operation.\u003c/p>\n\u003cp>[pullquote align='right' size='small']\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>2019 income: $28,000\u003c/li>\n\u003cli>2019 earnings from music: Around $3,000\u003c/li>\n\u003cli>Home and studio rent: $850/month\u003c/li>\n\u003cli>Royalties from streaming: $150\u003c/li>\n\u003c/ul>\n\u003cp>\u003cbr>\n[/pullquote]\u003c/p>\n\u003cp>The last year has been fruitful for Padilla. He successfully booked his first big concert last summer, a release show for \u003cem>1995\u003c/em> at the Uptown Nightclub in Oakland. (With around 84 tickets sold, the show brought in around $1,000—most of which went to paying openers and recouping merch-production costs.) He also composed and performed an original score for a play, \u003ca href=\"http://www.zspace.org/schooled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Schooled\u003c/em>\u003c/a>, at San Francisco’s Z Space. (This paid about $2,000 for three months of work, including attending rehearsals and performing the score live during the show’s run.) And he’s been getting booked for university campus gigs that pay anywhere from $100 to $360.\u003c/p>\n\u003cp>“These successes mean a lot, the fact that I could independently host a show and make that amount of money, pay out my performers and bring that revenue back to the business—it was unbelievable to me,” he says. “But thinking in the long term, $1,000 can barely cover any type of rent. And $500 isn’t a lot in the grand scheme of things, with the debt that I owe or basic overhead costs of just living.”\u003c/p>\n\u003cfigure id=\"attachment_13874498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874498\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-800x533.jpg\" alt=\"A rapper, producer, trumpeter, pianist and engineer, Savage Mind takes inspiration from the Bay Area's legacy of entrepreneurial independent musicians.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rapper, producer, trumpeter, pianist and engineer, Savage Mind takes inspiration from the Bay Area’s legacy of entrepreneurial independent musicians. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To facilitate this growth in his burgeoning music career, Padilla has made immense sacrifices. After graduating from UC Berkeley with a bachelor’s degree in rhetoric in 2016, Padilla has juggled multiple part-time jobs to sustain himself as an artist. Last summer, he felt himself burning out after working a 14-day stretch of coffee shop shifts and after-school teaching gigs with no days off.\u003c/p>\n\u003cp>Born in the Philippines, Padilla was raised in the mostly working-class East Bay town of Pittsburg. His family is supportive, but he doesn’t have any sort of trust fund to fall back on—so he knows it’s on him to make his dreams happen.\u003c/p>\n\u003cp>“While I was creating the album, I was—and still am—getting used to the fact that this is what I want to do as a career,” he says. “The expectation is always that you’re a doctor or lawyer or engineer, and that carries for a lot of immigrant families. Even when I graduated college, my mom was kind of confused: ‘What is rhetoric and what do you do,’ or ‘what can you do?’ But it’s great now because [my parents] actually support me as a rapper.”\u003c/p>\n\u003cp>In June, things stabilized when Padilla quit his other jobs and settled into a part-time position at Red Bay Coffee’s Richmond location. The local coffee roaster, wholesaler and cafe has become known as a creative hub since it opened in 2014. Its Oakland store hosts events such as singer-songwriter showcases from \u003ca href=\"https://womensoundoff.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Women Sound Off\u003c/a>, and most of Padilla’s coworkers are artists, which helps with networking.\u003c/p>\n\u003cp>But perhaps the biggest plus is that Red Bay Coffee provides full-time benefits for part-time workers. This is a major boon for Padilla, who was worried about what he’d do for health insurance after he turned 26 and would no longer be covered by his parents’ plan.\u003c/p>\n\u003cp>“They’re taking a very progressive approach,” he says of Red Bay. “Me not being dependent on my parents for medical care was one of my worries, especially because it’s expensive. Being able to work for that company now … has helped and elevated me to be in a better place than I was a few years ago.”\u003c/p>\n\u003cfigure id=\"attachment_13874499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874499\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-800x450.jpg\" alt=\"Motivational reminders in Savage Mind's studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Motivational reminders in Savage Mind’s studio. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s brutal housing market is notoriously challenging for artists, and Padilla is no exception: he had to move three times over the course of the last year, from Berkeley back home to his parents’ place in Pittsburg, then briefly to Vallejo before settling down in North Oakland. While living in Vallejo, he woke up at 5:30am to fight traffic and make it to work in Richmond by 8am.\u003c/p>\n\u003cp>From his new place, his commute is much shorter, 25 to 45 minutes depending on traffic. To make living in Oakland work, he shares a room with his partner, a fellow musician. (Padilla’s half of their rent is $850 a month.) They have two other housemates in their well-lit, three-bedroom apartment. The place is filled with verdant house plants, and their French bulldog Sunny sunbathes on the deck. Padilla’s studio set-up is nestled in a nook between the living room couch and the dining area—a huge cost-saving measure that allows him to produce and engineer all his music at home.\u003c/p>\n\u003cp>Of Padilla’s roughly $28,000 in income over the past year, about $3,000 came from music. That includes $150 in streaming royalties for about 5,000 streams on Spotify and other platforms. He knows that streaming will never pay the bills: the commonly held estimate in the industry, he says, is that a million streams roughly equal just $4,000. The real money comes from brand endorsements and licensing opportunities in film and television once an artist attracts enough streaming fans.\u003c/p>\n\u003cfigure id=\"attachment_13874500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874500\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-800x534.jpg\" alt=\"Savage Mind is a jazz trumpeter and pianist, which lends his production a unique sound. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Savage Mind is a jazz trumpeter and pianist, which lends his production a unique sound. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Padilla is inspired by the many entrepreneurial Bay Area artists like \u003ca href=\"https://www.eastbayexpress.com/oakland/my-afternoon-with-e-40-a-day-in-the-life-of-the-bay-areas-most-prolific-and-respected-rapper/Content?oid=5072523\" target=\"_blank\" rel=\"noopener noreferrer\">E-40\u003c/a>, who recently became a business partner in the Filipino takeout spot the Lumpia Company, and who has his own liquor company in addition to running Sick Wid It Records. \u003ca href=\"https://www.kqed.org/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy\" target=\"_blank\" rel=\"noopener noreferrer\">The Jacka\u003c/a>, who hails from Padilla’s hometown of Pittsburg, also comes to mind with his Artist Records, as well as \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Nipsey Hussle\u003c/a>, whose Marathon Clothing company created jobs in his Los Angeles community.\u003c/p>\n\u003cp>[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003c/p>\n\u003cp>“In Pittsburg, a lot of people don’t have access to the industry, period,” he says of his desire to give back. “I want to be able to offer the things I’m learning here.” Pittsburg and Bay Point have rich hip-hop and rap communities, he notes, and that history is shaped by people like his family, who moved from Daly City, Richmond or Oakland to cheaper housing markets. For Padilla, the Bay Area’s musical landscape is also a story of affordability.\u003c/p>\n\u003cp>Padilla is still in the early stages of his career, and for now he’s laying the groundwork for his big vision. He drives his dad’s hand-me-down 1996 Toyota, and cooks enough to last through the week so he doesn’t have to eat out.\u003c/p>\n\u003cp>“To say you’re doing something else that isn’t the presupposed norm, it’s always the hardest rope to jump,” he says. “But once you’re doing it, I’ve found that you believe in yourself more. I may not be this or that, but none of that matters because I’m trying to do something much bigger.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past year, Oakland-based musician Abraham Padilla, who performs under the moniker \u003ca href=\"https://savagemindmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Savage Mind\u003c/a>, has been in incubation mode, studying, practicing and securing opportunities to turn his creative practice into a viable business.\u003c/p>\n\u003cp>The 24-year-old rapper, trumpeter and pianist self-released his most ambitious album to date, \u003cem>1995\u003c/em>, a soulful collection of tracks with a West Coast bounce, jazz refrains and meditations on the pressures of life as a son of Filipino immigrants trying to make it in music. Padilla produced, arranged and engineered the record himself. And he put it out through his own label, \u003ca href=\"https://soulvisionmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Vision\u003c/a>; he and co-founder, J. RAP, recently formed an LLC to turn their loose collective into a legit operation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>2019 income: $28,000\u003c/li>\n\u003cli>2019 earnings from music: Around $3,000\u003c/li>\n\u003cli>Home and studio rent: $850/month\u003c/li>\n\u003cli>Royalties from streaming: $150\u003c/li>\n\u003c/ul>\n\u003cp>\u003cbr>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last year has been fruitful for Padilla. He successfully booked his first big concert last summer, a release show for \u003cem>1995\u003c/em> at the Uptown Nightclub in Oakland. (With around 84 tickets sold, the show brought in around $1,000—most of which went to paying openers and recouping merch-production costs.) He also composed and performed an original score for a play, \u003ca href=\"http://www.zspace.org/schooled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Schooled\u003c/em>\u003c/a>, at San Francisco’s Z Space. (This paid about $2,000 for three months of work, including attending rehearsals and performing the score live during the show’s run.) And he’s been getting booked for university campus gigs that pay anywhere from $100 to $360.\u003c/p>\n\u003cp>“These successes mean a lot, the fact that I could independently host a show and make that amount of money, pay out my performers and bring that revenue back to the business—it was unbelievable to me,” he says. “But thinking in the long term, $1,000 can barely cover any type of rent. And $500 isn’t a lot in the grand scheme of things, with the debt that I owe or basic overhead costs of just living.”\u003c/p>\n\u003cfigure id=\"attachment_13874498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874498\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-800x533.jpg\" alt=\"A rapper, producer, trumpeter, pianist and engineer, Savage Mind takes inspiration from the Bay Area's legacy of entrepreneurial independent musicians.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rapper, producer, trumpeter, pianist and engineer, Savage Mind takes inspiration from the Bay Area’s legacy of entrepreneurial independent musicians. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To facilitate this growth in his burgeoning music career, Padilla has made immense sacrifices. After graduating from UC Berkeley with a bachelor’s degree in rhetoric in 2016, Padilla has juggled multiple part-time jobs to sustain himself as an artist. Last summer, he felt himself burning out after working a 14-day stretch of coffee shop shifts and after-school teaching gigs with no days off.\u003c/p>\n\u003cp>Born in the Philippines, Padilla was raised in the mostly working-class East Bay town of Pittsburg. His family is supportive, but he doesn’t have any sort of trust fund to fall back on—so he knows it’s on him to make his dreams happen.\u003c/p>\n\u003cp>“While I was creating the album, I was—and still am—getting used to the fact that this is what I want to do as a career,” he says. “The expectation is always that you’re a doctor or lawyer or engineer, and that carries for a lot of immigrant families. Even when I graduated college, my mom was kind of confused: ‘What is rhetoric and what do you do,’ or ‘what can you do?’ But it’s great now because [my parents] actually support me as a rapper.”\u003c/p>\n\u003cp>In June, things stabilized when Padilla quit his other jobs and settled into a part-time position at Red Bay Coffee’s Richmond location. The local coffee roaster, wholesaler and cafe has become known as a creative hub since it opened in 2014. Its Oakland store hosts events such as singer-songwriter showcases from \u003ca href=\"https://womensoundoff.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Women Sound Off\u003c/a>, and most of Padilla’s coworkers are artists, which helps with networking.\u003c/p>\n\u003cp>But perhaps the biggest plus is that Red Bay Coffee provides full-time benefits for part-time workers. This is a major boon for Padilla, who was worried about what he’d do for health insurance after he turned 26 and would no longer be covered by his parents’ plan.\u003c/p>\n\u003cp>“They’re taking a very progressive approach,” he says of Red Bay. “Me not being dependent on my parents for medical care was one of my worries, especially because it’s expensive. Being able to work for that company now … has helped and elevated me to be in a better place than I was a few years ago.”\u003c/p>\n\u003cfigure id=\"attachment_13874499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874499\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-800x450.jpg\" alt=\"Motivational reminders in Savage Mind's studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Motivational reminders in Savage Mind’s studio. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s brutal housing market is notoriously challenging for artists, and Padilla is no exception: he had to move three times over the course of the last year, from Berkeley back home to his parents’ place in Pittsburg, then briefly to Vallejo before settling down in North Oakland. While living in Vallejo, he woke up at 5:30am to fight traffic and make it to work in Richmond by 8am.\u003c/p>\n\u003cp>From his new place, his commute is much shorter, 25 to 45 minutes depending on traffic. To make living in Oakland work, he shares a room with his partner, a fellow musician. (Padilla’s half of their rent is $850 a month.) They have two other housemates in their well-lit, three-bedroom apartment. The place is filled with verdant house plants, and their French bulldog Sunny sunbathes on the deck. Padilla’s studio set-up is nestled in a nook between the living room couch and the dining area—a huge cost-saving measure that allows him to produce and engineer all his music at home.\u003c/p>\n\u003cp>Of Padilla’s roughly $28,000 in income over the past year, about $3,000 came from music. That includes $150 in streaming royalties for about 5,000 streams on Spotify and other platforms. He knows that streaming will never pay the bills: the commonly held estimate in the industry, he says, is that a million streams roughly equal just $4,000. The real money comes from brand endorsements and licensing opportunities in film and television once an artist attracts enough streaming fans.\u003c/p>\n\u003cfigure id=\"attachment_13874500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874500\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-800x534.jpg\" alt=\"Savage Mind is a jazz trumpeter and pianist, which lends his production a unique sound. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Savage Mind is a jazz trumpeter and pianist, which lends his production a unique sound. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Padilla is inspired by the many entrepreneurial Bay Area artists like \u003ca href=\"https://www.eastbayexpress.com/oakland/my-afternoon-with-e-40-a-day-in-the-life-of-the-bay-areas-most-prolific-and-respected-rapper/Content?oid=5072523\" target=\"_blank\" rel=\"noopener noreferrer\">E-40\u003c/a>, who recently became a business partner in the Filipino takeout spot the Lumpia Company, and who has his own liquor company in addition to running Sick Wid It Records. \u003ca href=\"https://www.kqed.org/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy\" target=\"_blank\" rel=\"noopener noreferrer\">The Jacka\u003c/a>, who hails from Padilla’s hometown of Pittsburg, also comes to mind with his Artist Records, as well as \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Nipsey Hussle\u003c/a>, whose Marathon Clothing company created jobs in his Los Angeles community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In Pittsburg, a lot of people don’t have access to the industry, period,” he says of his desire to give back. “I want to be able to offer the things I’m learning here.” Pittsburg and Bay Point have rich hip-hop and rap communities, he notes, and that history is shaped by people like his family, who moved from Daly City, Richmond or Oakland to cheaper housing markets. For Padilla, the Bay Area’s musical landscape is also a story of affordability.\u003c/p>\n\u003cp>Padilla is still in the early stages of his career, and for now he’s laying the groundwork for his big vision. He drives his dad’s hand-me-down 1996 Toyota, and cooks enough to last through the week so he doesn’t have to eat out.\u003c/p>\n\u003cp>“To say you’re doing something else that isn’t the presupposed norm, it’s always the hardest rope to jump,” he says. “But once you’re doing it, I’ve found that you believe in yourself more. I may not be this or that, but none of that matters because I’m trying to do something much bigger.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 10
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"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
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