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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Jessie bailed me out I’m not about to let them ruin my day we’re driving to NYC to fly out of there,” \u003ca href=\"https://twitter.com/kamaiyah/status/994949733440421888\" target=\"_blank\" rel=\"noopener\">she tweeted\u003c/a>.\u003c/p>\n\u003cp>The incident comes just weeks after \u003cem>Cosmopolitan\u003c/em> magazine ran a feature on how TSA agents continue to search the \u003ca href=\"https://www.cosmopolitan.com/lifestyle/a18666534/tsa-black-women-hair-searches/\" target=\"_blank\" rel=\"noopener\">hair of African-American women\u003c/a>, despite the agency’s promises to stop the practice in 2015. The agreement came about after the American Civil Liberties Union (ACLU) of Northern California filed a report showing that the TSA unfairly targeted African-American women for pat-downs because of their hairstyles.\u003c/p>\n\u003cp>Wraps and covers are often used by black women to preserve their hairstyles, which can be \u003ca href=\"https://thoughtcatalog.com/kovie-biakolo/2014/09/8-awkward-questions-youve-always-wanted-to-ask-about-black-womens-hair-with-answers/\" target=\"_blank\" rel=\"noopener\">expensive and time-consuming to maintain\u003c/a>.\u003c/p>\n\u003cp>Johnson came into fame in 2015 thanks to her hit single, “How Does It Feel,” which was ranked as one of the year’s best songs by \u003ci>Pitchfork\u003c/i> and NPR. She performs this Sunday at the \u003ca href=\"https://blurryvisionfest.com/\" target=\"_blank\" rel=\"noopener\">Blurry Vision Festival\u003c/a> in Oakland.\u003c/p>\n\u003cp>She’s also required to appear in court on June 6.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dzY6doznXQM'\n title='//www.youtube.com/embed/dzY6doznXQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Tidal Accused of Faking Hundreds of Millions of Plays for Kanye West and Beyoncé",
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"content": "\u003cp>Beyoncé’s \u003cem>Lemonade \u003c/em>and Kanye West’s \u003cem>The Life of Pablo\u003c/em> were always bound to be overwhelmingly successful albums — returns after relatively long absences from two of the world’s most well-known artists. But Tidal, the streaming service \u003ca href=\"https://www.hollywoodreporter.com/news/jay-z-gets-streaming-56-768546\">purchased by Jay-Z\u003c/a> in January 2015 and introduced to the public just two months later in \u003ca href=\"https://www.billboard.com/articles/news/6509498/jay-z-tidal-launch-artist-stakeholders\" target=\"_blank\" rel=\"noopener\">a celebrity-stacked event\u003c/a>, has been accused of artificially inflating the play counts of both, according to a lengthy investigation by the Norwegian newspaper \u003cem>Dagens Nærengsliv\u003c/em>. Both artists \u003ca href=\"http://tidal.com/soc\" target=\"_blank\" rel=\"noopener\">are “artist-owners”\u003c/a> of the company.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.dn.no/staticprojects/special/2018/05/09/0600/dokumentar/strommekuppet/?_\" target=\"_blank\" rel=\"noopener\">its piece\u003c/a>, \u003cem>Dagens Nærengsliv\u003c/em> says it was surreptitiously given a hard drive containing internal company play data, billions of lines of it, spread across dozens of files, ostensibly covering 65 days of streaming on the platform. The data is said to have covered streams between two periods: Jan. 21 through Mar. 3, 2016, and Apr. 18 through May 9, 2018.\u003c/p>\n\u003cp>The paper found evidence of certain users having streamed the two albums a surprising amount — 15 plays of \u003cem>Lemonade\u003c/em>, in full, in one one day, by one person. The paper interviewed that person, a 34-year-old Washington, D.C., law student, to ask if she could verify that the plays were hers. “I love Beyoncé — but 11 hours? No,” she told \u003cem>Dagens Nærengsliv\u003c/em>.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/7317826/tidal-three-million-global-subscribers-kanye-west-pablo-streams\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> by Tidal last year claimed \u003cem>The Life of Pablo\u003c/em> was streamed 250 million times in the first 10 days it was available. It also claimed last year to have 3 million subscribers, meaning each user played the record 83 times. Before those numbers were released, West was said to have requested his streaming numbers from the platform be withheld. A different \u003ca href=\"https://www.dn.no/staticprojects/special/2017/01/20/1100/musikk/project-panther/\" target=\"_blank\" rel=\"noopener\">investigative piece\u003c/a> published by the paper last year also accused Tidal of inflating its subscriber numbers in public statements.\u003c/p>\n\u003cp>In total, it accuses Tidal of fabricating 320 million “false” streams. Because of the way streaming revenues are distributed, the effect of drastically inflating two albums’ listen counts is to apportion more revenue toward those albums and away from others, in what’s called a “pro rata” (in proportion) distribution system. This means smaller artists are, in a way, pitted against the most successful artists in the world for pieces of a finite pie — and the large artists, for the most part, receive a disproportionate cut of the revenue. (For a more detailed explanation, several Finnish music organizations conducted \u003ca href=\"https://www.fim-musicians.org/wp-content/uploads/prorata-vs-user-centric-models-study-2018.pdf\" target=\"_blank\" rel=\"noopener\">a study\u003c/a> of the model used.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of this means that if the data were manipulated — whether Tidal itself or the intermediary who gave it to them — wanted Beyoncé and Kanye to actually receive, or appear to receive, an outsized portion of the service’s revenues. Despite that, Tidal \u003ca href=\"http://tidal.com/soc/\">says\u003c/a> it provides “the highest compensation to artists and are consistent in our approach regardless of whether an artist is on a major label or independent.”\u003c/p>\n\u003cp>The stakes are higher than ever, now that streaming is the dominant source of revenue for the recording industry.\u003c/p>\n\u003cp>Sony Music and Universal Music Group, which either released or distributed the albums, declined requests for comment on the report. Tidal issued a strongly worded statement on the situation:\u003c/p>\n\u003cblockquote>\n\u003cp>This is a smear campaign from a publication that once referred to our employee as an “Israeli Intelligence officer” and our owner as a “crack dealer.”\u003c/p>\n\u003c/blockquote>\n\u003cblockquote>\n\u003cp>We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.\u003c/p>\n\u003c/blockquote>\n\u003cp>A request for \u003cem>Dagens Nærengsliv\u003c/em>‘s response to Tidal’s accusations was not returned.\u003c/p>\n\u003cp>The paper also gave the data, after anonymizing it, to the Norwegian University of Science and Technology to look for anomalous behavior by Tidal’s users. Its \u003ca href=\"https://cdn.mbw.44bytes.net/files/2018/05/NTNU_DigitalForensicsReport_DN_Final_Version.pdf\" target=\"_blank\" rel=\"noopener\">report\u003c/a> says that, after analyzing the data in nine separate ways for strange, non-human listening patterns, “there has in fact been a manipulation of the data at particular times. The manipulation appears targeted towards a very specific set of track IDs, related to two distinct albums.” The school’s investigators found that the data was manipulated in a way that is “hard to detect.” It found that over 90 percent of the platform’s users were affected by the manipulation.\u003c/p>\n\u003cp>In an email to NPR, NTNU maintained the data had been manipulated, but “cannot, based on the data provided to us, determine the source of the manipulation.”\u003c/p>\n\u003cp>“It speaks to the broader industry-wide issue with streaming — when it’s dependent on data, its vulnerable to fraud or accusations of fraud,” Kevin Erickson, a director of artist advocacy group the Future of Music Coalition, tells NPR. “When we’re shifting towards an economy where the allocation of revenue is dependent on the quality of the data, this incredible volume of data, at the same time that individualized data is a commodity — listener data for advertising, for example — it incentivizes bad behavior.”\u003c/p>\n\u003cp>Examples of people manipulating the opaque, and often misunderstood economy of music streaming aren’t hard to find. This year, a group of clever Bulgarians \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">reportedly\u003c/a> made hundreds of thousands of dollars through a byzantine, and technically legal, manipulation of Spotify’s payout system. (That scam reignited a \u003ca href=\"http://musically.com/2018/02/22/mmf-calls-new-user-centric-licensing-debate-spotify-bulgarian-scam/\" target=\"_blank\" rel=\"noopener\">debate\u003c/a> around the structure of these systems.) It’s been common knowledge \u003ca href=\"https://www.billboard.com/articles/business/6670475/playola-promotion-streaming-services\" target=\"_blank\" rel=\"noopener\">for years\u003c/a> that artists or labels can purchase slots on playlists — another technically legal practice — in what’s referred to as “playola,” a reference to the practice of music promoters paying radio DJs to spin singles (which \u003cem>is\u003c/em> illegal).\u003c/p>\n\u003cp>“We support full transparency to better educate consumers and stakeholders, and encourage all music industry stakeholders to embrace open communication about the cost of their services,” Tidal’s mission statement \u003ca href=\"http://tidal.com/soc/\" target=\"_blank\" rel=\"noopener\">reads\u003c/a>, in part.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Transparency can help with all of this,” Kevin Erickson says. “We need a baseline transparency to understand what’s going on, but what we really need is regulatory oversight.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tidal+Accused+Of+Faking+Hundreds+Of+Millions+Of+Plays+For+Kanye+West+And+Beyonc%C3%A9&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé’s \u003cem>Lemonade \u003c/em>and Kanye West’s \u003cem>The Life of Pablo\u003c/em> were always bound to be overwhelmingly successful albums — returns after relatively long absences from two of the world’s most well-known artists. But Tidal, the streaming service \u003ca href=\"https://www.hollywoodreporter.com/news/jay-z-gets-streaming-56-768546\">purchased by Jay-Z\u003c/a> in January 2015 and introduced to the public just two months later in \u003ca href=\"https://www.billboard.com/articles/news/6509498/jay-z-tidal-launch-artist-stakeholders\" target=\"_blank\" rel=\"noopener\">a celebrity-stacked event\u003c/a>, has been accused of artificially inflating the play counts of both, according to a lengthy investigation by the Norwegian newspaper \u003cem>Dagens Nærengsliv\u003c/em>. Both artists \u003ca href=\"http://tidal.com/soc\" target=\"_blank\" rel=\"noopener\">are “artist-owners”\u003c/a> of the company.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.dn.no/staticprojects/special/2018/05/09/0600/dokumentar/strommekuppet/?_\" target=\"_blank\" rel=\"noopener\">its piece\u003c/a>, \u003cem>Dagens Nærengsliv\u003c/em> says it was surreptitiously given a hard drive containing internal company play data, billions of lines of it, spread across dozens of files, ostensibly covering 65 days of streaming on the platform. The data is said to have covered streams between two periods: Jan. 21 through Mar. 3, 2016, and Apr. 18 through May 9, 2018.\u003c/p>\n\u003cp>The paper found evidence of certain users having streamed the two albums a surprising amount — 15 plays of \u003cem>Lemonade\u003c/em>, in full, in one one day, by one person. The paper interviewed that person, a 34-year-old Washington, D.C., law student, to ask if she could verify that the plays were hers. “I love Beyoncé — but 11 hours? No,” she told \u003cem>Dagens Nærengsliv\u003c/em>.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/7317826/tidal-three-million-global-subscribers-kanye-west-pablo-streams\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> by Tidal last year claimed \u003cem>The Life of Pablo\u003c/em> was streamed 250 million times in the first 10 days it was available. It also claimed last year to have 3 million subscribers, meaning each user played the record 83 times. Before those numbers were released, West was said to have requested his streaming numbers from the platform be withheld. A different \u003ca href=\"https://www.dn.no/staticprojects/special/2017/01/20/1100/musikk/project-panther/\" target=\"_blank\" rel=\"noopener\">investigative piece\u003c/a> published by the paper last year also accused Tidal of inflating its subscriber numbers in public statements.\u003c/p>\n\u003cp>In total, it accuses Tidal of fabricating 320 million “false” streams. Because of the way streaming revenues are distributed, the effect of drastically inflating two albums’ listen counts is to apportion more revenue toward those albums and away from others, in what’s called a “pro rata” (in proportion) distribution system. This means smaller artists are, in a way, pitted against the most successful artists in the world for pieces of a finite pie — and the large artists, for the most part, receive a disproportionate cut of the revenue. (For a more detailed explanation, several Finnish music organizations conducted \u003ca href=\"https://www.fim-musicians.org/wp-content/uploads/prorata-vs-user-centric-models-study-2018.pdf\" target=\"_blank\" rel=\"noopener\">a study\u003c/a> of the model used.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of this means that if the data were manipulated — whether Tidal itself or the intermediary who gave it to them — wanted Beyoncé and Kanye to actually receive, or appear to receive, an outsized portion of the service’s revenues. Despite that, Tidal \u003ca href=\"http://tidal.com/soc/\">says\u003c/a> it provides “the highest compensation to artists and are consistent in our approach regardless of whether an artist is on a major label or independent.”\u003c/p>\n\u003cp>The stakes are higher than ever, now that streaming is the dominant source of revenue for the recording industry.\u003c/p>\n\u003cp>Sony Music and Universal Music Group, which either released or distributed the albums, declined requests for comment on the report. Tidal issued a strongly worded statement on the situation:\u003c/p>\n\u003cblockquote>\n\u003cp>This is a smear campaign from a publication that once referred to our employee as an “Israeli Intelligence officer” and our owner as a “crack dealer.”\u003c/p>\n\u003c/blockquote>\n\u003cblockquote>\n\u003cp>We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.\u003c/p>\n\u003c/blockquote>\n\u003cp>A request for \u003cem>Dagens Nærengsliv\u003c/em>‘s response to Tidal’s accusations was not returned.\u003c/p>\n\u003cp>The paper also gave the data, after anonymizing it, to the Norwegian University of Science and Technology to look for anomalous behavior by Tidal’s users. Its \u003ca href=\"https://cdn.mbw.44bytes.net/files/2018/05/NTNU_DigitalForensicsReport_DN_Final_Version.pdf\" target=\"_blank\" rel=\"noopener\">report\u003c/a> says that, after analyzing the data in nine separate ways for strange, non-human listening patterns, “there has in fact been a manipulation of the data at particular times. The manipulation appears targeted towards a very specific set of track IDs, related to two distinct albums.” The school’s investigators found that the data was manipulated in a way that is “hard to detect.” It found that over 90 percent of the platform’s users were affected by the manipulation.\u003c/p>\n\u003cp>In an email to NPR, NTNU maintained the data had been manipulated, but “cannot, based on the data provided to us, determine the source of the manipulation.”\u003c/p>\n\u003cp>“It speaks to the broader industry-wide issue with streaming — when it’s dependent on data, its vulnerable to fraud or accusations of fraud,” Kevin Erickson, a director of artist advocacy group the Future of Music Coalition, tells NPR. “When we’re shifting towards an economy where the allocation of revenue is dependent on the quality of the data, this incredible volume of data, at the same time that individualized data is a commodity — listener data for advertising, for example — it incentivizes bad behavior.”\u003c/p>\n\u003cp>Examples of people manipulating the opaque, and often misunderstood economy of music streaming aren’t hard to find. This year, a group of clever Bulgarians \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">reportedly\u003c/a> made hundreds of thousands of dollars through a byzantine, and technically legal, manipulation of Spotify’s payout system. (That scam reignited a \u003ca href=\"http://musically.com/2018/02/22/mmf-calls-new-user-centric-licensing-debate-spotify-bulgarian-scam/\" target=\"_blank\" rel=\"noopener\">debate\u003c/a> around the structure of these systems.) It’s been common knowledge \u003ca href=\"https://www.billboard.com/articles/business/6670475/playola-promotion-streaming-services\" target=\"_blank\" rel=\"noopener\">for years\u003c/a> that artists or labels can purchase slots on playlists — another technically legal practice — in what’s referred to as “playola,” a reference to the practice of music promoters paying radio DJs to spin singles (which \u003cem>is\u003c/em> illegal).\u003c/p>\n\u003cp>“We support full transparency to better educate consumers and stakeholders, and encourage all music industry stakeholders to embrace open communication about the cost of their services,” Tidal’s mission statement \u003ca href=\"http://tidal.com/soc/\" target=\"_blank\" rel=\"noopener\">reads\u003c/a>, in part.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Transparency can help with all of this,” Kevin Erickson says. “We need a baseline transparency to understand what’s going on, but what we really need is regulatory oversight.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tidal+Accused+Of+Faking+Hundreds+Of+Millions+Of+Plays+For+Kanye+West+And+Beyonc%C3%A9&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Starting With R. Kelly, Spotify Pulls Artists From Playlists For 'Hateful Conduct'",
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"content": "\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Nine Inch Nails' In-Person Ticket Policy is Beautiful",
"headTitle": "Nine Inch Nails’ In-Person Ticket Policy is Beautiful | KQED",
"content": "\u003cp>Nine Inch Nails has announced a U.S. tour, with tickets available Saturday, May 19 — and buyers can only buy tickets \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">in person, at the box office\u003c/a>. \u003c/p>\n\u003cp>I repeat: In person. At the box office. In 2018.\u003c/p>\n\u003cp>This is a beautiful thing.\u003c/p>\n\u003cp>Everyone knows that buying tickets for shows these days is a demonizing experience. You stare at your laptop’s clock that says “9:59 AM,” you hit refresh on your browser right at 10am, you scramble to fill out a byzantine obstacle course of captchas and pull-down menus and verifiers, and then, you get booted off the server, or your tickets — with a 40% markup of “convenience” fees and “facility” fees — become suddenly “no longer available,” or, since 750,000 scalpers and bots are trying to buy tickets the same time as you, they never even come up as available in the first place. \u003c/p>\n\u003cp>You go to Stubhub, where there’s 300 tickets for the show that just went on sale three minutes ago, and they’re all priced four or five times higher than face value. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is unquestionably a broken system, and no one seems to be willing to do anything about it. Enter Trent Reznor, who clearly looked at a simpler, more equitable, more social way of selling tickets from the \u003cem>Pretty Hate Machine\u003c/em> era of the early 1990s, and said, “Huh. That was better. Let’s try it.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nine Inch Nails play the Bill Graham Civic Center in San Francisco on Dec. 3\u003c/a>. That’s also where, on May 19, you’ll find a line of people wrapped around the block, talking with each other and enjoying the morning and not paying through the nose to a giant corporate-mergered behemoth.\u003c/p>\n\u003cp>Read Nine Inch Nails’ statement about their \u003ca href=\"http://www.nin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">ticket policy\u003c/a> below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg\" alt=\"\" width=\"750\" height=\"1129\" class=\"aligncenter size-full wp-image-13831860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-520x783.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nine Inch Nails has announced a U.S. tour, with tickets available Saturday, May 19 — and buyers can only buy tickets \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">in person, at the box office\u003c/a>. \u003c/p>\n\u003cp>I repeat: In person. At the box office. In 2018.\u003c/p>\n\u003cp>This is a beautiful thing.\u003c/p>\n\u003cp>Everyone knows that buying tickets for shows these days is a demonizing experience. You stare at your laptop’s clock that says “9:59 AM,” you hit refresh on your browser right at 10am, you scramble to fill out a byzantine obstacle course of captchas and pull-down menus and verifiers, and then, you get booted off the server, or your tickets — with a 40% markup of “convenience” fees and “facility” fees — become suddenly “no longer available,” or, since 750,000 scalpers and bots are trying to buy tickets the same time as you, they never even come up as available in the first place. \u003c/p>\n\u003cp>You go to Stubhub, where there’s 300 tickets for the show that just went on sale three minutes ago, and they’re all priced four or five times higher than face value. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is unquestionably a broken system, and no one seems to be willing to do anything about it. Enter Trent Reznor, who clearly looked at a simpler, more equitable, more social way of selling tickets from the \u003cem>Pretty Hate Machine\u003c/em> era of the early 1990s, and said, “Huh. That was better. Let’s try it.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nine Inch Nails play the Bill Graham Civic Center in San Francisco on Dec. 3\u003c/a>. That’s also where, on May 19, you’ll find a line of people wrapped around the block, talking with each other and enjoying the morning and not paying through the nose to a giant corporate-mergered behemoth.\u003c/p>\n\u003cp>Read Nine Inch Nails’ statement about their \u003ca href=\"http://www.nin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">ticket policy\u003c/a> below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg\" alt=\"\" width=\"750\" height=\"1129\" class=\"aligncenter size-full wp-image-13831860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/NINTicketsWeb-520x783.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Christina Aguilera at the Paramount Theater, Oakland",
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"content": "\u003cp>Christina Aguilera will forever be cemented in history for her epic vocal runs on “Lady Marmalade,” and for wearing some of the \u003ca href=\"https://www.cosmopolitan.com/style-beauty/fashion/news/a63216/i-tried-christina-aguileras-best-looks/\" target=\"_blank\" rel=\"noopener\">lowest pants of the early 2000s\u003c/a>. And though she hasn’t appeared on the charts since 2013’s piano ballad “Say Something,” she’s currently plotting a comeback: she recently released her Kanye West-produced single “Accelerate” featuring 2 Chainz and Ty Dolla $ign, gearing up for her new album, \u003cem>Liberation\u003c/em>, due out June 15.\u003c/p>\n\u003cp>On Wednesday, Aguilera announced her first major tour in over a decade. It comes to Oakland’s Paramount Theatre on Oct. 22, and as usual, buying tickets is a labyrinth of promotions, presale codes, and tie-ins. Here’s what you need to know.\u003c/p>\n\u003cp>Tickets go on sale to the general public on May 18, but there’s a presale for American Express cardholders on May 14. There’s also an artist presale and a Spotify presale on May 16 (for the artist one, we suggest joining her \u003ca href=\"https://www.christinaaguilera.com/\" target=\"_blank\" rel=\"noopener\">mailing list\u003c/a>; for Spotify, make sure to follow her on the streaming service). May 17 is the Live Nation presale (the codes are \u003ca href=\"https://zumic.com/events/christina-aguilera-paramount-theatre-oakland-oakland-oct-22-2018\" target=\"_blank\" rel=\"noopener\">rumored\u003c/a> to be COVERT for the mobile app and PLAYLIST for web), as well as Ticketmaster and Paramount Theatre (check back on the venue’s \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" target=\"_blank\" rel=\"noopener\">website\u003c/a> for codes for the latter).\u003c/p>\n\u003cp>https://youtu.be/DSRSgMp5X1w\u003c/p>\n\u003cp>As far as what to expect from the Liberation Tour: Aguilera seems to be going in a few different directions. On one hand, her recent \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-5546657/Christina-Aguilera-unrecognizable-no-makeup-on.html\" target=\"_blank\" rel=\"noopener\">makeup-free looks\u003c/a> suggest a more stripped-down, introspective approach. But her video for “Accelerate,” which sounds like it could have been written for Iggy Azalea, is anything but subtle, with Aguilera licking a glittery, viscous substance (cringe) as the camera zooms in on her tape-covered nipples.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The trap-pop track has all signs of trying too hard (why is Aguilera singing with a Migos flow?), but we’ll have to wait ’til the May 20 Billboard Music Awards, where she’ll debut her next single with Demi Lovato, to glean more clues about \u003cem>Liberation\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christina Aguilera will forever be cemented in history for her epic vocal runs on “Lady Marmalade,” and for wearing some of the \u003ca href=\"https://www.cosmopolitan.com/style-beauty/fashion/news/a63216/i-tried-christina-aguileras-best-looks/\" target=\"_blank\" rel=\"noopener\">lowest pants of the early 2000s\u003c/a>. And though she hasn’t appeared on the charts since 2013’s piano ballad “Say Something,” she’s currently plotting a comeback: she recently released her Kanye West-produced single “Accelerate” featuring 2 Chainz and Ty Dolla $ign, gearing up for her new album, \u003cem>Liberation\u003c/em>, due out June 15.\u003c/p>\n\u003cp>On Wednesday, Aguilera announced her first major tour in over a decade. It comes to Oakland’s Paramount Theatre on Oct. 22, and as usual, buying tickets is a labyrinth of promotions, presale codes, and tie-ins. Here’s what you need to know.\u003c/p>\n\u003cp>Tickets go on sale to the general public on May 18, but there’s a presale for American Express cardholders on May 14. There’s also an artist presale and a Spotify presale on May 16 (for the artist one, we suggest joining her \u003ca href=\"https://www.christinaaguilera.com/\" target=\"_blank\" rel=\"noopener\">mailing list\u003c/a>; for Spotify, make sure to follow her on the streaming service). May 17 is the Live Nation presale (the codes are \u003ca href=\"https://zumic.com/events/christina-aguilera-paramount-theatre-oakland-oakland-oct-22-2018\" target=\"_blank\" rel=\"noopener\">rumored\u003c/a> to be COVERT for the mobile app and PLAYLIST for web), as well as Ticketmaster and Paramount Theatre (check back on the venue’s \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" target=\"_blank\" rel=\"noopener\">website\u003c/a> for codes for the latter).\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/DSRSgMp5X1w'\n title='//www.youtube.com/embed/DSRSgMp5X1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As far as what to expect from the Liberation Tour: Aguilera seems to be going in a few different directions. On one hand, her recent \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-5546657/Christina-Aguilera-unrecognizable-no-makeup-on.html\" target=\"_blank\" rel=\"noopener\">makeup-free looks\u003c/a> suggest a more stripped-down, introspective approach. But her video for “Accelerate,” which sounds like it could have been written for Iggy Azalea, is anything but subtle, with Aguilera licking a glittery, viscous substance (cringe) as the camera zooms in on her tape-covered nipples.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On the Air: Cy, Gabe, and A-lan's Do List Picks for May 11, 2018",
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"content": "\u003cp>I’m joined by two of my favorite co-hosts for this episode of The Do List: KQED Arts’ senior editor Gabe Meline, and Stanford Institute for Diversity in the Arts’ co-chair A-lan Holt. And the biggest reason was so they could hold my hand as I said goodbye to KQED and our listeners.\u003c/p>\n\u003cp>I’m leaving KQED and The Do List for the life of a country bumpkin, in the Sierra Foothills. Emphasis on the bumpkin.\u003c/p>\n\u003cp>It’s been the greatest joy of my life to work here at KQED, and to serve the people, as our late news director Raul Ramirez used to say.\u003c/p>\n\u003cp>The Do List is almost 10 years old, and it’s in good hands with Gabe Meline as our new host, and our new producer, Ashleyanne Krigbaum. They’ll bring fresh energy and voices to the show, while staying true to our mission of helping you, the listener, find great shows and good cheer. We share a love of discovering new talent, and performances that help us understand the world better; that help us be more empathetic; that make us better human beings.\u003c/p>\n\u003cp>Please keep listening and reading. Now here’s our show for this week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 25-May 20: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831746\" target=\"_blank\" rel=\"noopener\">A Suzan-Lori Parks play at the American Conservatory Theater confronts the desperate choices of a slave during the Civil War\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 18:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/topdog/\" target=\"_blank\" rel=\"noopener\">The nomadic Ubuntu Theater presents Suzan-Lori Parks’ Pulitzer Prize-winning \u003cem>Topdog/Underdog\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831765/a-wild-mix-of-movement-in-odcs-walking-distance-dance-festival\" rel=\"noopener\" target=\"_blank\">ODC’s Walking Distance Dance Festival offers an antidote to blandness\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 17 and 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831791/ghost-ensemble-and-the-deep-listening-of-pauline-oliveros\" rel=\"noopener\" target=\"_blank\">Ghost Ensemble makes music for deep, deep listening\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 10-12:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831796/singer-jose-james-channels-bill-withers-on-his-latest-tour\" rel=\"noopener\" target=\"_blank\">José James performs a tribute to the music of the great Bill Withers\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15:\u003c/strong> \u003ca href=\"https://www.cartoonart.org/event/toon-talk-keith-knight-homecoming/\" target=\"_blank\" rel=\"noopener\">Cartoonist Keith Knight delivers a “Toon Talk” at the Cartoon Art Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 13:\u003c/strong> \u003ca href=\"https://www.theindependentsf.com/event/1611925-ezra-furman-san-francisco/\" target=\"_blank\" rel=\"noopener\">On Mother’s Day, Ezra Furman at the Independent in San Francisco, a great songwriter and energetic performer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>May 17:\u003c/strong> \u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">A Conversation about thethe arts and social justice at Stanford’s Cubberley Auditorium with Linda Sarsour\u003c/a>, \u003c/span>\u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Patrisse Cullors\u003c/span>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">Favianna Rodriguez\u003c/span>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cspan style=\"font-weight: 400\">Raquel De Anda\u003c/span>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13831740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg\" alt=\"Stanford's A-lan Holt and KQED's Gabe Meline join Cy Musiker for his final episode as host of The Do List.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13831740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stanford’s A-lan Holt and KQED’s Gabe Meline join Cy Musiker for his final episode as host of The Do List. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m joined by two of my favorite co-hosts for this episode of The Do List: KQED Arts’ senior editor Gabe Meline, and Stanford Institute for Diversity in the Arts’ co-chair A-lan Holt. And the biggest reason was so they could hold my hand as I said goodbye to KQED and our listeners.\u003c/p>\n\u003cp>I’m leaving KQED and The Do List for the life of a country bumpkin, in the Sierra Foothills. Emphasis on the bumpkin.\u003c/p>\n\u003cp>It’s been the greatest joy of my life to work here at KQED, and to serve the people, as our late news director Raul Ramirez used to say.\u003c/p>\n\u003cp>The Do List is almost 10 years old, and it’s in good hands with Gabe Meline as our new host, and our new producer, Ashleyanne Krigbaum. They’ll bring fresh energy and voices to the show, while staying true to our mission of helping you, the listener, find great shows and good cheer. We share a love of discovering new talent, and performances that help us understand the world better; that help us be more empathetic; that make us better human beings.\u003c/p>\n\u003cp>Please keep listening and reading. Now here’s our show for this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-May 20: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831746\" target=\"_blank\" rel=\"noopener\">A Suzan-Lori Parks play at the American Conservatory Theater confronts the desperate choices of a slave during the Civil War\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 18:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/topdog/\" target=\"_blank\" rel=\"noopener\">The nomadic Ubuntu Theater presents Suzan-Lori Parks’ Pulitzer Prize-winning \u003cem>Topdog/Underdog\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831765/a-wild-mix-of-movement-in-odcs-walking-distance-dance-festival\" rel=\"noopener\" target=\"_blank\">ODC’s Walking Distance Dance Festival offers an antidote to blandness\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 17 and 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831791/ghost-ensemble-and-the-deep-listening-of-pauline-oliveros\" rel=\"noopener\" target=\"_blank\">Ghost Ensemble makes music for deep, deep listening\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 10-12:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831796/singer-jose-james-channels-bill-withers-on-his-latest-tour\" rel=\"noopener\" target=\"_blank\">José James performs a tribute to the music of the great Bill Withers\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15:\u003c/strong> \u003ca href=\"https://www.cartoonart.org/event/toon-talk-keith-knight-homecoming/\" target=\"_blank\" rel=\"noopener\">Cartoonist Keith Knight delivers a “Toon Talk” at the Cartoon Art Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 13:\u003c/strong> \u003ca href=\"https://www.theindependentsf.com/event/1611925-ezra-furman-san-francisco/\" target=\"_blank\" rel=\"noopener\">On Mother’s Day, Ezra Furman at the Independent in San Francisco, a great songwriter and energetic performer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>May 17:\u003c/strong> \u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">A Conversation about thethe arts and social justice at Stanford’s Cubberley Auditorium with Linda Sarsour\u003c/a>, \u003c/span>\u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Patrisse Cullors\u003c/span>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">Favianna Rodriguez\u003c/span>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cspan style=\"font-weight: 400\">Raquel De Anda\u003c/span>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13831740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg\" alt=\"Stanford's A-lan Holt and KQED's Gabe Meline join Cy Musiker for his final episode as host of The Do List.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13831740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stanford’s A-lan Holt and KQED’s Gabe Meline join Cy Musiker for his final episode as host of The Do List. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer José James is hitting the road with a new tour dedicated to the music of Bill Withers, who’s turning 80 years old July 4. James is a terrific jazz and pop singer with a very warm tone which captures the sincerity, deep feeling, and honest sentiment Withers infused into his songs.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=x80tq7lTlc4]\u003c/p>\n\u003cp>José James celebrates the music of Bill Withers in a concert at Kuumbwa Jazz in Santa Cruz May 10 and SFJAZZ on May 11. James also performs twice in one night, May 12, at Cafe Stritch in San Jose; the second performance includes a DJ dance set. \u003ca href=\"http://www.josejamesmusic.com/#/tour\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "How Music Nonprofits Bridge the Budget Gap in Oakland Schools",
"headTitle": "How Music Nonprofits Bridge the Budget Gap in Oakland Schools | KQED",
"content": "\u003cp>On a recent morning at Westlake Middle School in Oakland, longtime band teacher Randy Porter keeps a friendly demeanor while wrangling his students’ attention. “Turn to page 17,” he says, projecting over a cacophony of sixth graders messing with their flutes, clarinets, trumpets and saxophones. “Here’s the thing: with a little bit of focus, you could get \u003cem>every\u003c/em> line sounding that good. I know you could. Or actually, even better!”\u003c/p>\n\u003cp>Porter’s encouragement gets a boost in his next class, for seventh and eighth grade advanced band students, when local trumpet player Christopher Clarke joins him. Clarke is a teaching artist who’s here thanks to San Francisco nonprofit \u003ca href=\"https://www.sfjazz.org/education/schools-and-partnerships/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>‘s program Jazz in Session, which brings professional musicians into classrooms to work one-on-one with students. As Porter leads the class through a 12-bar blues composition, Clarke brings three trumpet players into a glass-paneled practice room for a special session.\u003c/p>\n\u003cfigure id=\"attachment_13831113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg\" alt=\"Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ' Jazz in Session initiative. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ’s Jazz in Session initiative. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Clarke here, the atmosphere changes; the students seem more engaged, and Porter seems relieved. “I feel like the biggest part of my job is psychologist. I gotta teach music, but there’s a lot more,” Porter says when he gets a moment to break away from his class. “More than half of our students come from a traumatic home life.”\u003c/p>\n\u003cp>SFJAZZ has had a presence in San Francisco public schools since 1984, but this year marks its major expansion into Oakland, with the goal of reaching all of the city’s middle schools. Along with fellow San Francisco nonprofit Women’s Audio Mission — which opened an Oakland location for its middle school after-school program this school year — SFJAZZ joins several Oakland music nonprofits, including Oaktown Jazz and Oakland Public Conservatory, in bolstering underfunded music programs in the Oakland Unified School District.\u003c/p>\n\u003ch3>Tackling Music Education from Multiple Fronts\u003c/h3>\n\u003cp>Last fall, SFJAZZ introduced Jazz in Session — where teaching artists like Clarke visit music classrooms — to three Oakland middle Schools: Westlake, Montera and Edna Brewer. In the coming 2018-19 school year, SFJAZZ plans to implement two more education programs in Oakland: one of them, School Day Concerts, will bring musicians like bassist Marcus Shelby and Latin jazz ensemble La Mixta Criolla to perform for assemblies at 15 different schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At two to three more middle schools, SFJAZZ is planning another program, Jazz in the Middle, which integrates a jazz curriculum into existing language arts and social studies classes at schools that don’t have band periods. (SFJAZZ has yet to announce the names of the beneficiary schools of both programs.)\u003c/p>\n\u003cfigure id=\"attachment_13831114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg\" alt=\"Beginning band class at Westlake Middle School.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning band class at Westlake Middle School. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ Director of Education Rebecca Mauleón says she hopes SFJAZZ’s efforts will bolster the arts in the low-income school district, which has about \u003ca href=\"http://www.ofcy.org/assets/Strategic-Plan/Strategic-Plan-2016-2019-Appendix-A-Oakland-Youth-Demographic-Profile.pdf\" target=\"_blank\" rel=\"noopener\">a third of students\u003c/a> living below the poverty line. The primary aim is to contribute to students’ over all academic success, not necessarily to put them on a direct path to professional musicianship.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The arts are necessary skill-building tools that are part of critical thinking, collaborative learning and, in many cases, the types of job opportunities they’ll have in the future that haven’t been invented yet,” Mauleón says.\u003c/span>\u003c/p>\n\u003cp>SFJAZZ’ goal is to bring consistency to OUSD’s music programs at a time when the district faces a major \u003ca href=\"https://www.eastbaytimes.com/2017/12/14/oakland-unified-school-board-approves-9-million-in-mid-year-cuts/\" target=\"_blank\" rel=\"noopener\">budget crisis\u003c/a>. According to the\u003ca href=\"http://www.randstatestats.org/ca/stats/per-pupil-spending-(ca-only).html\" target=\"_blank\" rel=\"noopener\"> latest available data\u003c/a> from the Rand Corporation, Oakland Unified School District (OUSD) spent $13,813 per student during the 2016-17 school year. (In comparison, across the Bay in affluent Palo Alto, the school district spent $17,941 — over $4,000 more — per student.) Moreover, in December 2017, OUSD approved $9 million in mid-year budget cuts, nixing dozens of non-teaching staff positions and reducing budgets for supplies, teacher benefits and other areas.\u003c/p>\n\u003cp>Fillmore Rydeen, the manager of visual and performing arts at OUSD, says OUSD hasn’t laid off any music teachers in years, but admitted that there have been operational cuts to music:\u003cspan style=\"font-weight: 400\"> “Money we’d use to purchase instruments, supplies and things like that; repair equipment,” he says.\u003c/span>\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.kqed.org/news/10897918/parents-and-administrators-in-oakland-battle-over-middle-schools-future\" target=\"_blank\" rel=\"noopener\">several other teachers at Westlake\u003c/a>, Porter maintains that traditional public schools have \u003ca href=\"https://www.eastbaytimes.com/2017/12/08/what-led-to-oakland-unifieds-budget-crisis/\" target=\"_blank\" rel=\"noopener\">taken a major hit\u003c/a> over the past decade as a result of the charter school movement. Charter schools attract high-achieving students from well-off families out of public schools like Westlake, he says, leaving students from low-income families behind.\u003c/p>\n\u003cp>In 2013, Westlake had 747 students. Porter says that number is now closer to 360. Because schools get funding based on average daily attendance, they’ve lost many resources. The principal cancelled Porter’s before-school jazz band period because of low enrollment, for instance, which cut the time he gets with his advanced students in half.\u003c/p>\n\u003cp>“We have this new era of segregation in Oakland schools,” he says.\u003c/p>\n\u003cp>At Westlake, teachers are stretched thin, Porter explains, which is why non-profit programs that send in teaching artists like Clarke can be a huge boon: “There are so many kids that have so many needs in a community like this that to be really successful is not a one-person job.”\u003c/p>\n\u003ch3>Focusing on Under-Resourced Schools\u003c/h3>\n\u003cp>Like SFJAZZ, the San Francisco-based Women’s Audio Mission (WAM) is also seeking to deepen its relationship with Oakland schools. The nonprofit has offered after-school programs on site at Oakland schools for nearly seven years, and it opened its first Oakland facility in the Fruitvale district at the start of the 2017-2018 school year.\u003c/p>\n\u003cp>“We’ve had next-to-no capacity to offer audio engineering course work for our middle school students, so having someone like Women’s Audio Mission is something that’s really critical and fills a variety of different roles in music education,” says Rydeen.\u003c/p>\n\u003cfigure id=\"attachment_13831116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg\" alt=\"Women's Audio Mission interns assist in a podcasting class for middle schoolers at the non-profit's Oakland facility.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission interns assist in a podcasting class for middle school students at the non-profit’s Oakland facility. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As of 2017, the Oakland Unified School District has a\u003ca href=\"https://edsource.org/2017/graduation-and-dropout-rates-look-up-california-districts-and-high-schools/580171\" target=\"_blank\" rel=\"noopener\"> 35 percent dropout rate\u003c/a>, and Terri Winston, founder of Women’s Audio Mission, says that phenomenon is particularly prevalent in East Oakland. She set her sights on Fruitvale in order to reach those under-resourced students.\u003c/p>\n\u003cp>“This location in particular, there’s like eight middle schools that can walk to us,” says Winston. “It was important to us to have a location that the girls could own, that felt like, ‘This is a part of my neighborhood.'”\u003c/p>\n\u003cp>When I sit in on a class called Girls on the Mic on a recent afternoon, over a dozen sixth-grade girls from Urban Promise Academy work on podcasts in GarageBand. Most of them are bilingual English and Spanish speakers, so there’s a lot of Spanglish in the mix. One group of three giggles as they practice the introduction to their gossip podcast, which they’re calling \u003cem>Middle School Chisme. \u003c/em>Another group passionately huddles around their microphones for a podcast on LGBTQ issues. “I don’t know what I am yet,” one student confesses into the mic, “but I think everyone should be themselves!”\u003c/p>\n\u003cp>At Girls on the Mic, kids learn a wide range of skills, including recording, mixing, music production, sound for film, podcasting and live sound. “They kind of get to pick and choose and get exposed to all of these careers,” says Victoria Fajardo, a Girls on the Mic instructor.\u003c/p>\n\u003cp>Fajardo says that as a woman of color, her passion to inspire young girls in Fruitvale is deeply personal: she’s first generation Mexican American and grew up in a similarly working class, predominantly Latino neighborhood in Concord. “It’s really important for me to tell them, ‘If I can do it, you can do it,'” she says.\u003c/p>\n\u003cp>As class wraps up, the girls look invigorated; they’re still giggling from having fun being themselves on the mic. Winston says that experiences like this can help close the achievement gap by motivating students to get excited about learning. Her goal is to reach 3,000 Oakland students a year by 2020.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“They can see how this ties into their current studies,” she says. “And then: ‘Oh, maybe my current studies aren’t that bad if I can use them to make this badass art.'”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent morning at Westlake Middle School in Oakland, longtime band teacher Randy Porter keeps a friendly demeanor while wrangling his students’ attention. “Turn to page 17,” he says, projecting over a cacophony of sixth graders messing with their flutes, clarinets, trumpets and saxophones. “Here’s the thing: with a little bit of focus, you could get \u003cem>every\u003c/em> line sounding that good. I know you could. Or actually, even better!”\u003c/p>\n\u003cp>Porter’s encouragement gets a boost in his next class, for seventh and eighth grade advanced band students, when local trumpet player Christopher Clarke joins him. Clarke is a teaching artist who’s here thanks to San Francisco nonprofit \u003ca href=\"https://www.sfjazz.org/education/schools-and-partnerships/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>‘s program Jazz in Session, which brings professional musicians into classrooms to work one-on-one with students. As Porter leads the class through a 12-bar blues composition, Clarke brings three trumpet players into a glass-paneled practice room for a special session.\u003c/p>\n\u003cfigure id=\"attachment_13831113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg\" alt=\"Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ' Jazz in Session initiative. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ’s Jazz in Session initiative. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Clarke here, the atmosphere changes; the students seem more engaged, and Porter seems relieved. “I feel like the biggest part of my job is psychologist. I gotta teach music, but there’s a lot more,” Porter says when he gets a moment to break away from his class. “More than half of our students come from a traumatic home life.”\u003c/p>\n\u003cp>SFJAZZ has had a presence in San Francisco public schools since 1984, but this year marks its major expansion into Oakland, with the goal of reaching all of the city’s middle schools. Along with fellow San Francisco nonprofit Women’s Audio Mission — which opened an Oakland location for its middle school after-school program this school year — SFJAZZ joins several Oakland music nonprofits, including Oaktown Jazz and Oakland Public Conservatory, in bolstering underfunded music programs in the Oakland Unified School District.\u003c/p>\n\u003ch3>Tackling Music Education from Multiple Fronts\u003c/h3>\n\u003cp>Last fall, SFJAZZ introduced Jazz in Session — where teaching artists like Clarke visit music classrooms — to three Oakland middle Schools: Westlake, Montera and Edna Brewer. In the coming 2018-19 school year, SFJAZZ plans to implement two more education programs in Oakland: one of them, School Day Concerts, will bring musicians like bassist Marcus Shelby and Latin jazz ensemble La Mixta Criolla to perform for assemblies at 15 different schools.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At two to three more middle schools, SFJAZZ is planning another program, Jazz in the Middle, which integrates a jazz curriculum into existing language arts and social studies classes at schools that don’t have band periods. (SFJAZZ has yet to announce the names of the beneficiary schools of both programs.)\u003c/p>\n\u003cfigure id=\"attachment_13831114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg\" alt=\"Beginning band class at Westlake Middle School.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning band class at Westlake Middle School. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ Director of Education Rebecca Mauleón says she hopes SFJAZZ’s efforts will bolster the arts in the low-income school district, which has about \u003ca href=\"http://www.ofcy.org/assets/Strategic-Plan/Strategic-Plan-2016-2019-Appendix-A-Oakland-Youth-Demographic-Profile.pdf\" target=\"_blank\" rel=\"noopener\">a third of students\u003c/a> living below the poverty line. The primary aim is to contribute to students’ over all academic success, not necessarily to put them on a direct path to professional musicianship.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The arts are necessary skill-building tools that are part of critical thinking, collaborative learning and, in many cases, the types of job opportunities they’ll have in the future that haven’t been invented yet,” Mauleón says.\u003c/span>\u003c/p>\n\u003cp>SFJAZZ’ goal is to bring consistency to OUSD’s music programs at a time when the district faces a major \u003ca href=\"https://www.eastbaytimes.com/2017/12/14/oakland-unified-school-board-approves-9-million-in-mid-year-cuts/\" target=\"_blank\" rel=\"noopener\">budget crisis\u003c/a>. According to the\u003ca href=\"http://www.randstatestats.org/ca/stats/per-pupil-spending-(ca-only).html\" target=\"_blank\" rel=\"noopener\"> latest available data\u003c/a> from the Rand Corporation, Oakland Unified School District (OUSD) spent $13,813 per student during the 2016-17 school year. (In comparison, across the Bay in affluent Palo Alto, the school district spent $17,941 — over $4,000 more — per student.) Moreover, in December 2017, OUSD approved $9 million in mid-year budget cuts, nixing dozens of non-teaching staff positions and reducing budgets for supplies, teacher benefits and other areas.\u003c/p>\n\u003cp>Fillmore Rydeen, the manager of visual and performing arts at OUSD, says OUSD hasn’t laid off any music teachers in years, but admitted that there have been operational cuts to music:\u003cspan style=\"font-weight: 400\"> “Money we’d use to purchase instruments, supplies and things like that; repair equipment,” he says.\u003c/span>\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.kqed.org/news/10897918/parents-and-administrators-in-oakland-battle-over-middle-schools-future\" target=\"_blank\" rel=\"noopener\">several other teachers at Westlake\u003c/a>, Porter maintains that traditional public schools have \u003ca href=\"https://www.eastbaytimes.com/2017/12/08/what-led-to-oakland-unifieds-budget-crisis/\" target=\"_blank\" rel=\"noopener\">taken a major hit\u003c/a> over the past decade as a result of the charter school movement. Charter schools attract high-achieving students from well-off families out of public schools like Westlake, he says, leaving students from low-income families behind.\u003c/p>\n\u003cp>In 2013, Westlake had 747 students. Porter says that number is now closer to 360. Because schools get funding based on average daily attendance, they’ve lost many resources. The principal cancelled Porter’s before-school jazz band period because of low enrollment, for instance, which cut the time he gets with his advanced students in half.\u003c/p>\n\u003cp>“We have this new era of segregation in Oakland schools,” he says.\u003c/p>\n\u003cp>At Westlake, teachers are stretched thin, Porter explains, which is why non-profit programs that send in teaching artists like Clarke can be a huge boon: “There are so many kids that have so many needs in a community like this that to be really successful is not a one-person job.”\u003c/p>\n\u003ch3>Focusing on Under-Resourced Schools\u003c/h3>\n\u003cp>Like SFJAZZ, the San Francisco-based Women’s Audio Mission (WAM) is also seeking to deepen its relationship with Oakland schools. The nonprofit has offered after-school programs on site at Oakland schools for nearly seven years, and it opened its first Oakland facility in the Fruitvale district at the start of the 2017-2018 school year.\u003c/p>\n\u003cp>“We’ve had next-to-no capacity to offer audio engineering course work for our middle school students, so having someone like Women’s Audio Mission is something that’s really critical and fills a variety of different roles in music education,” says Rydeen.\u003c/p>\n\u003cfigure id=\"attachment_13831116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg\" alt=\"Women's Audio Mission interns assist in a podcasting class for middle schoolers at the non-profit's Oakland facility.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission interns assist in a podcasting class for middle school students at the non-profit’s Oakland facility. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As of 2017, the Oakland Unified School District has a\u003ca href=\"https://edsource.org/2017/graduation-and-dropout-rates-look-up-california-districts-and-high-schools/580171\" target=\"_blank\" rel=\"noopener\"> 35 percent dropout rate\u003c/a>, and Terri Winston, founder of Women’s Audio Mission, says that phenomenon is particularly prevalent in East Oakland. She set her sights on Fruitvale in order to reach those under-resourced students.\u003c/p>\n\u003cp>“This location in particular, there’s like eight middle schools that can walk to us,” says Winston. “It was important to us to have a location that the girls could own, that felt like, ‘This is a part of my neighborhood.'”\u003c/p>\n\u003cp>When I sit in on a class called Girls on the Mic on a recent afternoon, over a dozen sixth-grade girls from Urban Promise Academy work on podcasts in GarageBand. Most of them are bilingual English and Spanish speakers, so there’s a lot of Spanglish in the mix. One group of three giggles as they practice the introduction to their gossip podcast, which they’re calling \u003cem>Middle School Chisme. \u003c/em>Another group passionately huddles around their microphones for a podcast on LGBTQ issues. “I don’t know what I am yet,” one student confesses into the mic, “but I think everyone should be themselves!”\u003c/p>\n\u003cp>At Girls on the Mic, kids learn a wide range of skills, including recording, mixing, music production, sound for film, podcasting and live sound. “They kind of get to pick and choose and get exposed to all of these careers,” says Victoria Fajardo, a Girls on the Mic instructor.\u003c/p>\n\u003cp>Fajardo says that as a woman of color, her passion to inspire young girls in Fruitvale is deeply personal: she’s first generation Mexican American and grew up in a similarly working class, predominantly Latino neighborhood in Concord. “It’s really important for me to tell them, ‘If I can do it, you can do it,'” she says.\u003c/p>\n\u003cp>As class wraps up, the girls look invigorated; they’re still giggling from having fun being themselves on the mic. Winston says that experiences like this can help close the achievement gap by motivating students to get excited about learning. Her goal is to reach 3,000 Oakland students a year by 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bay Area Solidarity Summer (BASS) is an activist summer camp for progressive South Asian youth, ages 18–23, which teaches political organizing skills with an emphasis on the arts. On May 11, a \u003ca href=\"https://www.facebook.com/events/2009945505937095/\" target=\"_blank\" rel=\"noopener\">benefit show for BASS at Eli’s Mile High Club\u003c/a> in Oakland brings a roster of solid indie and experimental talent hailing from various South Asian diasporas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.wisechildsounds.com/works\" target=\"_blank\" rel=\"noopener\">WiseChild\u003c/a>, a producer of lo-fi hip-hop beats in the vein of Madlib and J.Dilla, tops the bill. He recently collaborated with \u003ca href=\"https://www.theguardian.com/books/booksblog/2017/oct/04/rupi-kaur-instapoets-the-sun-and-her-flowers\" target=\"_blank\" rel=\"noopener\">Rupi Kaur\u003c/a>, the wildly popular millennial poet, to score five of her spoken word pieces on her recent tour. \u003ca href=\"https://kohinoorgasm.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Kohinoorgasm\u003c/a> joins him; prior to relocating to L.A., she made waves in Oakland’s experimental music scene with her charmingly minimalist pop album \u003cem>Titalee\u003c/em>, where she sings in both Hindi and English.\u003c/p>\n\u003cp>https://youtu.be/vuZNAjvhK7Q\u003c/p>\n\u003cp>Richmond singer and rapper \u003ca href=\"https://soundcloud.com/poojapallavi\" target=\"_blank\" rel=\"noopener\">Pallavi\u003c/a> rounds out the bill with her moody electronic R&B, along with Oakland’s \u003ca href=\"https://www.rubymountainmusic.com/\" target=\"_blank\" rel=\"noopener\">Ruby Mountain\u003c/a>, whose electronic pop channels humans’ connections to the cosmos. Expect an eclectic evening of genre-bending music for a good cause.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area Solidarity Summer (BASS) is an activist summer camp for progressive South Asian youth, ages 18–23, which teaches political organizing skills with an emphasis on the arts. On May 11, a \u003ca href=\"https://www.facebook.com/events/2009945505937095/\" target=\"_blank\" rel=\"noopener\">benefit show for BASS at Eli’s Mile High Club\u003c/a> in Oakland brings a roster of solid indie and experimental talent hailing from various South Asian diasporas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.wisechildsounds.com/works\" target=\"_blank\" rel=\"noopener\">WiseChild\u003c/a>, a producer of lo-fi hip-hop beats in the vein of Madlib and J.Dilla, tops the bill. He recently collaborated with \u003ca href=\"https://www.theguardian.com/books/booksblog/2017/oct/04/rupi-kaur-instapoets-the-sun-and-her-flowers\" target=\"_blank\" rel=\"noopener\">Rupi Kaur\u003c/a>, the wildly popular millennial poet, to score five of her spoken word pieces on her recent tour. \u003ca href=\"https://kohinoorgasm.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Kohinoorgasm\u003c/a> joins him; prior to relocating to L.A., she made waves in Oakland’s experimental music scene with her charmingly minimalist pop album \u003cem>Titalee\u003c/em>, where she sings in both Hindi and English.\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/vuZNAjvhK7Q'\n title='//www.youtube.com/embed/vuZNAjvhK7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Richmond singer and rapper \u003ca href=\"https://soundcloud.com/poojapallavi\" target=\"_blank\" rel=\"noopener\">Pallavi\u003c/a> rounds out the bill with her moody electronic R&B, along with Oakland’s \u003ca href=\"https://www.rubymountainmusic.com/\" target=\"_blank\" rel=\"noopener\">Ruby Mountain\u003c/a>, whose electronic pop channels humans’ connections to the cosmos. Expect an eclectic evening of genre-bending music for a good cause.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>New York may get all the credit for being the birthplace of punk, but artists from other cities had crucial roles in shaping the subculture. One such figure was John Morton, a musician from Cleveland who laid the foundation for punk with his distorted guitar playing in the Electric Eels.\u003c/p>\n\u003cp>Although it didn’t have its own CBGB’s, Cleveland attracted boundary-pushing bands like the Velvet Underground and Captain Beefheart in the early ’70s. Morton started the Electric Eels to give these bands a decent opener. The Electric Eels had an avant-garde approach but lacked technical chops; they sounded like the Stooges with the dissonance turned up to 11.\u003c/p>\n\u003cp>Over 40 years later, Morton has gained \u003ca href=\"https://noisey.vice.com/en_us/article/65zmv3/electric-eels-interview\" target=\"_blank\" rel=\"noopener\">recognition for his contributions\u003c/a> to punk, and is doing something he never did during those early days: touring. He plays his first shows in California this week, not with the Electric Eels but with X_X, his no wave band \u003ca href=\"http://www.hemlocktavern.com/calendar/x_x-cleveland-wjohn-morton-of-electric-eels-and-craig-bell-of-mirrors-rays/\" target=\"_blank\" rel=\"noopener\">performing at San Francisco’s Hemlock Tavern on May 12\u003c/a>. Pronounced “Ex Blank Ex,” the band is a perfect outlet for Morton’s abrasive vision, especially with a rhythm section that includes no wave jazz drummer Weasel Walter and Craig Bell of Rocket from the Tombs.\u003c/p>\n\u003cp>This show will provide an intimate look at one of punk’s originals, and it should not be missed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"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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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"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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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
}
}
