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"content": "\u003cp>The year was 1972 and David Bowie had just released \u003cem>The Rise and Fall of Ziggy Stardust\u003c/em>, his concept album written from the perspective of an androgynous, bisexual alter-ego. With a fire-red mullet and rhinestone-encrusted jumpsuits, he ushered in an era of glitter-spangled, tight-clothed rockers who came to define the aesthetic of the decade.\u003c/p>\n\u003cp>But as influential as Bowie was, when he came to San Francisco in October of 1972, he didn’t feel that his audience was too impressed. In fact, Bowie wouldn’t return to the city until four whole years later, in 1976. “They don’t need me,” he told a reporter at the time. “They’ve got Sylvester.”\u003c/p>\n\u003cp>Most might recognize Sylvester, Bowie’s opening act for those 1972 San Francisco tour dates, from his falsetto-laden “You Make Me Feel (Mighty Real).” The 1978 disco hit has soundtracked thousands of Pride parades and drag shows. Before his mainstream success, however, Sylvester was notorious in the Bay Area as a gender-nonconforming counterculture icon—and one that clearly left an impression on Bowie.\u003c/p>\n\u003cp>Now, over three decades after his death in 1988, Sylvester’s trailblazing legacy is prominently featured in \u003cem>\u003ca href=\"http://museumca.org/exhibit/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Queer California: Untold Stories\u003c/a>\u003c/em>, a new exhibit running April 13–Aug. 11 at the Oakland Museum of California.\u003c/p>\n\u003cp>https://youtu.be/VyAHULpMXKQ\u003c/p>\n\u003ch2>From Haight-Ashbury to stardom\u003c/h2>\n\u003cp>Decades before terms such as “genderqueer,” “genderfluid” and “nonbinary” came into popular use, Sylvester lived comfortably outside of the categories of male and female without a label, and expected the world to accept his fluid form of self-expression. He occasionally slipped from “he” into “she” pronouns, wearing makeup, wigs and sequins one day and a three-piece suit the next. When Joan Rivers described him as a drag queen in a \u003ca href=\"https://www.youtube.com/watch?v=FNS7VM5oTRU\" target=\"_blank\" rel=\"noopener\">1986 interview\u003c/a> on \u003cem>The Tonight Show\u003c/em>, he rejected the label, turning up his nose and replying, “I’m Sylvester.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This idea that people had to catch up to him was always part of his mindset,” says University of San Francisco professor Joshua Gamson, who published the biography \u003cem>The Fabulous Sylvester\u003c/em> in 2005. “He was not going to be waiting for permission from people to do what he wanted to do, or for the mainstream culture to say it was OK.”\u003c/p>\n\u003cp>Gamson adds, “He was certainly genderfluid before anybody named that, and really queer before anybody named it the way people talk about ‘queer’ in the last 25 years.”\u003c/p>\n\u003cfigure id=\"attachment_13854808\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CG3-800x1139.jpg\" alt=\"Clay Geerdes, Cockettes go shopping, 1971. \" width=\"800\" height=\"1139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-800x1139.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-768x1093.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1020x1452.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-843x1200.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1920x2733.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3.jpg 1439w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Geerdes, Cockettes go shopping, 1971. \u003ccite>(Courtesy of David Miller, from the estate of Clay Geerdes.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised singing gospel in the church choir, Sylvester spent his adolescence in Los Angeles partying with a clique of black trans women, drag queens and gender-nonconforming people who called themselves the Disquotays. When Sylvester moved to San Francisco in 1970, he quickly fell into the Haight-Ashbury hippie scene. He joined a mostly white drag-theater troupe called the Cockettes, who spent their days taking LSD, dressing up and living their lives as one long, bizarre piece of performance art.\u003c/p>\n\u003cp>Sylvester had a falling out with the Cockettes after upstaging them at a New York show that was supposed to be their big break in 1971, Gamson describes in his book. (The Cockettes blew off rehearsals to gallivant about town, and it showed.) Meanwhile, Sylvester poured himself into his performance and garnered national press as an up-and-coming blues-rock star.\u003c/p>\n\u003cp>“Sylvester was ultimately really driven to be an excellent performer and an excellent singer, and that’s what I really love,” says Christina Linden, the curator of \u003cem>Queer California\u003c/em> at the Oakland Museum.\u003c/p>\n\u003cp>During the early ’70s, Sylvester regularly opened for big-name acts at concerts promoted by Bill Graham, winning over the longhair rock crowd with his captivating voice, unusual appearance and live show that took audiences to heights of spiritual ecstasy. Bowie wasn’t the only star he eclipsed; Gamson notes that the \u003cem>Los Angeles Times\u003c/em> once reported that Sylvester “outrocked” Billy Preston. Sylvester and his Hot Band got a record deal with a label called Blue Thumb, where he counted the Pointer Sisters, old friends from the Bay Area scene, as labelmates.\u003c/p>\n\u003ch2>Sylvester’s comeback as a disco star\u003c/h2>\n\u003cp>By the mid ’70s, Sylvester’s Blue Thumb albums had stopped selling well, and he’d blown through his royalty advance. Broke and without a band, he started from square one as a solo act in the Castro district’s newly thriving gay club scene.\u003c/p>\n\u003cp>With two church-raised gospel singers, Martha Wash and Izora Rhodes (who eventually became the Weather Girls of “It’s Raining Men” fame), Sylvester assembled a new band and began recording new music at places like Berkeley’s famed Fantasy Studios. Meanwhile, disco had crossed over into the mainstream, and conditions were ripe for Sylvester to make it big.\u003c/p>\n\u003cfigure id=\"attachment_13854809\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CG1-800x1180.jpg\" alt=\"Clay Geerdes, Sylvester in Braids, 1971. \" width=\"800\" height=\"1180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1-768x1133.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Geerdes, Sylvester in Braids, 1971. \u003ccite>(Courtesy of David Miller, from the estate of Clay Geerdes.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sylvester had been toying with a gospel-tinged piano track called “You Make Me Feel (Mighty Real)” when Patrick Cowley heard it. Cowley’s synth-driven sound came to define the West Coast gay club scene of the ’80s. Impressed, he offered to produce a more uptempo remix of the song.\u003c/p>\n\u003cp>The look, the voice, the pulsing beat—it all came together at the right time. “You Make Me Feel (Mighty Real)” reached No. 1 on Billboard’s dance music chart and became an anthem for disco’s promise of liberation.\u003c/p>\n\u003cp>“He’s a figure of a certain kind of self-creation and self-determination that is very powerful. He’s an icon of queer freedom,” says Gamson. “He is a soundtrack for those things—soundtrack for a collective self-determination, and a certain kind of collective ‘fuck you.’ A celebration of being real and fabulous and all the things society denied you. He provided music that reminded people of that, that still feels like that when you hear it.”\u003c/p>\n\u003cp>The success of “You Make Me Feel (Mighty Real)” brought international tours and opening gigs for Chaka Khan. Sylvester even sold out the 3,000-seat War Memorial Opera House in San Francisco, and was presented the keys to the city by the office of then-mayor Dianne Feinstein.\u003c/p>\n\u003cp>But within the year, it became fashionable to hate disco, due in part to \u003ca href=\"https://www.npr.org/2016/07/16/485873750/july-12-1979-the-night-disco-died-or-didnt\" target=\"_blank\" rel=\"noopener\">white, straight industry gatekeepers\u003c/a> who objected to its popularity. Still, Sylvester remained a star of the Castro, even as Fantasy Records executives pressured him to make his presentation more masculine in a bid to sell records.\u003c/p>\n\u003cp>https://youtu.be/lj5bzbrWRd4\u003c/p>\n\u003cp>He spent his last years working with Cowley at his label, Megatone Records, where they made another dance hit, “Do Ya Wanna Funk.” That same year, in 1982, Sylvester’s hard rock single “\u003ca href=\"https://www.youtube.com/watch?v=UJe83--M1Gw\" target=\"_blank\" rel=\"noopener\">Hard Up\u003c/a>” was featured on MTV.\u003c/p>\n\u003ch2>The Castro scene and the AIDS crisis\u003c/h2>\n\u003cp>In the early ’80s, AIDS ravaged the gay community and, sadly, Cowley died from it in 1982. When Sylvester’s boyfriend Rick Cranmer succumbed to the disease as well, in 1987, Sylvester knew he was next. In his final years, he used media interviews to advocate for AIDS victims and performed at some of the earliest benefits for victims of the disease. He even appeared at the Castro’s Gay Freedom Parade in a wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_13854861\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/IMG_5715-800x1067.jpg\" alt=\"Sylvester's blue sequined jacket, made by Pat Campano circa 1985.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715-768x1024.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sylvester’s blue sequined jacket, made by Pat Campano circa 1985, from the Gay, Lesbian, Bisexual and Transgender Historical Society, as seen at the Oakland Museum of California. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Known as ‘the Queen of Disco’ here in the late 1970s, Sylvester delighted audiences of every race and sexual persuasion with his funky, spiritual-style singing in his nightclub routine in which he wore exotic costumes,” the \u003ca href=\"https://www.nytimes.com/2014/09/22/theater/mighty-real-a-musical-about-the-pop-star-sylvester.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a> wrote after his death.\u003c/p>\n\u003cp>Over 30 years later, Sylvester remains an icon. His life inspired an Off-Broadway musical called \u003cem>Mighty Real\u003c/em> in 2014. This year, “You Make Me Feel (Mighty Real)” was added to the Library of Congress for being “culturally, historically, or aesthetically significant,” and numerous photos from Sylvester’s Cockettes days and solo career—as well as his blue sequined jacket—are featured in the Oakland Museum’s \u003cem>Queer California\u003c/em>.\u003c/p>\n\u003cp>“There’s greater and greater recognition of queer culture, a lot more room and less shame and embarrassment,” says Gamson. “There’s more of an appetite for [learning about] the people who helped make this happen, and the people who’ve been overlooked because of intersectional racism, homophobia, anti-femme—all the things that’ve kept Sylvester somewhat on the margins.”\u003c/p>\n\u003cp>“In his own terms,” Gamson adds, “it’s like the world caught up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Queer California’ is on view at the Oakland Museum of California from April 13–Aug. 11. \u003ca href=\"http://museumca.org/exhibit/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The genderfluid disco star best known for the hit \"You Make Me Feel (Mighty Real)\" is part of 'Queer California,' a new museum exhibit in Oakland.",
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"title": "How the World Caught Up to Sylvester | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 1972 and David Bowie had just released \u003cem>The Rise and Fall of Ziggy Stardust\u003c/em>, his concept album written from the perspective of an androgynous, bisexual alter-ego. With a fire-red mullet and rhinestone-encrusted jumpsuits, he ushered in an era of glitter-spangled, tight-clothed rockers who came to define the aesthetic of the decade.\u003c/p>\n\u003cp>But as influential as Bowie was, when he came to San Francisco in October of 1972, he didn’t feel that his audience was too impressed. In fact, Bowie wouldn’t return to the city until four whole years later, in 1976. “They don’t need me,” he told a reporter at the time. “They’ve got Sylvester.”\u003c/p>\n\u003cp>Most might recognize Sylvester, Bowie’s opening act for those 1972 San Francisco tour dates, from his falsetto-laden “You Make Me Feel (Mighty Real).” The 1978 disco hit has soundtracked thousands of Pride parades and drag shows. Before his mainstream success, however, Sylvester was notorious in the Bay Area as a gender-nonconforming counterculture icon—and one that clearly left an impression on Bowie.\u003c/p>\n\u003cp>Now, over three decades after his death in 1988, Sylvester’s trailblazing legacy is prominently featured in \u003cem>\u003ca href=\"http://museumca.org/exhibit/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Queer California: Untold Stories\u003c/a>\u003c/em>, a new exhibit running April 13–Aug. 11 at the Oakland Museum of California.\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/VyAHULpMXKQ'\n title='//www.youtube.com/embed/VyAHULpMXKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>From Haight-Ashbury to stardom\u003c/h2>\n\u003cp>Decades before terms such as “genderqueer,” “genderfluid” and “nonbinary” came into popular use, Sylvester lived comfortably outside of the categories of male and female without a label, and expected the world to accept his fluid form of self-expression. He occasionally slipped from “he” into “she” pronouns, wearing makeup, wigs and sequins one day and a three-piece suit the next. When Joan Rivers described him as a drag queen in a \u003ca href=\"https://www.youtube.com/watch?v=FNS7VM5oTRU\" target=\"_blank\" rel=\"noopener\">1986 interview\u003c/a> on \u003cem>The Tonight Show\u003c/em>, he rejected the label, turning up his nose and replying, “I’m Sylvester.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This idea that people had to catch up to him was always part of his mindset,” says University of San Francisco professor Joshua Gamson, who published the biography \u003cem>The Fabulous Sylvester\u003c/em> in 2005. “He was not going to be waiting for permission from people to do what he wanted to do, or for the mainstream culture to say it was OK.”\u003c/p>\n\u003cp>Gamson adds, “He was certainly genderfluid before anybody named that, and really queer before anybody named it the way people talk about ‘queer’ in the last 25 years.”\u003c/p>\n\u003cfigure id=\"attachment_13854808\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CG3-800x1139.jpg\" alt=\"Clay Geerdes, Cockettes go shopping, 1971. \" width=\"800\" height=\"1139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-800x1139.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-768x1093.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1020x1452.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-843x1200.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3-1920x2733.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG3.jpg 1439w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Geerdes, Cockettes go shopping, 1971. \u003ccite>(Courtesy of David Miller, from the estate of Clay Geerdes.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised singing gospel in the church choir, Sylvester spent his adolescence in Los Angeles partying with a clique of black trans women, drag queens and gender-nonconforming people who called themselves the Disquotays. When Sylvester moved to San Francisco in 1970, he quickly fell into the Haight-Ashbury hippie scene. He joined a mostly white drag-theater troupe called the Cockettes, who spent their days taking LSD, dressing up and living their lives as one long, bizarre piece of performance art.\u003c/p>\n\u003cp>Sylvester had a falling out with the Cockettes after upstaging them at a New York show that was supposed to be their big break in 1971, Gamson describes in his book. (The Cockettes blew off rehearsals to gallivant about town, and it showed.) Meanwhile, Sylvester poured himself into his performance and garnered national press as an up-and-coming blues-rock star.\u003c/p>\n\u003cp>“Sylvester was ultimately really driven to be an excellent performer and an excellent singer, and that’s what I really love,” says Christina Linden, the curator of \u003cem>Queer California\u003c/em> at the Oakland Museum.\u003c/p>\n\u003cp>During the early ’70s, Sylvester regularly opened for big-name acts at concerts promoted by Bill Graham, winning over the longhair rock crowd with his captivating voice, unusual appearance and live show that took audiences to heights of spiritual ecstasy. Bowie wasn’t the only star he eclipsed; Gamson notes that the \u003cem>Los Angeles Times\u003c/em> once reported that Sylvester “outrocked” Billy Preston. Sylvester and his Hot Band got a record deal with a label called Blue Thumb, where he counted the Pointer Sisters, old friends from the Bay Area scene, as labelmates.\u003c/p>\n\u003ch2>Sylvester’s comeback as a disco star\u003c/h2>\n\u003cp>By the mid ’70s, Sylvester’s Blue Thumb albums had stopped selling well, and he’d blown through his royalty advance. Broke and without a band, he started from square one as a solo act in the Castro district’s newly thriving gay club scene.\u003c/p>\n\u003cp>With two church-raised gospel singers, Martha Wash and Izora Rhodes (who eventually became the Weather Girls of “It’s Raining Men” fame), Sylvester assembled a new band and began recording new music at places like Berkeley’s famed Fantasy Studios. Meanwhile, disco had crossed over into the mainstream, and conditions were ripe for Sylvester to make it big.\u003c/p>\n\u003cfigure id=\"attachment_13854809\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/CG1-800x1180.jpg\" alt=\"Clay Geerdes, Sylvester in Braids, 1971. \" width=\"800\" height=\"1180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/CG1-768x1133.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Geerdes, Sylvester in Braids, 1971. \u003ccite>(Courtesy of David Miller, from the estate of Clay Geerdes.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sylvester had been toying with a gospel-tinged piano track called “You Make Me Feel (Mighty Real)” when Patrick Cowley heard it. Cowley’s synth-driven sound came to define the West Coast gay club scene of the ’80s. Impressed, he offered to produce a more uptempo remix of the song.\u003c/p>\n\u003cp>The look, the voice, the pulsing beat—it all came together at the right time. “You Make Me Feel (Mighty Real)” reached No. 1 on Billboard’s dance music chart and became an anthem for disco’s promise of liberation.\u003c/p>\n\u003cp>“He’s a figure of a certain kind of self-creation and self-determination that is very powerful. He’s an icon of queer freedom,” says Gamson. “He is a soundtrack for those things—soundtrack for a collective self-determination, and a certain kind of collective ‘fuck you.’ A celebration of being real and fabulous and all the things society denied you. He provided music that reminded people of that, that still feels like that when you hear it.”\u003c/p>\n\u003cp>The success of “You Make Me Feel (Mighty Real)” brought international tours and opening gigs for Chaka Khan. Sylvester even sold out the 3,000-seat War Memorial Opera House in San Francisco, and was presented the keys to the city by the office of then-mayor Dianne Feinstein.\u003c/p>\n\u003cp>But within the year, it became fashionable to hate disco, due in part to \u003ca href=\"https://www.npr.org/2016/07/16/485873750/july-12-1979-the-night-disco-died-or-didnt\" target=\"_blank\" rel=\"noopener\">white, straight industry gatekeepers\u003c/a> who objected to its popularity. Still, Sylvester remained a star of the Castro, even as Fantasy Records executives pressured him to make his presentation more masculine in a bid to sell records.\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/lj5bzbrWRd4'\n title='//www.youtube.com/embed/lj5bzbrWRd4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He spent his last years working with Cowley at his label, Megatone Records, where they made another dance hit, “Do Ya Wanna Funk.” That same year, in 1982, Sylvester’s hard rock single “\u003ca href=\"https://www.youtube.com/watch?v=UJe83--M1Gw\" target=\"_blank\" rel=\"noopener\">Hard Up\u003c/a>” was featured on MTV.\u003c/p>\n\u003ch2>The Castro scene and the AIDS crisis\u003c/h2>\n\u003cp>In the early ’80s, AIDS ravaged the gay community and, sadly, Cowley died from it in 1982. When Sylvester’s boyfriend Rick Cranmer succumbed to the disease as well, in 1987, Sylvester knew he was next. In his final years, he used media interviews to advocate for AIDS victims and performed at some of the earliest benefits for victims of the disease. He even appeared at the Castro’s Gay Freedom Parade in a wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_13854861\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/IMG_5715-800x1067.jpg\" alt=\"Sylvester's blue sequined jacket, made by Pat Campano circa 1985.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5715-768x1024.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sylvester’s blue sequined jacket, made by Pat Campano circa 1985, from the Gay, Lesbian, Bisexual and Transgender Historical Society, as seen at the Oakland Museum of California. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Known as ‘the Queen of Disco’ here in the late 1970s, Sylvester delighted audiences of every race and sexual persuasion with his funky, spiritual-style singing in his nightclub routine in which he wore exotic costumes,” the \u003ca href=\"https://www.nytimes.com/2014/09/22/theater/mighty-real-a-musical-about-the-pop-star-sylvester.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a> wrote after his death.\u003c/p>\n\u003cp>Over 30 years later, Sylvester remains an icon. His life inspired an Off-Broadway musical called \u003cem>Mighty Real\u003c/em> in 2014. This year, “You Make Me Feel (Mighty Real)” was added to the Library of Congress for being “culturally, historically, or aesthetically significant,” and numerous photos from Sylvester’s Cockettes days and solo career—as well as his blue sequined jacket—are featured in the Oakland Museum’s \u003cem>Queer California\u003c/em>.\u003c/p>\n\u003cp>“There’s greater and greater recognition of queer culture, a lot more room and less shame and embarrassment,” says Gamson. “There’s more of an appetite for [learning about] the people who helped make this happen, and the people who’ve been overlooked because of intersectional racism, homophobia, anti-femme—all the things that’ve kept Sylvester somewhat on the margins.”\u003c/p>\n\u003cp>“In his own terms,” Gamson adds, “it’s like the world caught up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer California’ is on view at the Oakland Museum of California from April 13–Aug. 11. \u003ca href=\"http://museumca.org/exhibit/queer-california-untold-stories\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Keak Da Sneak Begins Prison Sentence After Lengthy Legal Battle",
"headTitle": "Keak Da Sneak Begins Prison Sentence After Lengthy Legal Battle | KQED",
"content": "\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak da Sneak began a 16-month prison sentence today after being taken into custody in Amador County.\u003c/p>\n\u003cp>In January, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that the rapper faced a prison sentence for possession of a firearm as a convicted felon. In a lengthy, \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">exclusive interview\u003c/a>, Keak, whose real name is Charles Kente Williams, went into detail about surviving two shootings which rendered him wheelchair-bound and in need of regular medical care for bed sores that could result in a life-threatening infection if left untended.\u003c/p>\n\u003cp>“I know they’re not gonna give me the treatment I need in prison,” he told me in January. “I’ve been to jail before, and once you get behind these walls, they have no compassion. You have to be on your dying bed for them to give you some assistance.”\u003c/p>\n\u003cp>Because of the extent of Williams’ disabilities, his legal team had lobbied for an alternative sentence of house arrest. The judge on the case delayed his sentencing date twice as he completed several medical procedures. Though Williams and his legal team had hoped for another outcome, today, Williams went into custody to begin his sentence, Amador County District Attorney Todd Riebe confirmed. He faces three years of parole once released.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We spoke with folks from the California Department of Corrections and Rehabilitation,” Riebe said. “There are plenty of facilities that can take individuals in wheelchairs that need medical assistance on a daily basis.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I know the court has made orders for accommodations ahead of time, that any transportation is going to be medically complaint, that he has an adequate bed,” said Chief Assistant District Attorney Robert Trudgen. “I know efforts are at least being made.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13854824\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg\" alt=\"Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13854824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disability rights advocates, however, paint a different picture of the California state prison system. The California Department of Corrections and Rehabilitation’s medical system has been under federal monitoring since 2006, when a federal judge ruled it unconstitutionally inadequate and in violation of the 8th Amendment. \u003c/p>\n\u003cp>According to the ACLU, California state prisons are overcrowded, at 136.6 percent capacity. Quality of life for inmates with disabilities varies widely from facility to facility, and they often spend lengthy periods of time in highly restrictive reception centers—where they don’t have phone privileges and can only interact with visitors through glass—while the state assesses their medical needs and places them in an adequate facility. \u003c/p>\n\u003cp>“We are concerned how the state system would treat him because the CDCR is under a mandate, and are being monitored for not treating the prisoners well,” says Williams’ lawyer, Joanne Biernacki. “I’ve read reports on prisoners not doing well in the state prison system. The last thing I want is for him to go in and get sicker.”\u003c/p>\n\u003cp>“We were hoping for something better,” says Williams’ close collaborator Dontrell Mayfield, a.k.a. 4Rax of the production duo the Mekanix. “We talked to him yesterday and what was really the focal point was, ‘I’m ready to put this behind me.’ The clock is ticking and we gon’ pray for him and wait for him to come on out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Prior to starting his sentence, Williams worked on music and a documentary set to be released sometime during his term. As he explained in January, “It got me doing a lot of recording right now, so while I’m gone I can be dropping music to take care of my family.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak da Sneak began a 16-month prison sentence today after being taken into custody in Amador County.\u003c/p>\n\u003cp>In January, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that the rapper faced a prison sentence for possession of a firearm as a convicted felon. In a lengthy, \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">exclusive interview\u003c/a>, Keak, whose real name is Charles Kente Williams, went into detail about surviving two shootings which rendered him wheelchair-bound and in need of regular medical care for bed sores that could result in a life-threatening infection if left untended.\u003c/p>\n\u003cp>“I know they’re not gonna give me the treatment I need in prison,” he told me in January. “I’ve been to jail before, and once you get behind these walls, they have no compassion. You have to be on your dying bed for them to give you some assistance.”\u003c/p>\n\u003cp>Because of the extent of Williams’ disabilities, his legal team had lobbied for an alternative sentence of house arrest. The judge on the case delayed his sentencing date twice as he completed several medical procedures. Though Williams and his legal team had hoped for another outcome, today, Williams went into custody to begin his sentence, Amador County District Attorney Todd Riebe confirmed. He faces three years of parole once released.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We spoke with folks from the California Department of Corrections and Rehabilitation,” Riebe said. “There are plenty of facilities that can take individuals in wheelchairs that need medical assistance on a daily basis.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I know the court has made orders for accommodations ahead of time, that any transportation is going to be medically complaint, that he has an adequate bed,” said Chief Assistant District Attorney Robert Trudgen. “I know efforts are at least being made.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13854824\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg\" alt=\"Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13854824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Keak.Oaklandish.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Keak da Sneak (L) speaks at Oaklandish in downtown Oakland with Tyranny of Marketing Kings (R) in March. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disability rights advocates, however, paint a different picture of the California state prison system. The California Department of Corrections and Rehabilitation’s medical system has been under federal monitoring since 2006, when a federal judge ruled it unconstitutionally inadequate and in violation of the 8th Amendment. \u003c/p>\n\u003cp>According to the ACLU, California state prisons are overcrowded, at 136.6 percent capacity. Quality of life for inmates with disabilities varies widely from facility to facility, and they often spend lengthy periods of time in highly restrictive reception centers—where they don’t have phone privileges and can only interact with visitors through glass—while the state assesses their medical needs and places them in an adequate facility. \u003c/p>\n\u003cp>“We are concerned how the state system would treat him because the CDCR is under a mandate, and are being monitored for not treating the prisoners well,” says Williams’ lawyer, Joanne Biernacki. “I’ve read reports on prisoners not doing well in the state prison system. The last thing I want is for him to go in and get sicker.”\u003c/p>\n\u003cp>“We were hoping for something better,” says Williams’ close collaborator Dontrell Mayfield, a.k.a. 4Rax of the production duo the Mekanix. “We talked to him yesterday and what was really the focal point was, ‘I’m ready to put this behind me.’ The clock is ticking and we gon’ pray for him and wait for him to come on out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Prior to starting his sentence, Williams worked on music and a documentary set to be released sometime during his term. As he explained in January, “It got me doing a lot of recording right now, so while I’m gone I can be dropping music to take care of my family.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://yr.media\" target=\"_blank\" rel=\"noopener\">Youth Radio\u003c/a> is a crucial recording arts and media program for Bay Area high school and college students located in the heart of downtown Oakland.\u003c/p>\n\u003cp>Some of its alumni have gone on to accomplish great things: \u003ca href=\"https://www.kqed.org/arts/13817762/the-10-best-bay-area-albums-of-2017-rayana-jay-morning-after\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>, for instance, is a rising R&B star who recently toured the country with rapper Junglepussy; \u003ca href=\"https://www.kqed.org/arts/13816944/the-10-best-bay-area-albums-of-2017-1-o-a-k-riding-in-cars-with-girls\" target=\"_blank\" rel=\"noopener\">1-O.A.K.\u003c/a> of the prolific HNRL collective got his start in music production at YR and went on to teach there; and KQED Arts’ columnist and \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener\">\u003cem>Rightnowish\u003c/em>\u003c/a> host Pendarvis Harshaw experienced his first taste of audio journalism at the nonprofit.\u003c/p>\n\u003cp>Just a few days before his April 16 \u003ca href=\"http://thefillmore.com/event/jain/\" target=\"_blank\" rel=\"noopener\">show at the Fillmore\u003c/a> with French singer Jain, Berkeley rapper \u003ca href=\"https://soundcloud.com/rexxliferaj\" target=\"_blank\" rel=\"noopener\">Rexx Life Raj\u003c/a> is throwing a benefit party for Youth Radio with the help of his label, San Francisco’s Empire.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/rexxlife-presents-good-proper-a-philanthropic-soiree-tickets-59748408097\" target=\"_blank\" rel=\"noopener\">The ‘Good & Proper’ party\u003c/a>, taking place April 13 at Code and Canvas in San Francisco, stars a slate of taste-making DJs and producers: hailing from the U.K., multi-instrumentalist \u003ca href=\"https://soulection.com/swl018-rom\" target=\"_blank\" rel=\"noopener\">Romderful\u003c/a> works with influential California label Soulection. Experimental beatmaker \u003ca href=\"https://soundcloud.com/mikegao\" target=\"_blank\" rel=\"noopener\">Mike Gao\u003c/a>, who has production credits on Rexx Life Raj’s acclaimed \u003ca href=\"https://www.kqed.org/arts/13817414/the-10-best-bay-area-albums-of-2017-rexx-life-raj-father-figure-2-flourish\" target=\"_blank\" rel=\"noopener\">\u003cem>Father Figure 2: Flourish\u003c/em>\u003c/a> album, will also DJ, along with Rexx Life Raj’s tour DJ, \u003ca href=\"https://djshellheart.com/\" target=\"_blank\" rel=\"noopener\">DJ Shellheart\u003c/a>, and Text Me Records producer and frequent G-Eazy collaborator \u003ca href=\"https://soundcloud.com/thejulialewis\" target=\"_blank\" rel=\"noopener\">Julia Lewis\u003c/a>.\u003c/p>\n\u003cp>A portion of the event’s proceeds go to YR Media’s music program, Remix Your Life. Details \u003ca href=\"https://www.eventbrite.com/e/rexxlife-presents-good-proper-a-philanthropic-soiree-tickets-59748408097\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://yr.media\" target=\"_blank\" rel=\"noopener\">Youth Radio\u003c/a> is a crucial recording arts and media program for Bay Area high school and college students located in the heart of downtown Oakland.\u003c/p>\n\u003cp>Some of its alumni have gone on to accomplish great things: \u003ca href=\"https://www.kqed.org/arts/13817762/the-10-best-bay-area-albums-of-2017-rayana-jay-morning-after\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>, for instance, is a rising R&B star who recently toured the country with rapper Junglepussy; \u003ca href=\"https://www.kqed.org/arts/13816944/the-10-best-bay-area-albums-of-2017-1-o-a-k-riding-in-cars-with-girls\" target=\"_blank\" rel=\"noopener\">1-O.A.K.\u003c/a> of the prolific HNRL collective got his start in music production at YR and went on to teach there; and KQED Arts’ columnist and \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener\">\u003cem>Rightnowish\u003c/em>\u003c/a> host Pendarvis Harshaw experienced his first taste of audio journalism at the nonprofit.\u003c/p>\n\u003cp>Just a few days before his April 16 \u003ca href=\"http://thefillmore.com/event/jain/\" target=\"_blank\" rel=\"noopener\">show at the Fillmore\u003c/a> with French singer Jain, Berkeley rapper \u003ca href=\"https://soundcloud.com/rexxliferaj\" target=\"_blank\" rel=\"noopener\">Rexx Life Raj\u003c/a> is throwing a benefit party for Youth Radio with the help of his label, San Francisco’s Empire.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/rexxlife-presents-good-proper-a-philanthropic-soiree-tickets-59748408097\" target=\"_blank\" rel=\"noopener\">The ‘Good & Proper’ party\u003c/a>, taking place April 13 at Code and Canvas in San Francisco, stars a slate of taste-making DJs and producers: hailing from the U.K., multi-instrumentalist \u003ca href=\"https://soulection.com/swl018-rom\" target=\"_blank\" rel=\"noopener\">Romderful\u003c/a> works with influential California label Soulection. Experimental beatmaker \u003ca href=\"https://soundcloud.com/mikegao\" target=\"_blank\" rel=\"noopener\">Mike Gao\u003c/a>, who has production credits on Rexx Life Raj’s acclaimed \u003ca href=\"https://www.kqed.org/arts/13817414/the-10-best-bay-area-albums-of-2017-rexx-life-raj-father-figure-2-flourish\" target=\"_blank\" rel=\"noopener\">\u003cem>Father Figure 2: Flourish\u003c/em>\u003c/a> album, will also DJ, along with Rexx Life Raj’s tour DJ, \u003ca href=\"https://djshellheart.com/\" target=\"_blank\" rel=\"noopener\">DJ Shellheart\u003c/a>, and Text Me Records producer and frequent G-Eazy collaborator \u003ca href=\"https://soundcloud.com/thejulialewis\" target=\"_blank\" rel=\"noopener\">Julia Lewis\u003c/a>.\u003c/p>\n\u003cp>A portion of the event’s proceeds go to YR Media’s music program, Remix Your Life. Details \u003ca href=\"https://www.eventbrite.com/e/rexxlife-presents-good-proper-a-philanthropic-soiree-tickets-59748408097\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jazz Heavyweights Herbie Hancock And Kamasi Washington Announce Joint Tour",
"headTitle": "Jazz Heavyweights Herbie Hancock And Kamasi Washington Announce Joint Tour | KQED",
"content": "\u003cp>Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.\u003c/p>\n\u003cp>Their initial slew of dates, starting July 30 in Vienna, Va. and ending Aug. 23 in Berkeley, Calif., should go on sale to the general public this Friday. (Tickets for the pair’s first date, in Virginia, are \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__www.wolftrap.org_f_073019&d=DwMGaQ&c=E2nBno7hEddFhl23N5nD1Q&r=vn4_qmdn67yk26Ar2jgxyeTiyH7gFcj_zMqcLtzTixE&m=yykryLsorWw_3_l2rL3sxKf0COh684nl5LPg2lE1_48&s=IrpMFsgsxl36-9T4rnTSR6mgzZW0Hyc8eoAmnJ01um8&e=\">already available\u003c/a>.)\u003c/p>\n\u003cp>Hancock, a 14-time Grammy-winning pianist and NEA Jazz Master, will lead a band similar to the one featured a few years ago in a\u003ca href=\"https://www.npr.org/2016/10/20/498672744/herbie-hancocks-latest-voyage\"> \u003cem>Jazz Night in America\u003c/em> concert film\u003c/a>: Lionel Loueke on guitars, Terrace Martin on alto saxophone and synthesizers, James Genus on electric bass, and Vinnie Colaiuta on drums. Their set list will combine Hancock favorites and material from a highly anticipated forthcoming album.\u003c/p>\n\u003cp>Hancock has long been an exemplar of jazz crossover: he’s the rare instrumental virtuoso to credibly break through to a mainstream audience, let alone the pop album chart. He received his first gold record in 1974 with \u003cem>Head Hunters\u003c/em>, the self-titled debut by his new jazz-funk band. At the time, the critic Lee Underwood stamped a concert review with a smirk: “Mr. Communicate-With-A-Wider-Audience, Herbie Hancock, opened to a full house recently, again pleasing the funkers while disappointing the more cerebrally oriented connoisseurs.”\u003c/p>\n\u003cp>Washington has earned a similar reputation since the release of his debut triple album, \u003cem>The Epic, \u003c/em>in 2015. A tenor saxophonist and bandleader with a talent for the ecstatic, Washington is the key figure in what has lately been touted as a jazz resurgence in popular culture. (“Mr. Communicate-With-A-Wider-Audience” is an epithet he’d probably wear as a badge of honor.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13845721' *hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/12/GettyImages-946721988-1920x1080.jpg'* target='_blank']\u003c/p>\n\u003cp>His follow-up to \u003cem>The Epic\u003c/em>, a double album titled \u003cem>Heaven and Earth\u003c/em>, received widespread acclaim last year, landing at No. 12 on the\u003ca href=\"https://www.npr.org/2019/01/05/682193795/the-2018-npr-music-jazz-critics-poll\"> NPR Music Jazz Critics Poll\u003c/a>. And at the beginning of this year, Washington had a premiere at Sundance: \u003cem>As Told to G/D Thyself\u003c/em>, a dreamy, episodic short film, featuring the work of African-American filmmakers like Bradford Young and Jenn Nkiru. (The film has just been made\u003ca href=\"https://itunes.apple.com/us/music-movie/as-told-to-g-d-thyself/1455427714\"> available for streaming\u003c/a> on Apple Music.)\u003c/p>\n\u003cp>Both Hancock and Washington will be busy in the weeks and months leading up to their tour. Hancock, as chairman of the\u003ca href=\"https://hancockinstitute.org/\"> Herbie Hancock Institute of Jazz\u003c/a>, is preparing for International Jazz Day festivities in Australia at the end of this month, culminating in a global all-star concert in Melbourne on April 30. Hancock is also scheduled to perform at the Beacon Theater in New York on Aug. 1, and at the\u003ca href=\"http://www.newportjazz.org/\"> Newport Jazz Festival\u003c/a> in Rhode Island on Aug. 2 and 3.\u003c/p>\n\u003cp>Washington is also headlining at Newport, on Aug. 3, but that’s far from the only synchronicity he has with his co-headliner. Terrace Martin, a longtime Washington associate, is another one. (It seems likely that Martin will also play with Washington on the tour.) Hancock and Washington also both appeared on\u003ca href=\"https://vimeo.com/103317489\"> \u003cem>You’re Dead!\u003c/em>\u003c/a>\u003cem>, \u003c/em>the 2014 album by producer Flying Lotus. And there have been reliable reports that Hancock’s next album-in-progress will feature Washington (along with Martin, Flying Lotus and rapper Kendrick Lamar).\u003c/p>\n\u003cp>Moving out of the realm of the speculative, there’s a bit of precedent for this tour. In 2017, Hancock headlined a concert at the Hollywood Bowl, with Washington as the opener. Reviewing that concert for the \u003cem>Los Angeles Times, \u003c/em>Chris Barton \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-herbie-hancock-kamasi-washington-20170824-story.html\">painted the picture\u003c/a> of a hometown victory lap for Washington, and a show of dominion by Hancock.\u003c/p>\n\u003cp>“The only note missing in Hancock’s arsenal was a guest spot from Washington, a seemingly natural choice that could have built a bridge between two generations,” Barton wrote. “A missed opportunity for a special moment, maybe — but if you were listening, the bridge was there all along.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Dates\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>7/30/19 – Vienna, VA, Wolf Trap\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/4/19 – Philadelphia, PA, The Met\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/6/19 – Toronto, ONT, Roy Thompson Hall\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/7/19 – Huber Heights, OH, Rose Music Center at The Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/8/19 – Detroit, MI, Aretha Franklin Amphitheatre\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/9 or 10/19 (TBC) – Chicago, IL, Huntington Bank Pavilion at Northerly Island\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/14/19 – Denver, CO, The Mission Ballroom\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/16/19 – Seattle, WA, Marymoor\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/17/19 – Portland, OR, Oregon Zoo\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/23/19 – Berkeley, CA, The Greek Theatre\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional performances are expected to be announced shortly.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jazz+Heavyweights+Herbie+Hancock+And+Kamasi+Washington+Announce+Joint+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.\u003c/p>\n\u003cp>Their initial slew of dates, starting July 30 in Vienna, Va. and ending Aug. 23 in Berkeley, Calif., should go on sale to the general public this Friday. (Tickets for the pair’s first date, in Virginia, are \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__www.wolftrap.org_f_073019&d=DwMGaQ&c=E2nBno7hEddFhl23N5nD1Q&r=vn4_qmdn67yk26Ar2jgxyeTiyH7gFcj_zMqcLtzTixE&m=yykryLsorWw_3_l2rL3sxKf0COh684nl5LPg2lE1_48&s=IrpMFsgsxl36-9T4rnTSR6mgzZW0Hyc8eoAmnJ01um8&e=\">already available\u003c/a>.)\u003c/p>\n\u003cp>Hancock, a 14-time Grammy-winning pianist and NEA Jazz Master, will lead a band similar to the one featured a few years ago in a\u003ca href=\"https://www.npr.org/2016/10/20/498672744/herbie-hancocks-latest-voyage\"> \u003cem>Jazz Night in America\u003c/em> concert film\u003c/a>: Lionel Loueke on guitars, Terrace Martin on alto saxophone and synthesizers, James Genus on electric bass, and Vinnie Colaiuta on drums. Their set list will combine Hancock favorites and material from a highly anticipated forthcoming album.\u003c/p>\n\u003cp>Hancock has long been an exemplar of jazz crossover: he’s the rare instrumental virtuoso to credibly break through to a mainstream audience, let alone the pop album chart. He received his first gold record in 1974 with \u003cem>Head Hunters\u003c/em>, the self-titled debut by his new jazz-funk band. At the time, the critic Lee Underwood stamped a concert review with a smirk: “Mr. Communicate-With-A-Wider-Audience, Herbie Hancock, opened to a full house recently, again pleasing the funkers while disappointing the more cerebrally oriented connoisseurs.”\u003c/p>\n\u003cp>Washington has earned a similar reputation since the release of his debut triple album, \u003cem>The Epic, \u003c/em>in 2015. A tenor saxophonist and bandleader with a talent for the ecstatic, Washington is the key figure in what has lately been touted as a jazz resurgence in popular culture. (“Mr. Communicate-With-A-Wider-Audience” is an epithet he’d probably wear as a badge of honor.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His follow-up to \u003cem>The Epic\u003c/em>, a double album titled \u003cem>Heaven and Earth\u003c/em>, received widespread acclaim last year, landing at No. 12 on the\u003ca href=\"https://www.npr.org/2019/01/05/682193795/the-2018-npr-music-jazz-critics-poll\"> NPR Music Jazz Critics Poll\u003c/a>. And at the beginning of this year, Washington had a premiere at Sundance: \u003cem>As Told to G/D Thyself\u003c/em>, a dreamy, episodic short film, featuring the work of African-American filmmakers like Bradford Young and Jenn Nkiru. (The film has just been made\u003ca href=\"https://itunes.apple.com/us/music-movie/as-told-to-g-d-thyself/1455427714\"> available for streaming\u003c/a> on Apple Music.)\u003c/p>\n\u003cp>Both Hancock and Washington will be busy in the weeks and months leading up to their tour. Hancock, as chairman of the\u003ca href=\"https://hancockinstitute.org/\"> Herbie Hancock Institute of Jazz\u003c/a>, is preparing for International Jazz Day festivities in Australia at the end of this month, culminating in a global all-star concert in Melbourne on April 30. Hancock is also scheduled to perform at the Beacon Theater in New York on Aug. 1, and at the\u003ca href=\"http://www.newportjazz.org/\"> Newport Jazz Festival\u003c/a> in Rhode Island on Aug. 2 and 3.\u003c/p>\n\u003cp>Washington is also headlining at Newport, on Aug. 3, but that’s far from the only synchronicity he has with his co-headliner. Terrace Martin, a longtime Washington associate, is another one. (It seems likely that Martin will also play with Washington on the tour.) Hancock and Washington also both appeared on\u003ca href=\"https://vimeo.com/103317489\"> \u003cem>You’re Dead!\u003c/em>\u003c/a>\u003cem>, \u003c/em>the 2014 album by producer Flying Lotus. And there have been reliable reports that Hancock’s next album-in-progress will feature Washington (along with Martin, Flying Lotus and rapper Kendrick Lamar).\u003c/p>\n\u003cp>Moving out of the realm of the speculative, there’s a bit of precedent for this tour. In 2017, Hancock headlined a concert at the Hollywood Bowl, with Washington as the opener. Reviewing that concert for the \u003cem>Los Angeles Times, \u003c/em>Chris Barton \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-herbie-hancock-kamasi-washington-20170824-story.html\">painted the picture\u003c/a> of a hometown victory lap for Washington, and a show of dominion by Hancock.\u003c/p>\n\u003cp>“The only note missing in Hancock’s arsenal was a guest spot from Washington, a seemingly natural choice that could have built a bridge between two generations,” Barton wrote. “A missed opportunity for a special moment, maybe — but if you were listening, the bridge was there all along.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Dates\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>7/30/19 – Vienna, VA, Wolf Trap\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/4/19 – Philadelphia, PA, The Met\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/6/19 – Toronto, ONT, Roy Thompson Hall\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/7/19 – Huber Heights, OH, Rose Music Center at The Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/8/19 – Detroit, MI, Aretha Franklin Amphitheatre\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/9 or 10/19 (TBC) – Chicago, IL, Huntington Bank Pavilion at Northerly Island\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/14/19 – Denver, CO, The Mission Ballroom\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/16/19 – Seattle, WA, Marymoor\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/17/19 – Portland, OR, Oregon Zoo\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/23/19 – Berkeley, CA, The Greek Theatre\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional performances are expected to be announced shortly.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jazz+Heavyweights+Herbie+Hancock+And+Kamasi+Washington+Announce+Joint+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Billboard \u003ca href=\"https://hiphopwired.com/playlist/lil-nas-x-old-town-road-billboard/\" target=\"_blank\" rel=\"noopener\">removed\u003c/a> Lil Nas X’s “Old Town Road” from its country charts last week—stating, essentially, that the song wasn’t country enough—the decision \u003ca href=\"https://www.npr.org/2019/04/05/710021098/lil-nas-x-country-musics-unlikely-son-sparks-conversation-on-genre-and-race\" target=\"_blank\" rel=\"noopener\">sparked a debate\u003c/a> about whether black artists have the same leeway to push genre boundaries as white artists.\u003c/p>\n\u003cp>The country-trap bop, which incorporates banjos, rural lyrics and a Southern twang over trap drums, doesn’t fall squarely into the country \u003cem>or\u003c/em> the rap camp, instead fusing elements of both for a very 2019, genre-agnostic sound.\u003c/p>\n\u003cp>https://youtu.be/w2Ov5jzm3j8\u003c/p>\n\u003cp>Critics quickly \u003ca href=\"https://www.npr.org/2019/03/29/708170981/does-country-music-have-room-for-new-sounds-in-its-genre\" target=\"_blank\" rel=\"noopener\">raised the fact\u003c/a> that white artists like Taylor Swift and Jason Aldrean don’t encounter the same pushback from country music gatekeepers for incorporating pop and rap elements in their work. Meanwhile, experimental artists such as FKA Twigs and Moses Sumney have long spoken about the ways black artists get \u003ca href=\"https://pitchfork.com/thepitch/black-musicians-on-being-boxed-in-by-randb-and-rap-expectations-we-fit-in-so-many-things/\" target=\"_blank\" rel=\"noopener\">boxed into rap and R&B categories\u003c/a>, even when their music has more kinship with electronic artists such as Björk.\u003c/p>\n\u003cp>Yesterday, Lil Nas X got a little help from another country star who faced pushback in his heyday: Billy Ray Cyrus. Cyrus’ hit “Achy Breaky Heart” stirred controversy in the country world when it came out in 1992; singer \u003ca href=\"https://theboot.com/country-musics-biggest-feuds/\" target=\"_blank\" rel=\"noopener\">Travis Tritt\u003c/a> called it “frivolous” and said he didn’t want country music to turn into an “ass-wiggling contest.” (Lol.) That didn’t stop “Achy Breaky Heart” from hitting No. 1 in four countries and going triple Platinum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/billyraycyrus/status/1113531625336385536\u003c/p>\n\u003cp>“Only Outlaws are outlawed. Welcome to the club!” Cyrus tweeted to Lil Nas X on April 3. The next day, the two went into the studio to record an “Old Town Road” remix, which dropped last night at midnight, and surprisingly slaps even harder than the original. Cyrus, who’s lived the Hollywood lifestyle for decades, flexes as hard as Migos when he sings, “Baby’s gotta have her diamond rings and Fendi sports bra / Driving down Rodeo in my Maserati sports car.”\u003c/p>\n\u003cp>https://twitter.com/billyraycyrus/status/1114029371168313344\u003c/p>\n\u003cp>The playful, intergenerational and genre-crossing collaboration is a lot of fun, and there’s not a huge difference between Lil Nas X and Cyrus’ cadences. The seamless way their styles fit together points to the shared roots of rap and country: blues. In fact, most American music, from house to rock ‘n’ roll, started with the innovations of African-American artists. It makes perfect sense that a young black artist would put his own spin on country in the 21st century.\u003c/p>\n\u003cp>Just as genre lines are dissolving, the landscape of America is changing. As large cities become gentrified, and as communities of color migrate to suburban and rural areas, music once classified as “urban” isn’t necessarily being made in urban environments. These demographic changes are redefining America’s cultural landscape, and leading to new creative directions.\u003c/p>\n\u003cp>At this time of cross-pollination, when the internet exposes us to unexpected influences and collaborators, the genre categories of yore do a disservice to gloriously unclassifiable music like “Old Town Road.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/7ysFgElQtjI\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Billboard \u003ca href=\"https://hiphopwired.com/playlist/lil-nas-x-old-town-road-billboard/\" target=\"_blank\" rel=\"noopener\">removed\u003c/a> Lil Nas X’s “Old Town Road” from its country charts last week—stating, essentially, that the song wasn’t country enough—the decision \u003ca href=\"https://www.npr.org/2019/04/05/710021098/lil-nas-x-country-musics-unlikely-son-sparks-conversation-on-genre-and-race\" target=\"_blank\" rel=\"noopener\">sparked a debate\u003c/a> about whether black artists have the same leeway to push genre boundaries as white artists.\u003c/p>\n\u003cp>The country-trap bop, which incorporates banjos, rural lyrics and a Southern twang over trap drums, doesn’t fall squarely into the country \u003cem>or\u003c/em> the rap camp, instead fusing elements of both for a very 2019, genre-agnostic sound.\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/w2Ov5jzm3j8'\n title='//www.youtube.com/embed/w2Ov5jzm3j8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Critics quickly \u003ca href=\"https://www.npr.org/2019/03/29/708170981/does-country-music-have-room-for-new-sounds-in-its-genre\" target=\"_blank\" rel=\"noopener\">raised the fact\u003c/a> that white artists like Taylor Swift and Jason Aldrean don’t encounter the same pushback from country music gatekeepers for incorporating pop and rap elements in their work. Meanwhile, experimental artists such as FKA Twigs and Moses Sumney have long spoken about the ways black artists get \u003ca href=\"https://pitchfork.com/thepitch/black-musicians-on-being-boxed-in-by-randb-and-rap-expectations-we-fit-in-so-many-things/\" target=\"_blank\" rel=\"noopener\">boxed into rap and R&B categories\u003c/a>, even when their music has more kinship with electronic artists such as Björk.\u003c/p>\n\u003cp>Yesterday, Lil Nas X got a little help from another country star who faced pushback in his heyday: Billy Ray Cyrus. Cyrus’ hit “Achy Breaky Heart” stirred controversy in the country world when it came out in 1992; singer \u003ca href=\"https://theboot.com/country-musics-biggest-feuds/\" target=\"_blank\" rel=\"noopener\">Travis Tritt\u003c/a> called it “frivolous” and said he didn’t want country music to turn into an “ass-wiggling contest.” (Lol.) That didn’t stop “Achy Breaky Heart” from hitting No. 1 in four countries and going triple Platinum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Man Suspected of Shooting Nipsey Hussle Charged with Murder",
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"content": "\u003cp>The man suspected of killing Nipsey Hussle was charged Thursday with murder and two counts of attempted murder over an attack outside the rapper’s South Los Angeles clothing store on Sunday.\u003c/p>\n\u003cp>Los Angeles County prosecutors filed the charges, including two counts of attempted murder, against Eric Holder, 29. He is set to appear in a downtown courtroom Thursday afternoon, two days after his arrest after a nearly 48-hour manhunt. It is not clear whether Holder has an attorney. \u003cspan style=\"font-weight: 400\">[aside postID='arts_13854043']\u003c/span>\u003c/p>\n\u003cp>Authorities say Holder and Hussle, who knew each other, had several conversations Sunday outside the rapper’s South LA clothing store. They say Holder eventually returned with a handgun and shot Hussle, who was declared dead at a hospital. He also wounded two other men during the attack, authorities said.\u003c/p>\n\u003cp>If convicted, Holder faces life in prison.\u003c/p>\n\u003cp>In 2012 he pleaded no contest to possession of a loaded firearm and was sentenced to six months in jail and three years’ probation. The case filed Thursday includes a charge that he was a felon in possession of a gun during the attack on Hussle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rapper and suspect knew each other, and had some sort of personal dispute the day of the shooting, police said, declining to give further details about their relationship. \u003cspan style=\"font-weight: 400\">[aside postID='news_11737181']\u003c/span>\u003c/p>\n\u003cp>Hussle, 33, was engaged to actress Lauren London, with whom he had a 2-year-old son. He had another daughter from a previous relationship.\u003c/p>\n\u003cp>He was a beloved figure in the community that he was seeking to rebuild starting with his clothing store, among his fellow entertainers, and with public officials who praised his philanthropy and advocacy.\u003c/p>\n\u003cp>Hussle had success in hip-hop’s inner circles for 10 years through his coveted mixtapes, then last year broke big with his major-label debut album, \u003cem>Victory Lap\u003c/em>, which was nominated for a Grammy.\u003c/p>\n\u003cp>The California State Senate adjourned in his honor on Thursday.\u003c/p>\n\u003cp>“He was a manifestation, from my perspective, of the American dream, even the California dream,” said Sen. Holly Mitchell, a Democrat from Los Angeles.\u003c/p>\n\u003cp>“He represents a new generation of entertainer turned activist turned entrepreneur,” she said, noting his activism on police brutality and gun violence.\u003c/p>\n\u003cp>Congresswoman Karen Bass said she planned to honor Hussle on the floor of the U.S. House of Representatives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I will be heading to the House Floor next week to formally enter Nipsey Hussle’s contributions to South Los Angeles into the Congressional Record where it will be a part of United States history forever,” Bass tweeted.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Hussle, 33, was engaged to actress Lauren London, with whom he had a 2-year-old son. He had another daughter from a previous relationship.\u003c/p>\n\u003cp>He was a beloved figure in the community that he was seeking to rebuild starting with his clothing store, among his fellow entertainers, and with public officials who praised his philanthropy and advocacy.\u003c/p>\n\u003cp>Hussle had success in hip-hop’s inner circles for 10 years through his coveted mixtapes, then last year broke big with his major-label debut album, \u003cem>Victory Lap\u003c/em>, which was nominated for a Grammy.\u003c/p>\n\u003cp>The California State Senate adjourned in his honor on Thursday.\u003c/p>\n\u003cp>“He was a manifestation, from my perspective, of the American dream, even the California dream,” said Sen. Holly Mitchell, a Democrat from Los Angeles.\u003c/p>\n\u003cp>“He represents a new generation of entertainer turned activist turned entrepreneur,” she said, noting his activism on police brutality and gun violence.\u003c/p>\n\u003cp>Congresswoman Karen Bass said she planned to honor Hussle on the floor of the U.S. House of Representatives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I will be heading to the House Floor next week to formally enter Nipsey Hussle’s contributions to South Los Angeles into the Congressional Record where it will be a part of United States history forever,” Bass tweeted.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.sterngrove.org/august-18-2019/\" target=\"_blank\" rel=\"noopener\">Stern Grove\u003c/a>, the free concert series, returns to San Francisco for its 82nd edition this year with pioneering conscious hip-hop trio \u003ca href=\"http://www.sterngrove.org/june-16-2019/\" target=\"_blank\" rel=\"noopener\">Digable Planets\u003c/a> and local hip–hop-soul band Bang Data kicking off the programming on June 16.\u003c/p>\n\u003cp>The free outdoor concerts continue weekly through August 18, and cater to a wide variety of tastes. Classical music lovers can catch the \u003ca href=\"http://www.sterngrove.org/july-7-2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> performing Tchaikovsky, Mussorgsky, Elgar and Mendelssohn on July 7; the \u003ca href=\"http://www.sterngrove.org/july-28-2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> performs on July 28.\u003c/p>\n\u003cp>Indie rocker \u003ca href=\"http://www.sterngrove.org/july-14-2019/\" target=\"_blank\" rel=\"noopener\">Mitski\u003c/a> (Mitski’s \u003cem>Be the Cowboy\u003c/em> made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13846693/listen-kqed-arts-top-20-albums-of-2018\" target=\"_blank\" rel=\"noopener\">Top 20 Albums of 2018\u003c/a> list) performs on July 14 with Bay Area indie folk singer Madeline Kenney as the opener. Post-punk band \u003ca href=\"http://www.sterngrove.org/august-4-2019/\" target=\"_blank\" rel=\"noopener\">the Psychedelic Furs\u003c/a> play Aug. 4. Soul legends \u003ca href=\"http://www.sterngrove.org/august-18-2019/\" target=\"_blank\" rel=\"noopener\">the Isley Brothers\u003c/a> close out the festival on Aug. 18 for the Big Picnic, the fundraiser that supports the free events.\u003c/p>\n\u003cp>The full schedule:\u003c/p>\n\u003cp>\u003cstrong>June 16\u003c/strong>: Digable Planets, Bang Data\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 23\u003c/strong>: Los Van Van, Banda Sin Nombre\u003c/p>\n\u003cp>\u003cstrong>June 30\u003c/strong>: Galactic, Baby & the Luvies\u003c/p>\n\u003cp>\u003cstrong>July 7\u003c/strong>: San Francisco Symphony\u003c/p>\n\u003cp>\u003cstrong>July 14\u003c/strong>: Mitski, Madeline Kenney\u003c/p>\n\u003cp>\u003cstrong>July 21\u003c/strong>: Toots & the Maytals, Lee Fields & the Expressions\u003c/p>\n\u003cp>\u003cstrong>July 28\u003c/strong>: San Francisco Ballet\u003c/p>\n\u003cp>\u003cstrong>Aug. 4\u003c/strong>: The Psychedelic Furs, James\u003c/p>\n\u003cp>\u003cstrong>Aug. 11\u003c/strong>: Pink Martini, Barrio Manouche\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It all goes down every Sunday of summer at the corner of 19th Avenue and Sloat Boulevard. Details \u003ca href=\"http://www.sterngrove.org/#concerts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.sterngrove.org/august-18-2019/\" target=\"_blank\" rel=\"noopener\">Stern Grove\u003c/a>, the free concert series, returns to San Francisco for its 82nd edition this year with pioneering conscious hip-hop trio \u003ca href=\"http://www.sterngrove.org/june-16-2019/\" target=\"_blank\" rel=\"noopener\">Digable Planets\u003c/a> and local hip–hop-soul band Bang Data kicking off the programming on June 16.\u003c/p>\n\u003cp>The free outdoor concerts continue weekly through August 18, and cater to a wide variety of tastes. Classical music lovers can catch the \u003ca href=\"http://www.sterngrove.org/july-7-2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> performing Tchaikovsky, Mussorgsky, Elgar and Mendelssohn on July 7; the \u003ca href=\"http://www.sterngrove.org/july-28-2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> performs on July 28.\u003c/p>\n\u003cp>Indie rocker \u003ca href=\"http://www.sterngrove.org/july-14-2019/\" target=\"_blank\" rel=\"noopener\">Mitski\u003c/a> (Mitski’s \u003cem>Be the Cowboy\u003c/em> made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13846693/listen-kqed-arts-top-20-albums-of-2018\" target=\"_blank\" rel=\"noopener\">Top 20 Albums of 2018\u003c/a> list) performs on July 14 with Bay Area indie folk singer Madeline Kenney as the opener. Post-punk band \u003ca href=\"http://www.sterngrove.org/august-4-2019/\" target=\"_blank\" rel=\"noopener\">the Psychedelic Furs\u003c/a> play Aug. 4. Soul legends \u003ca href=\"http://www.sterngrove.org/august-18-2019/\" target=\"_blank\" rel=\"noopener\">the Isley Brothers\u003c/a> close out the festival on Aug. 18 for the Big Picnic, the fundraiser that supports the free events.\u003c/p>\n\u003cp>The full schedule:\u003c/p>\n\u003cp>\u003cstrong>June 16\u003c/strong>: Digable Planets, Bang Data\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 23\u003c/strong>: Los Van Van, Banda Sin Nombre\u003c/p>\n\u003cp>\u003cstrong>June 30\u003c/strong>: Galactic, Baby & the Luvies\u003c/p>\n\u003cp>\u003cstrong>July 7\u003c/strong>: San Francisco Symphony\u003c/p>\n\u003cp>\u003cstrong>July 14\u003c/strong>: Mitski, Madeline Kenney\u003c/p>\n\u003cp>\u003cstrong>July 21\u003c/strong>: Toots & the Maytals, Lee Fields & the Expressions\u003c/p>\n\u003cp>\u003cstrong>July 28\u003c/strong>: San Francisco Ballet\u003c/p>\n\u003cp>\u003cstrong>Aug. 4\u003c/strong>: The Psychedelic Furs, James\u003c/p>\n\u003cp>\u003cstrong>Aug. 11\u003c/strong>: Pink Martini, Barrio Manouche\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It all goes down every Sunday of summer at the corner of 19th Avenue and Sloat Boulevard. Details \u003ca href=\"http://www.sterngrove.org/#concerts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Sets No Maximum Volume, Extends Outside Lands Permit Through 2031",
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"content": "\u003cp>The San Francisco Board of Supervisors approved a 10-year permit extension for the \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> music festival on Tuesday, extending the city’s contract with event production company \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener\">Another Planet Entertainment\u003c/a> through 2031.\u003c/p>\n\u003cp>The popular festival, which debuted in 2008, draws hundreds of thousands of attendees to Golden Gate Park every year. According to Dana Ketcham, the Recreation and Parks Departments’ permit director, last year’s festival resulted in an estimated $66 million economic impact on the city and created 700 jobs. \u003cspan style=\"font-weight: 400\"> [aside postID='arts_13853701']\u003c/span>\u003c/p>\n\u003cp>The board’s decision to extend Outside Lands’ permit came after an \u003ca href=\"https://www.sfchronicle.com/bayarea/article/SF-residents-appeal-Outside-Lands-permit-seeking-13632102.php\" target=\"_blank\" rel=\"noopener\">appeal from two residents\u003c/a>, Andrew Solow and Stephen Somerstein, who lobbied for a maximum decibel limit as required by the California Environmental Quality Act (CEQA). Their attorney cited an increase in noise complaints about the festival; indeed, there were 212 Outside Lands-related noise complaints in 2018, a big jump from 80 in 2017—though it’s unclear whether the festival got louder, or neighbors became less tolerant.\u003c/p>\n\u003cp>“We don’t want to shut it down. We want it to continue, we want to continue those good jobs, we want to continue the tax revenues coming into the city,” said the appellants’ attorney, Richard Drury. “We just want a noise policy that’s enforceable and reasonable.”\u003c/p>\n\u003cp>The Board of Supervisors opted not to impose a decibel limit as part of the permit extension.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ketcham said that Outside Lands’ sound engineers who adjust the volume on site worked to mitigate the issue last year, and complaints dropped from 118 on Friday to only 31 on Sunday. Still, she said the festival and city plan to do more. The permit extension requires a minimum amount of noise monitors, who will report out the adjustments they make after the festival is over.\u003c/p>\n\u003cp>“When questions come in saying ‘You don’t know if they did anything,’ we’ll have a report showing exactly what they did,” Ketcham said.\u003c/p>\n\u003cp>Several local residents spoke at the hearing in support of Outside Lands, including musicians, parents, teachers, business owners and union workers.\u003c/p>\n\u003cp>“Every single year [the festival] has improved. They’ve gotten better at traffic, noise, litter, the cleanup,” said longtime Richmond District resident Jason Hancock.\u003c/p>\n\u003cp>“Outside Lands is a continuation of the history of rock ‘n’ roll going on in San Francisco since 1968,” said Douglas Taylor, a stagehand who works at the festival. “Outside Lands goes above and beyond anyone I’ve ever seen in dealing with complaints.”\u003c/p>\n\u003cp>The Board of Supervisors voted unanimously to extend the festival’s permit. Outside Lands is slated to return to Golden Gate Park Aug. 9–11 with Paul Simon, Childish Gambino and Twenty One Pilots as headliners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Supervisors approved a 10-year permit extension for the \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> music festival on Tuesday, extending the city’s contract with event production company \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener\">Another Planet Entertainment\u003c/a> through 2031.\u003c/p>\n\u003cp>The popular festival, which debuted in 2008, draws hundreds of thousands of attendees to Golden Gate Park every year. According to Dana Ketcham, the Recreation and Parks Departments’ permit director, last year’s festival resulted in an estimated $66 million economic impact on the city and created 700 jobs. \u003cspan style=\"font-weight: 400\"> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>The board’s decision to extend Outside Lands’ permit came after an \u003ca href=\"https://www.sfchronicle.com/bayarea/article/SF-residents-appeal-Outside-Lands-permit-seeking-13632102.php\" target=\"_blank\" rel=\"noopener\">appeal from two residents\u003c/a>, Andrew Solow and Stephen Somerstein, who lobbied for a maximum decibel limit as required by the California Environmental Quality Act (CEQA). Their attorney cited an increase in noise complaints about the festival; indeed, there were 212 Outside Lands-related noise complaints in 2018, a big jump from 80 in 2017—though it’s unclear whether the festival got louder, or neighbors became less tolerant.\u003c/p>\n\u003cp>“We don’t want to shut it down. We want it to continue, we want to continue those good jobs, we want to continue the tax revenues coming into the city,” said the appellants’ attorney, Richard Drury. “We just want a noise policy that’s enforceable and reasonable.”\u003c/p>\n\u003cp>The Board of Supervisors opted not to impose a decibel limit as part of the permit extension.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ketcham said that Outside Lands’ sound engineers who adjust the volume on site worked to mitigate the issue last year, and complaints dropped from 118 on Friday to only 31 on Sunday. Still, she said the festival and city plan to do more. The permit extension requires a minimum amount of noise monitors, who will report out the adjustments they make after the festival is over.\u003c/p>\n\u003cp>“When questions come in saying ‘You don’t know if they did anything,’ we’ll have a report showing exactly what they did,” Ketcham said.\u003c/p>\n\u003cp>Several local residents spoke at the hearing in support of Outside Lands, including musicians, parents, teachers, business owners and union workers.\u003c/p>\n\u003cp>“Every single year [the festival] has improved. They’ve gotten better at traffic, noise, litter, the cleanup,” said longtime Richmond District resident Jason Hancock.\u003c/p>\n\u003cp>“Outside Lands is a continuation of the history of rock ‘n’ roll going on in San Francisco since 1968,” said Douglas Taylor, a stagehand who works at the festival. “Outside Lands goes above and beyond anyone I’ve ever seen in dealing with complaints.”\u003c/p>\n\u003cp>The Board of Supervisors voted unanimously to extend the festival’s permit. Outside Lands is slated to return to Golden Gate Park Aug. 9–11 with Paul Simon, Childish Gambino and Twenty One Pilots as headliners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Miguel, Tierra Whack Headline Sol Blume Festival in Sacramento",
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"content": "\u003cp>Sacramento is home to a new festival called \u003ca href=\"https://www.solblume.com/\" target=\"_blank\" rel=\"noopener\">Sol Blume\u003c/a>, which definitely sounds worth the road trip for our readers in the Bay Area. The independently booked event, now in its second year, takes place on April 27 at Cesar Chavez Plaza, and stars Miguel, the R&B and neo-soul singer responsible for hits like the Prince-inspired “\u003ca href=\"https://youtu.be/rnhlTS8RgUM\" target=\"_blank\" rel=\"noopener\">Told You So\u003c/a>” and sun-soaked summer jam “\u003ca href=\"https://youtu.be/76O3w4pt0CA\" target=\"_blank\" rel=\"noopener\">Sky Walker\u003c/a>.”\u003c/p>\n\u003cp>Tierra Whack, one of the most creative and imaginative rappers out, joins Miguel on the bill. Whack made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13846693/listen-kqed-arts-top-20-albums-of-2018\" target=\"_blank\" rel=\"noopener\">Top 20 Albums of 2018\u003c/a> list with her delightfully weird debut, \u003cem>Whack World\u003c/em>, which accomplishes the impressive feat of building complex fictional worlds in one-minute tracks that draw from R&B, trap and even country.\u003c/p>\n\u003cp>https://youtu.be/EOTebhPy04g\u003c/p>\n\u003cp>Rising indie folk star and filmmaker Jessie Reyez, who has written lyrics for pop stars like Dua Lipa and Normani, is also on the bill. She made waves last year with her soulfully sung “\u003ca href=\"https://youtu.be/--YgtVuvWGo\" target=\"_blank\" rel=\"noopener\">Body Count\u003c/a>,” where her raspy voice takes center stage over sparse, acoustic instrumentation. Producer, singer and saxophonist \u003ca href=\"https://youtu.be/hC8CH0Z3L54\" target=\"_blank\" rel=\"noopener\">Masego\u003c/a> will also perform, as well as R&B singer \u003ca href=\"https://youtu.be/hB_iYniHrCw\" target=\"_blank\" rel=\"noopener\">Queen Naija\u003c/a> and a slate of other up-and-coming artists.\u003c/p>\n\u003cp>\u003cem>The full lineup and more details on Sol Blume can be found \u003ca href=\"https://www.solblume.com/\" target=\"_blank\" rel=\"noopener\">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>Sacramento is home to a new festival called \u003ca href=\"https://www.solblume.com/\" target=\"_blank\" rel=\"noopener\">Sol Blume\u003c/a>, which definitely sounds worth the road trip for our readers in the Bay Area. The independently booked event, now in its second year, takes place on April 27 at Cesar Chavez Plaza, and stars Miguel, the R&B and neo-soul singer responsible for hits like the Prince-inspired “\u003ca href=\"https://youtu.be/rnhlTS8RgUM\" target=\"_blank\" rel=\"noopener\">Told You So\u003c/a>” and sun-soaked summer jam “\u003ca href=\"https://youtu.be/76O3w4pt0CA\" target=\"_blank\" rel=\"noopener\">Sky Walker\u003c/a>.”\u003c/p>\n\u003cp>Tierra Whack, one of the most creative and imaginative rappers out, joins Miguel on the bill. Whack made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13846693/listen-kqed-arts-top-20-albums-of-2018\" target=\"_blank\" rel=\"noopener\">Top 20 Albums of 2018\u003c/a> list with her delightfully weird debut, \u003cem>Whack World\u003c/em>, which accomplishes the impressive feat of building complex fictional worlds in one-minute tracks that draw from R&B, trap and even country.\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/EOTebhPy04g'\n title='//www.youtube.com/embed/EOTebhPy04g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rising indie folk star and filmmaker Jessie Reyez, who has written lyrics for pop stars like Dua Lipa and Normani, is also on the bill. She made waves last year with her soulfully sung “\u003ca href=\"https://youtu.be/--YgtVuvWGo\" target=\"_blank\" rel=\"noopener\">Body Count\u003c/a>,” where her raspy voice takes center stage over sparse, acoustic instrumentation. Producer, singer and saxophonist \u003ca href=\"https://youtu.be/hC8CH0Z3L54\" target=\"_blank\" rel=\"noopener\">Masego\u003c/a> will also perform, as well as R&B singer \u003ca href=\"https://youtu.be/hB_iYniHrCw\" target=\"_blank\" rel=\"noopener\">Queen Naija\u003c/a> and a slate of other up-and-coming artists.\u003c/p>\n\u003cp>\u003cem>The full lineup and more details on Sol Blume can be found \u003ca href=\"https://www.solblume.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 1972, \u003ca href=\"https://www.npr.org/artists/15669282/marvin-gaye\">Marvin Gaye\u003c/a> began recording a follow-up to his megahit album, \u003cem>What’s Going On\u003c/em>. He eventually laid down over a dozen new tracks, but personal and professional conflicts derailed the project. Most of the songs were never released except as bonus material on later anthologies. Now they’ve been assembled into one album called \u003cem>You’re the Man,\u003c/em> out Friday.\u003c/p>\n\u003cp>How do you follow up a personal and cultural masterpiece, not to mention a chart-topper? Gaye’s label, Motown, was eager to see the hits keep on coming — but success had given the artist newfound creative control, and he didn’t want to generate a carbon copy of the album he had just put out. Instead, beginning in the spring of ’72, he went into the studio with some new ideas in mind.\u003c/p>\n\u003cp>Gaye had produced and co-written \u003cem>What’s Going On\u003c/em> in its entirety, but for these new songs he sought out a flock of producers and arrangers, from such emergent talents as Willie Hutch, Gloria Jones and Fonce Mizzell to seasoned veterans like Hal Davis and Gene Page. What emerged was an eclectic mix of styles that included sweeping, socially conscious anthems.\u003c/p>\n\u003cp>The songs on \u003cem>You’re the Man\u003c/em> may never have been meant to form into a cohesive album: They were a set of ideas, gesturing toward different “what coulda beens.” Despite compiling more than enough songs to fill an LP, Gaye, for reasons we may never really know, ultimately decided to send most of them down to the vault. By year’s end he had shifted his attention to a duet album with \u003ca href=\"https://www.npr.org/artists/539035525/diana-ross\">Diana Ross\u003c/a> and to scoring the \u003cem>Trouble Man\u003c/em> soundtrack.\u003c/p>\n\u003cp>Yet even if these are mostly a bunch of tunes trying to stick to the wall, the bulk of those songs stick really well. After all, you have Gaye, at peak form, pairing his indelible voice with some of the best soul production of the era. It may have taken 47 years to finally surface in a proper way, but \u003cem>You’re the Man\u003c/em> is still a powerful, resonant reminder of the greatness that was Marvin Gaye.\u003c/p>\n\u003cp>[ad fullwidth]\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?uri=spotify%3Aalbum%3A7aX5aMq94oHw4eQdQBo854\" width=\"800\" height=\"600\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/707705238/708170991\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\n\u003c/p>\n",
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"content": "\u003cp>\u003cem>\u003cstrong>Update, April 2:\u003c/strong> Eric Holder, the suspect in Nipsey Hussle’s murder, is \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener\">now in police custody\u003c/a>, according to LAPD.\u003c/em>\u003c/p>\n\u003cp>West Coast rap star Nipsey Hussle was shot and killed in Los Angeles today outside of his Marathon Clothing Company store. He was 33 years old.\u003c/p>\n\u003cp>The perpetrator and motive of the shooting are unknown. Two other people were shot and are in critical condition, police told \u003ca href=\"https://www.nbcnews.com/news/crime-courts/man-killed-two-others-injured-outside-rapper-nipsey-hussle-s-n989371\" target=\"_blank\" rel=\"noopener\">NBC News\u003c/a>. Hours before his death, Hussle, born Ermias Davidson Asghedom, tweeted “Having strong enemies is a blessing.”\u003c/p>\n\u003cp>https://twitter.com/NipseyHussle/status/1112472675169886208\u003c/p>\n\u003cp>Hussle, who was born and raised in South Los Angeles, was known as a leading voice in West Coast rap. He broke onto the scene with a debut mixtape in 2005, and was nominated for a Grammy in 2018 for his album, V\u003cem>ictory Lap\u003c/em>. \u003cspan style=\"font-weight: 400\"> [aside postID='arts_13854043']\u003c/span>\u003c/p>\n\u003cp>Hussle was an entrepreneur and community activist driven by a mission to invest in the black community. In 2018, he debuted a coworking space and \u003ca href=\"https://www.latimes.com/entertainment/movies/la-et-ms-nipsey-hussle-vector-90-victory-lap-20180228-story.html\" target=\"_blank\" rel=\"noopener\">learning center\u003c/a> called Vector90 with the goal of giving inner-city youth the tools to pursue careers in science and tech. In the same shopping plaza as his Marathon Clothing Company store, he opened an eatery, Slauson Fish Market, to give local residents healthier food options. Hussle’s death came a day before \u003ca href=\"https://pagesix.com/2019/04/01/nipsey-hussle-killed-one-day-before-anti-gang-meeting-with-lapd/\" target=\"_blank\" rel=\"noopener\">a scheduled meeting\u003c/a> with the Los Angeles Police Department to advise them on curbing violence.\u003c/p>\n\u003cp>Hussle leaves behind two children and girlfriend Lauren London.\u003c/p>\n\u003cp>https://twitter.com/rihanna/status/1112517003053621249\u003c/p>\n\u003cp>https://twitter.com/TheThizzler/status/1112516808718733312\u003c/p>\n\u003cp>https://twitter.com/Kehlani/status/1112512180115501056\u003c/p>\n\u003cp>https://twitter.com/kamaiyah/status/1112515562611970048\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>This week, KQED’s local \u003cem>Morning Edition\u003c/em> host Brian Watt set up shop in the Silicon Valley bureau in San Jose. He made sure to check out the best the region has to offer: \u003ca href=\"https://www.kqed.org/news/11736402/inside-san-joses-shark-tank-the-sounds-of-playoff-fever\" target=\"_blank\" rel=\"noopener\">ice hockey\u003c/a> at the SAP Center, dirigible development at Moffett Field (a coming Bay Curious story from yours truly), and of course, baritone \u003ca href=\"https://trevornealbaritone.com\" target=\"_blank\" rel=\"noopener\">Trevor Neal\u003c/a> of \u003ca href=\"https://www.operasj.org\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13806981,arts_13805009,arts_13842695' label='Related Coverage']For prep work ahead of the interview, “I called my aunt who sings opera,” Watt says of Fleur Paysour, a contralto who these days, works as a spokeswoman for the \u003ca href=\"https://nmaahc.si.edu\" target=\"_blank\" rel=\"noopener\">National Museum of African American History and Culture\u003c/a>. “She definitely wanted me to ask [Neal] about performances he had to really work up to. And how he manages his voice on days when it isn’t cooperating.”\u003c/p>\n\u003cp>Neal said, “You can only do the best that you can do that day. And my mom always instilled in me, you have to believe in yourself first.”\u003c/p>\n\u003cp>Paysour also asked Watt to ask Neal about what it’s like to be a top flight African-American opera singer. Neal, as it happens, created a Facebook \u003ca href=\"https://www.facebook.com/groups/244681085882660/\" target=\"_blank\" rel=\"noopener\">group\u003c/a>, where black opera performers can let loose and discuss their experiences in a safe space. Current topics include role discrimination and the lack of people of color in administrative positions in the arts.\u003c/p>\n\u003cp>Watt says it was refreshing to talk to a master of his craft who is nonetheless extremely down to earth. “He’s obviously a big singer, but he is a very regular fellow.”\u003c/p>\n\u003cfigure id=\"attachment_13853946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg\" alt=\"KQED's Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our job is to tell a story,” said Neal. “It’s important for us to show we’re not this upper crust elite. We are accessible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for that voice? Watt says the sensation of listening is something akin to “being in a wind tunnel.”\u003c/p>\n\u003cp>Neal’s contract with Opera San Jose as a member of the resident company is rolling to a close. His last role before leaving is the American consul Sharpless in \u003ca href=\"https://www.operasj.org/tickets/madama-butterfly/\" target=\"_blank\" rel=\"noopener\">\u003cem>Madama Butterly\u003c/em>\u003c/a>. “Of course, you have to come see the show!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Madama Butterfly\u003c/strong> runs through April 13-28, 2019 at Opera San Jose. For more information, click \u003ca href=\"https://www.operasj.org/tickets/madama-butterfly/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For prep work ahead of the interview, “I called my aunt who sings opera,” Watt says of Fleur Paysour, a contralto who these days, works as a spokeswoman for the \u003ca href=\"https://nmaahc.si.edu\" target=\"_blank\" rel=\"noopener\">National Museum of African American History and Culture\u003c/a>. “She definitely wanted me to ask [Neal] about performances he had to really work up to. And how he manages his voice on days when it isn’t cooperating.”\u003c/p>\n\u003cp>Neal said, “You can only do the best that you can do that day. And my mom always instilled in me, you have to believe in yourself first.”\u003c/p>\n\u003cp>Paysour also asked Watt to ask Neal about what it’s like to be a top flight African-American opera singer. Neal, as it happens, created a Facebook \u003ca href=\"https://www.facebook.com/groups/244681085882660/\" target=\"_blank\" rel=\"noopener\">group\u003c/a>, where black opera performers can let loose and discuss their experiences in a safe space. Current topics include role discrimination and the lack of people of color in administrative positions in the arts.\u003c/p>\n\u003cp>Watt says it was refreshing to talk to a master of his craft who is nonetheless extremely down to earth. “He’s obviously a big singer, but he is a very regular fellow.”\u003c/p>\n\u003cfigure id=\"attachment_13853946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg\" alt=\"KQED's Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RS26151_20170801_Opera_jt_140-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Rachael Myrow first discovered Trevor Neal when he performed Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Our job is to tell a story,” said Neal. “It’s important for us to show we’re not this upper crust elite. We are accessible.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"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.",
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"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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"order": 9
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"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": {
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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"
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"how-i-built-this": {
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"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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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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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/",
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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"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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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"meta": {
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"source": "WaitWhat"
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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"
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"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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},
"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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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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