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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rising R&B star \u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a> has an uncanny ability to cut to the core of emotional intricacies, making poetry out of the feelings one usually stays up late dissecting. Last year, her EP \u003cem>Sorry About Last Night\u003c/em> garnered widespread acclaim for its insightful dive into the aftermath of a breakup — not to mention Jay’s gorgeous vocals and effortless cool on its lead single, “\u003ca href=\"https://soundcloud.com/rayanajay/rayana-jay-sleepy-brown-prod-by-mikos-da-gawd-1\" target=\"_blank\" rel=\"noopener\">Sleepy Brown\u003c/a>.” \u003c/p>\n\u003cp>Now, the Vallejo-by-way-of-Richmond singer (and \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">one of KQED’s Women to Watch\u003c/a>) is back with \u003cem>Morning After\u003c/em>, a funky, soulful eight-track EP that explores different sides of the singer: sweet, sassy, player, hopeless romantic. Jay wears these contradictions on her sleeve, chronicling the often confusing journey of a twenty-something woman looking for love. Check out our favorite lyrics from the project below and catch Rayana Jay at The New Parish for her \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7597075&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">headlining show\u003c/a> on Sept. 28.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/352925687″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/playlists/352925687″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>1. “You got that touch/It’s too much/It’s not enough” (“Magic”)\u003c/h3>\n\u003cp>“Magic,” \u003cem>Morning After’s\u003c/em> upbeat, disco-inflected lead single, conveys the high one experiences when a burning crush is finally reciprocated. You’re so elated you want to dance alone in your room, and this song is the perfect soundtrack. Just before the infectious call-and-response hook, Jay taps into a feeling of simultaneous overwhelm and intense desire: “It’s too much/It’s not enough.” \u003c/p>\n\u003ch3>2. “I know you got some records/I got some N.E.R.D./I love when you sing to me/Even when you sing off-key” (“Chill”)\u003c/h3>\n\u003cp>One of Jay’s most endearing qualities is that she doesn’t claim to be a flawless vixen — even when singing about relationships and sex, she lays her doubts, insecurities, and quirks bare. With this line, she demonstrates how she appreciates the same level of realness in others. Plus, who doesn’t love a girl who has N.E.R.D. on vinyl?\u003c/p>\n\u003ch3>3. “You’re black like grandma’s hands/Wrapped up in grandma’s prayers” (“Sunkissed”)\u003c/h3>\n\u003cp>“Sunkissed,” an homage to black love and black beauty, is rife with rich cultural references. The allusion to a grandmother’s prayers beautifully honors the ways that family can keep one going despite the hardships of the world. \u003c/p>\n\u003ch3>4. “You tell me you love me/I just adore you/I grab your cell and I tell you to call/I just ignore you” (“Everything”)\u003c/h3>\n\u003cp>On “Everything,” Jay grapples with the messiness that can ensue when attempting to date while emotionally unavailable. You might have a connection with someone, but something is stopping you from actually committing. “Everything” taps into those contradictory impulses and the havoc they can wreak on one’s love life. \u003c/p>\n\u003ch3>5. “Baby can’t you see/There’s plenty of you/Not that many of me” (“Cupcake”)\u003c/h3>\n\u003cp>First of all, “Cupcake” is amazing because it borrows from Trunk Boiz’ underground Oakland classic, “\u003ca href=\"https://www.youtube.com/watch?v=KCNlDgSQuLg\" target=\"_blank\" rel=\"noopener\">Cupcake No Fillin\u003c/a>.” Jay references the West Coast player anthem to address a temporary lover who’s in too deep when, for her, it’s not that serious — though, unlike her male counterparts, she’s earnest and apologetic. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4tor0TADs3Q\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\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/4tor0TADs3Q'\n title='//www.youtube.com/embed/4tor0TADs3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Monterey Jazz Festival Celebrates 60 Years",
"title": "Monterey Jazz Festival Celebrates 60 Years",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Less than two weeks after the attacks of 9/11, a deeply unsettled audience gathered for the Monterey Jazz Festival, then in its 44th year. There were last-minute program changes, because some New York musicians couldn’t make it on time to rehearse a new commission.\u003c/p>\n\u003cp>With planes taking off from the nearby regional airport repeatedly buzzing the Monterey County Fairgrounds, a current of fear and uncertainty was palpable in the main arena. \u003c/p>\n\u003cp>Artistic director Tim Jackson knew he couldn’t do much to assuage the anxiety, but he recalled that the first festival in 1958 had opened with Dizzy Gillespie playing an unaccompanied rendition of “The Star-Spangled Banner.” Somehow his staff located the recording. As the clarion trumpet rang out over the arena, Gillespie’s horn seemed to envelop the crowd in a comforting embrace, connecting the listeners with each other and with an earlier era, one marked by very different troubles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LsFD5Mfl1i0\u003c/p>\n\u003cp>Though rarely in such a dramatic fashion, the \u003ca href=\"http://www.montereyjazzfestival.org\">Monterey Jazz Festival\u003c/a> has always had a knack for drawing on its own history, whether making a point of presenting artists who had first played the fairgrounds as high school students, or celebrating milestone anniversaries of momentous performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the nation’s longest consecutively-running jazz festival returns to the fairgrounds for the 60\u003csup>th\u003c/sup> season this weekend, Sept. 15-17, its storied past will be very much part of the present.\u003c/p>\n\u003cp>One of the more anticipated sets will feature pianist and \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> \u003ca href=\"http://kennybarron.com\" target=\"_blank\" rel=\"noopener noreferrer\">Kenny Barron\u003c/a> leading a centennial tribute to Gillespie on Friday in the main area. Barron made his Monterey debut with the trumpet legend at the age of 20 in 1963, and has returned frequently since then. His trio is joined by several special guests, including trumpeters Sean Jones and Roy Hargrove and Cuban \u003cem>conguero\u003c/em> Pedrito Martinez (highlighting Gillespie’s pioneering role in the creation of Latin jazz, via his seminal recordings with Chano Pozo).\u003c/p>\n\u003cfigure id=\"attachment_11616731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616731\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg\" alt=\"\" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-520x719.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff.jpg 926w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonists Jimmy Heath, Joe Lovano, Branford Marsalis, and Joshua Redman come together to celebrate Sonny Rollins at the Monterey Jazz Festival. Photo by Ken Rabiroff.\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday night’s main arena program kicks off with a tribute to retired tenor sax titan \u003ca href=\"http://sonnyrollins.com\">Sonny Rollins\u003c/a>, one of the few surviving artists who played the inaugural festival. (None of the other 1958 veterans, including saxophonist George Coleman, arranger Bill Holman and vocalist Betty Bennett are performing either.) \u003c/p>\n\u003cp>Featuring an all-star trio led by \u003ca href=\"http://geraldclayton.com\" target=\"_blank\" rel=\"noopener noreferrer\">pianist Gerald Clayton\u003c/a>, the ensemble brings together a formidable array of saxophone masters, including \u003ca href=\"https://en.wikipedia.org/wiki/Jimmy_Heath\" target=\"_blank\" rel=\"noopener noreferrer\">90-year-old Jimmy Heath\u003c/a>, Joe Lovano, Branford Marsalis and Joshua Redman, who made his MJF debut with the award-winning Berkeley High Jazz Band in the mid-1980s.\u003c/p>\n\u003cp>Violinist and MacArthur “Genius” Fellow \u003ca href=\"http://reginacarter.com\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Carter\u003c/a> performs a different program every night as the festival’s Showcase Artist, opening in the Main Arena Friday with a centennial tribute to Ella Fitzgerald based on her latest album “Ella: Accentuate the Positive” (OKeh). On Saturday, she plays a set with her quartet in the Night Club, and Sunday hits Dizzy’s Den with her project Southern Comfort, a musical investigation into her family’s roots in the South.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fAVEuYk5qiw\u003c/p>\n\u003cp>The festival continues its long history of showcasing Southern California-based big bands with the \u003ca href=\"https://en.wikipedia.org/wiki/Clayton-Hamilton_Jazz_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Clayton-Hamilton Jazz Orchestra\u003c/a>, which premieres bassist John Clayton’s festival commission, “Stories of a Groove: Conception, Evolution, Celebration,” with the Gerald Clayton Trio as special guests. And pianist John Beasley’s MONK’estra celebrates the centennial of pianist/composer Thelonious Monk, whose 1963 and ‘64 performances at Monterey were documented on excellent albums.\u003c/p>\n\u003cp>Monterey wasn’t the first jazz festival. That distinction belongs to the Newport Jazz Festival, launched by George Wein in 1954 with support from the Newport society couple Elaine and Louis Lorillard.\u003c/p>\n\u003cp>Monterey DJ Jimmy Lyons and San Francisco Chronicle music critic Ralph J. Gleason started laying the groundwork for a similar festival a few years later, convincing Monterey city leaders to support the plan after producing a successful series of concerts by popular artists like Erroll Garner and Dave Brubeck.\u003c/p>\n\u003cp>With Modern Jazz Quartet pianist/composer John Lewis serving as advisor, the festival's first decade offered an extraordinary array of jazz talent, ranging from foundational figures like Louis Armstrong, Billie Holiday, Earl “Fatha” Hine, Benny Carter and Coleman Hawkins; to modern jazz patriarchs Dizzy Gillespie, Milt Jackson, and Max Roach; and avant garde pioneers like Ornette Coleman, John Coltrane and Eric Dolphy.\u003c/p>\n\u003cp>In the mid-1960s, as jazz and folk music were swamped by the rock tsunami unleashed by the Beatles, Monterey bucked the market trend by turning several veteran players into bona fide stars. Oakland-reared \u003ca href=\"http://www.johnhandy.com\" target=\"_blank\" rel=\"noopener noreferrer\">saxophonist John Handy\u003c/a> brought a singular quintet (it included violinist Michael White and electric guitarist Jerry Hahn) to the Main Arena in 1965, which you can now hear in the classic album “Recorded Live at the Monterey Jazz Festival,” the first of a series of albums for Columbia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vm61HiaBFac\u003c/p>\n\u003cp>A year later, in 1966, saxophonist Charles Lloyd recorded the hit album “Forest Flower” (Atlantic) with his quartet, featuring Keith Jarrett, Cecil McBee and Jack DeJohnette, and they became part of Bill Graham’s regular rotation of acts at the Fillmore throughout 1967. Through Gleason’s guidance, the festival anticipated the San Francisco rock explosion, booking Jefferson Airplane and the Paul Butterfield Blues Band in 1966, which paved the way for the \u003ca href=\"https://en.wikipedia.org/wiki/Monterey_Pop_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Pop Festival\u003c/a> the following June.\u003c/p>\n\u003cp>The festival doesn’t pack the same kind of punch these days. Nothing does. But it often plays a significant role by introducing artists to the California scene, like Italian-born jazz vocalist Roberta Gambarini, who made a powerful first impression at the festival in 2001, as a special guest with trumpeter Roy Hargrove.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There are too many highlights on this weekend’s program to mention them all, but here are my top five choices among the most-anticipated artists: drummer/composer \u003ca href=\"http://www.montereyjazzfestival.org/artists/matt-wilsons-honey-and-salt\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Wilson’s Honey and Salt \u003c/a>(playing music inspired by the poetry of Carl Sandburg), pianist and NEA Jazz Master \u003ca href=\"https://en.wikipedia.org/wiki/Joanne_Brackeen\" target=\"_blank\" rel=\"noopener noreferrer\">Joanne Brackeen's trio\u003c/a>, the Colombian combo \u003ca href=\"http://www.mperine.com\">Monsieur Periné\u003c/a>, pianist/composer \u003ca href=\"http://vijay-iyer.com/projects/vijay-iyer-sextet/\" target=\"_blank\" rel=\"noopener noreferrer\">Vijay Iyer’s sextet\u003c/a>, and bassist/composer \u003ca href=\"http://lindamayhanoh.com\" target=\"_blank\" rel=\"noopener noreferrer\">Linda May Han Oh’s quintet\u003c/a>.\u003c/p>\n\n",
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"excerpt": "More than 500 artists will be playing this weekend at the historic fairgrounds. Here's a mini-history of the festival's sounds, scope and significance -- from 1958 through today. ",
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"description": "More than 500 artists will be playing this weekend at the historic fairgrounds. Here's a mini-history of the festival's sounds, scope and significance -- from 1958 through today. ",
"title": "Monterey Jazz Festival Celebrates 60 Years | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than two weeks after the attacks of 9/11, a deeply unsettled audience gathered for the Monterey Jazz Festival, then in its 44th year. There were last-minute program changes, because some New York musicians couldn’t make it on time to rehearse a new commission.\u003c/p>\n\u003cp>With planes taking off from the nearby regional airport repeatedly buzzing the Monterey County Fairgrounds, a current of fear and uncertainty was palpable in the main arena. \u003c/p>\n\u003cp>Artistic director Tim Jackson knew he couldn’t do much to assuage the anxiety, but he recalled that the first festival in 1958 had opened with Dizzy Gillespie playing an unaccompanied rendition of “The Star-Spangled Banner.” Somehow his staff located the recording. As the clarion trumpet rang out over the arena, Gillespie’s horn seemed to envelop the crowd in a comforting embrace, connecting the listeners with each other and with an earlier era, one marked by very different troubles.\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/LsFD5Mfl1i0'\n title='//www.youtube.com/embed/LsFD5Mfl1i0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though rarely in such a dramatic fashion, the \u003ca href=\"http://www.montereyjazzfestival.org\">Monterey Jazz Festival\u003c/a> has always had a knack for drawing on its own history, whether making a point of presenting artists who had first played the fairgrounds as high school students, or celebrating milestone anniversaries of momentous performances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the nation’s longest consecutively-running jazz festival returns to the fairgrounds for the 60\u003csup>th\u003c/sup> season this weekend, Sept. 15-17, its storied past will be very much part of the present.\u003c/p>\n\u003cp>One of the more anticipated sets will feature pianist and \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> \u003ca href=\"http://kennybarron.com\" target=\"_blank\" rel=\"noopener noreferrer\">Kenny Barron\u003c/a> leading a centennial tribute to Gillespie on Friday in the main area. Barron made his Monterey debut with the trumpet legend at the age of 20 in 1963, and has returned frequently since then. His trio is joined by several special guests, including trumpeters Sean Jones and Roy Hargrove and Cuban \u003cem>conguero\u003c/em> Pedrito Martinez (highlighting Gillespie’s pioneering role in the creation of Latin jazz, via his seminal recordings with Chano Pozo).\u003c/p>\n\u003cfigure id=\"attachment_11616731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616731\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg\" alt=\"\" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-520x719.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff.jpg 926w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonists Jimmy Heath, Joe Lovano, Branford Marsalis, and Joshua Redman come together to celebrate Sonny Rollins at the Monterey Jazz Festival. Photo by Ken Rabiroff.\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday night’s main arena program kicks off with a tribute to retired tenor sax titan \u003ca href=\"http://sonnyrollins.com\">Sonny Rollins\u003c/a>, one of the few surviving artists who played the inaugural festival. (None of the other 1958 veterans, including saxophonist George Coleman, arranger Bill Holman and vocalist Betty Bennett are performing either.) \u003c/p>\n\u003cp>Featuring an all-star trio led by \u003ca href=\"http://geraldclayton.com\" target=\"_blank\" rel=\"noopener noreferrer\">pianist Gerald Clayton\u003c/a>, the ensemble brings together a formidable array of saxophone masters, including \u003ca href=\"https://en.wikipedia.org/wiki/Jimmy_Heath\" target=\"_blank\" rel=\"noopener noreferrer\">90-year-old Jimmy Heath\u003c/a>, Joe Lovano, Branford Marsalis and Joshua Redman, who made his MJF debut with the award-winning Berkeley High Jazz Band in the mid-1980s.\u003c/p>\n\u003cp>Violinist and MacArthur “Genius” Fellow \u003ca href=\"http://reginacarter.com\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Carter\u003c/a> performs a different program every night as the festival’s Showcase Artist, opening in the Main Arena Friday with a centennial tribute to Ella Fitzgerald based on her latest album “Ella: Accentuate the Positive” (OKeh). On Saturday, she plays a set with her quartet in the Night Club, and Sunday hits Dizzy’s Den with her project Southern Comfort, a musical investigation into her family’s roots in the South.\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/fAVEuYk5qiw'\n title='//www.youtube.com/embed/fAVEuYk5qiw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The festival continues its long history of showcasing Southern California-based big bands with the \u003ca href=\"https://en.wikipedia.org/wiki/Clayton-Hamilton_Jazz_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Clayton-Hamilton Jazz Orchestra\u003c/a>, which premieres bassist John Clayton’s festival commission, “Stories of a Groove: Conception, Evolution, Celebration,” with the Gerald Clayton Trio as special guests. And pianist John Beasley’s MONK’estra celebrates the centennial of pianist/composer Thelonious Monk, whose 1963 and ‘64 performances at Monterey were documented on excellent albums.\u003c/p>\n\u003cp>Monterey wasn’t the first jazz festival. That distinction belongs to the Newport Jazz Festival, launched by George Wein in 1954 with support from the Newport society couple Elaine and Louis Lorillard.\u003c/p>\n\u003cp>Monterey DJ Jimmy Lyons and San Francisco Chronicle music critic Ralph J. Gleason started laying the groundwork for a similar festival a few years later, convincing Monterey city leaders to support the plan after producing a successful series of concerts by popular artists like Erroll Garner and Dave Brubeck.\u003c/p>\n\u003cp>With Modern Jazz Quartet pianist/composer John Lewis serving as advisor, the festival's first decade offered an extraordinary array of jazz talent, ranging from foundational figures like Louis Armstrong, Billie Holiday, Earl “Fatha” Hine, Benny Carter and Coleman Hawkins; to modern jazz patriarchs Dizzy Gillespie, Milt Jackson, and Max Roach; and avant garde pioneers like Ornette Coleman, John Coltrane and Eric Dolphy.\u003c/p>\n\u003cp>In the mid-1960s, as jazz and folk music were swamped by the rock tsunami unleashed by the Beatles, Monterey bucked the market trend by turning several veteran players into bona fide stars. Oakland-reared \u003ca href=\"http://www.johnhandy.com\" target=\"_blank\" rel=\"noopener noreferrer\">saxophonist John Handy\u003c/a> brought a singular quintet (it included violinist Michael White and electric guitarist Jerry Hahn) to the Main Arena in 1965, which you can now hear in the classic album “Recorded Live at the Monterey Jazz Festival,” the first of a series of albums for Columbia.\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/Vm61HiaBFac'\n title='//www.youtube.com/embed/Vm61HiaBFac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A year later, in 1966, saxophonist Charles Lloyd recorded the hit album “Forest Flower” (Atlantic) with his quartet, featuring Keith Jarrett, Cecil McBee and Jack DeJohnette, and they became part of Bill Graham’s regular rotation of acts at the Fillmore throughout 1967. Through Gleason’s guidance, the festival anticipated the San Francisco rock explosion, booking Jefferson Airplane and the Paul Butterfield Blues Band in 1966, which paved the way for the \u003ca href=\"https://en.wikipedia.org/wiki/Monterey_Pop_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Pop Festival\u003c/a> the following June.\u003c/p>\n\u003cp>The festival doesn’t pack the same kind of punch these days. Nothing does. But it often plays a significant role by introducing artists to the California scene, like Italian-born jazz vocalist Roberta Gambarini, who made a powerful first impression at the festival in 2001, as a special guest with trumpeter Roy Hargrove.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are too many highlights on this weekend’s program to mention them all, but here are my top five choices among the most-anticipated artists: drummer/composer \u003ca href=\"http://www.montereyjazzfestival.org/artists/matt-wilsons-honey-and-salt\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Wilson’s Honey and Salt \u003c/a>(playing music inspired by the poetry of Carl Sandburg), pianist and NEA Jazz Master \u003ca href=\"https://en.wikipedia.org/wiki/Joanne_Brackeen\" target=\"_blank\" rel=\"noopener noreferrer\">Joanne Brackeen's trio\u003c/a>, the Colombian combo \u003ca href=\"http://www.mperine.com\">Monsieur Periné\u003c/a>, pianist/composer \u003ca href=\"http://vijay-iyer.com/projects/vijay-iyer-sextet/\" target=\"_blank\" rel=\"noopener noreferrer\">Vijay Iyer’s sextet\u003c/a>, and bassist/composer \u003ca href=\"http://lindamayhanoh.com\" target=\"_blank\" rel=\"noopener noreferrer\">Linda May Han Oh’s quintet\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Gay Men's Chorus Ups Security for Southern States Tour",
"headTitle": "SF Gay Men’s Chorus Ups Security for Southern States Tour | KQED",
"content": "\u003cp>Ever since the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> decided to cancel its planned international tour following the results of last November’s presidential elections and travel to Alabama, Mississippi and other southern states instead, security has been top of mind.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/09/VeltmanGayMensChorus.mp3\" /]\u003c/p>\n\u003cp>“Our concern ranges from personal safety to, you know, a bomb threat,” says the ensemble’s executive director, Chris Verdugo.\u003c/p>\n\u003cp>But in light of last month’s far-right rally in Charlottesville and subsequent protests, the chorus has decided to double the security budget for its upcoming “Lavender Pen Tour.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are looking to \u003ca href=\"https://tickets.vendini.com/donation-software.html?d=2bf42d51da7ac0227ffb2b2cba15bff3&t=donation&vqitq=e5a61820-e3db-409f-8a28-35e1b70da7e9&vqitp=34d9e8f9-949d-41a3-b9a6-51936e9435de&vqitts=1505339521&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=5801acd9b828164a1288cc5fe666da50\" target=\"_blank\" rel=\"noopener noreferrer\">raise $30,000 in 30 days\u003c/a> for our enhanced security measures,” says chorus board chair Steve Huffines. “Based on our conversations with local law enforcement officials, we believe that the odds of us encountering a hostile event are actually quite low. But the board is committed to erring on the side of caution to insure that everyone on the Lavender Pen Tour is kept safe throughout our journey.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lavender Pen Tour (Promo Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Ph7K483BKWI?start=2&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Tour security director and retired police sergeant Karen Alberts is keeping the the details of the security plan under wraps. Her team of four — three of them women with anti-terrorism backgrounds — have been coordinating plans with state and federal agencies in the places the singers will be visiting, like Birmingham, AL and Knoxville, TN.\u003c/p>\n\u003cp>“Things have changed a bit since Charlottesville,” Alberts says. “All the local law enforcement agencies in the areas we’re going to be traveling to are aware of our presence.”\u003c/p>\n\u003cp>Alberts and her team are also working with the members of both the San Francisco Gay Men’s Chorus and the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Interfaith Gospel Choir\u003c/a> (the two ensembles will be touring together) on personal safety. “We’re teaching them the basics: don’t go out alone, don’t engage, safety in numbers, that type of thing.”\u003c/p>\n\u003cp>Meanwhile, the choir’s callout for funds to pay for the extra security has caused a backlash on Twitter, particularly from people in the south.\u003c/p>\n\u003cp>https://twitter.com/ryburke/status/907962985590685696\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The Lavender Pen Tour happens Sunday, Oct. 8 though Saturday, Oct. 14 in cities across Alabama, Mississippi, North Carolina, Florida and Tennessee. \u003c/em>\u003c/p>\n\u003cp>\u003cem>There will be a send-off concert on Saturday, Sept. 30 at Grace Cathedral in San Francisco. Tickets and information \u003ca href=\"https://www.cityboxoffice.com/ordertickets.asp?p=9449\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "In light of last month’s far-right rally in Charlottesville and subsequent protests, the chorus has decided to double the security budget for its upcoming 'Lavender Pen Tour.'",
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"description": "In light of last month’s far-right rally in Charlottesville and subsequent protests, the chorus has decided to double the security budget for its upcoming 'Lavender Pen Tour.'",
"title": "SF Gay Men's Chorus Ups Security for Southern States Tour | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> decided to cancel its planned international tour following the results of last November’s presidential elections and travel to Alabama, Mississippi and other southern states instead, security has been top of mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our concern ranges from personal safety to, you know, a bomb threat,” says the ensemble’s executive director, Chris Verdugo.\u003c/p>\n\u003cp>But in light of last month’s far-right rally in Charlottesville and subsequent protests, the chorus has decided to double the security budget for its upcoming “Lavender Pen Tour.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are looking to \u003ca href=\"https://tickets.vendini.com/donation-software.html?d=2bf42d51da7ac0227ffb2b2cba15bff3&t=donation&vqitq=e5a61820-e3db-409f-8a28-35e1b70da7e9&vqitp=34d9e8f9-949d-41a3-b9a6-51936e9435de&vqitts=1505339521&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=5801acd9b828164a1288cc5fe666da50\" target=\"_blank\" rel=\"noopener noreferrer\">raise $30,000 in 30 days\u003c/a> for our enhanced security measures,” says chorus board chair Steve Huffines. “Based on our conversations with local law enforcement officials, we believe that the odds of us encountering a hostile event are actually quite low. But the board is committed to erring on the side of caution to insure that everyone on the Lavender Pen Tour is kept safe throughout our journey.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lavender Pen Tour (Promo Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Ph7K483BKWI?start=2&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Tour security director and retired police sergeant Karen Alberts is keeping the the details of the security plan under wraps. Her team of four — three of them women with anti-terrorism backgrounds — have been coordinating plans with state and federal agencies in the places the singers will be visiting, like Birmingham, AL and Knoxville, TN.\u003c/p>\n\u003cp>“Things have changed a bit since Charlottesville,” Alberts says. “All the local law enforcement agencies in the areas we’re going to be traveling to are aware of our presence.”\u003c/p>\n\u003cp>Alberts and her team are also working with the members of both the San Francisco Gay Men’s Chorus and the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Interfaith Gospel Choir\u003c/a> (the two ensembles will be touring together) on personal safety. “We’re teaching them the basics: don’t go out alone, don’t engage, safety in numbers, that type of thing.”\u003c/p>\n\u003cp>Meanwhile, the choir’s callout for funds to pay for the extra security has caused a backlash on Twitter, particularly from people in the south.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The Lavender Pen Tour happens Sunday, Oct. 8 though Saturday, Oct. 14 in cities across Alabama, Mississippi, North Carolina, Florida and Tennessee. \u003c/em>\u003c/p>\n\u003cp>\u003cem>There will be a send-off concert on Saturday, Sept. 30 at Grace Cathedral in San Francisco. Tickets and information \u003ca href=\"https://www.cityboxoffice.com/ordertickets.asp?p=9449\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Music Industry Needs to Hold Alleged Abusers Like XXXTentacion Accountable",
"headTitle": "The Music Industry Needs to Hold Alleged Abusers Like XXXTentacion Accountable | KQED",
"content": "\u003cp>Prior to Pitchfork publishing gruesome details from \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\" target=\"_blank\" rel=\"noopener\">XXXtentacion’s accuser’s deposition\u003c/a> last Friday, many in the music industry regarded allegations of domestic violence against the rapper as an inconvenient detail that, while unsettling, was easy to ignore. After all, his album, \u003cem>17\u003c/em>, \u003ca href=\"http://www.rollingstone.com/music/news/on-the-charts-lil-uzi-vert-xxxtentacion-take-top-two-spots-w501076\" target=\"_blank\" rel=\"noopener\">just hit No. 2 on the Billboard 200 chart\u003c/a>; the rapper (whose real name is Jahseh Onfroy) was also featured on \u003ca href=\"http://freshman.xxlmag.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>XXL’s\u003c/em> Freshman 15 list\u003c/a>, positioning him as a rising star. \u003c/p>\n\u003cp>But Pitchfork’s extensive report cast a shadow on XXXTentacion’s successful year: The deposition spelled out an alleged pattern of violence and torture, details of which culminate with XXXTentacion kidnapping his then-girlfriend and holding her prisoner in a North Miami Beach apartment. He now faces charges for aggravated battery of a pregnant woman, domestic battery by strangulation, false imprisonment, and witness-tampering.\u003c/p>\n\u003cp>These gruesome details should be a wake-up call for industry gatekeepers, whose continued silence on the matter is deafening. \u003c/p>\n\u003cfigure id=\"attachment_13808602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-800x516.jpg\" alt=\"XXXTentacion's latest album, '17,' was released by San Francisco-based Empire. \" width=\"800\" height=\"516\" class=\"size-medium wp-image-13808602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion.jpg 957w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">XXXTentacion’s latest album, ’17,’ was released by San Francisco-based Empire. \u003ccite>(@EMPIRE / IG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The debate of whether we should separate art from artist is a long and sticky one: How many of us are disturbed by the accusations of sexual abuse against R. Kelly but still can’t help but “Step in the Name of Love”? And how many of us forget Rihanna’s bruised face when we hum along to Chris Brown’s “Loyal”? For many, it’s difficult to sever allegiance to an artist after years or even decades of fandom. Our love of these artists’ work, coupled with implicit gender bias, often prevents us from holding them accountable. \u003c/p>\n\u003caside class=\"pullquote alignright\">Right now, the wheels of the music industry are turning to make viral upstarts like XXXTentacion into idols through record deals, PR campaigns, and prominent bookings.\u003c/aside>\n\u003cp>But this pattern of normalizing domestic violence and sexual abuse in the entertainment industry has to end somewhere. Perhaps the generations of people raised on R. Kelly will never fully turn their backs on his music. But people in powerful positions in today’s industry also have a responsibility not to make icons out of a new generation of abusers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Well before his accuser’s deposition was published on Pitchfork, it was known that XXXTentacion faced an October trial for allegedly beating a pregnant woman. And yet the San Francisco record label \u003ca href=\"https://www.empi.re/\" target=\"_blank\" rel=\"noopener\">Empire\u003c/a> — whose roster includes progressive, feminist singer Goapele — still put out \u003cem>17\u003c/em>. (Empire did not respond to KQED’s request for comment about the future of its relationship with XXXTentacion.) \u003c/p>\n\u003cp>Furthermore, the rap tour \u003ca href=\"http://www.rollingloud.com/\" target=\"_blank\" rel=\"noopener\">Rolling Loud\u003c/a>, which makes its Bay Area stop at Shoreline Pavilion on Oct. 21–22, features XXXTentacion and two other accused abusers: Famous Dex and Kodak Black. A \u003ca href=\"http://www.complex.com/music/2016/09/shocking-footage-shows-famous-dex-assaulting-woman\" target=\"_blank\" rel=\"noopener\">surveillance video\u003c/a> circulated last year of Famous Dex chasing and beating a woman in a hallway; and there’s an \u003ca href=\"http://www.thefader.com/2016/11/30/kodak-blacks-sexual-battery-accusation-case\" target=\"_blank\" rel=\"noopener\">ongoing sexual battery case\u003c/a> against Kodak Black along with \u003ca href=\"http://www.thefader.com/2017/04/05/kodak-black-assault-miami-strip-club\" target=\"_blank\" rel=\"noopener\">new allegations of him assaulting a female bartender\u003c/a> at a Miami strip club. (The organizers of Rolling Loud also did not comment on the matter when contacted by KQED.)\u003c/p>\n\u003cfigure id=\"attachment_13808601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/KodakBlack-800x533.jpg\" alt=\"Kodak Black attends the 2017 MTV Video Music Awards at The Forum on August 27, 2017 in Inglewood, California. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13808601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kodak Black attends the 2017 MTV Video Music Awards at The Forum on August 27, 2017 in Inglewood, California. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These artists have faced some backlash — most notably from comedian \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7934250/eric-andre-comedian-twitter-rant-kodak-black-xxxtentacion\" target=\"_blank\" rel=\"noopener\">Eric Andre\u003c/a> — but their careers have continued almost undisturbed. Part of the reason is that XXXTentacion, Kodak Black, and Famous Dex’s followings skew largely young and male. And in a country \u003ca href=\"https://www.nytimes.com/2015/10/15/us/california-high-schools-sexual-consent-classes.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">that lacks progressive, consent-based sex education\u003c/a>, those fans might not fully comprehend the gravity of the allegations. But the onus is not solely on the fans: right now, the wheels of the music industry are turning to make viral upstarts like XXXTentacion into idols through record deals, PR campaigns, and prominent bookings. \u003c/p>\n\u003cp>It’s one thing for a viral Soundcloud hit like “Look At Me” to propel XXXTentacion into the public eye. But festival curators, record executives, and editors at tastemaking publications like \u003cem>XXL\u003c/em> have the power to turn a fleeting 15 minutes of viral fame into a long-term, mainstream career, and they need to wield that power wisely. There are plenty of other buzzed-about, up-and-coming artists who haven’t been accused of domestic violence or sexual assault who industry gatekeepers can choose for these lucrative, career-defining opportunities. \u003c/p>\n\u003cfigure id=\"attachment_13808618\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/xxxtentacion.gif\" alt=\"XXXTentacion during his XXL Freshman Freestyle.\" width=\"480\" height=\"270\" class=\"size-full wp-image-13808618\">\u003cfigcaption class=\"wp-caption-text\">XXXTentacion during his XXL Freshman Freestyle.\u003c/figcaption>\u003c/figure>\n\u003cp>“Booking a show or running a music label is an imperfect science, but it involves a lot of really deliberate decisions,” said Will Bundy, the co-founder of culture blog \u003ca href=\"http://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a> and its popular Oakland festival, Feels. “When you see XXX on a bill — or you see Famous Dex, or you see R. Kelly on a bill — someone is writing a check. You’re making the conscious decision to put money in that person’s pocket. If you have the luxury of choice and a big budget, I can’t imagine why you’d feel like you can’t avoid people who do these disgusting things.”\u003c/p>\n\u003cp>Hip-hop is a notoriously male-dominated industry, so male artists who use their platforms to speak out against gender-based violence can have a powerful impact. For instance, rape accusations against A$AP Mob-adjacent fashion stylist Ian Connor went largely ignored — despite the fact that several alleged victims came forward — \u003ca href=\"http://www.thefader.com/2016/06/23/theophilus-london-calls-ian-connor-rapist\" target=\"_blank\" rel=\"noopener\">until rapper Theophilus London called him out\u003c/a> on Twitter last year. The beef with London — and the press it generated — made Connor’s name synonymous with sexual assault, and Connor has since receded from the public eye. \u003c/p>\n\u003cp>Since the release of his accuser’s deposition on Pitchfork, public condemnation of XXXTentacion has become louder. Stefan Aguilar, a.k.a. DJ Aux Cord of the popular Bay Area DJ collective \u003ca href=\"http://anotherpartyfam.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Another Party Fam\u003c/a>, tweeted that he will personally unplug the laptop of any DJ who plays XXXTentacion or Kodak Black at his parties, which draw thousands of attendees every first Friday.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">AYE \u003ca href=\"https://twitter.com/xxxtentacion\">@XXXTENTACION\u003c/a> AND \u003ca href=\"https://twitter.com/KodakBlack1k\">@KODAKBLACK1K\u003c/a> CAN NO LONGER BE PLAYED AT \u003ca href=\"https://twitter.com/AnotherPartyFam\">@ANOTHERPARTYFAM\u003c/a> PARTIES – I WILL PERSONALLY UNPLUG YOUR LAPTOP IF YOU TRY!!!\u003c/p>\n\u003cp>— DJ AUX CORD (@heyauxcord) \u003ca href=\"https://twitter.com/heyauxcord/status/906353381802782720\">September 9, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Aguilar had known about the domestic abuse allegations, but “I didn’t know how heavy it was ’til I read the article that just came out,” he said when reached by phone. “The biggest thing is that the majority of our guests are women. And we have girls in our collective, so we have to make sure that everyone is comfortable.”\u003c/p>\n\u003cp>“Abuse is so ‘normal’ in the music industry,” tweeted Richmond singer Rayana Jay the day the deposition was published on Pitchfork, adding that “It’s a cycle that’s been going on forever. [It] has to stop.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Abuse is so \"normal\" in the music industry and it's fucking sickening. It's a cycle that's been going on forever. Has to stop\u003c/p>\n\u003cp>— BAD MOM (@RayanaJay) \u003ca href=\"https://twitter.com/RayanaJay/status/906268315491852288\">September 8, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>As for XXXTentacion, he still hasn’t shown remorse — or indicated in any way that he takes domestic violence seriously. He responded to the allegations with \u003ca href=\"https://www.vibe.com/2017/09/xxxtentacion-disturbing-response-domestic-abuse/?utm_source=twitter&utm_medium=social&utm_campaign=timeline\" target=\"_blank\" rel=\"noopener\">an explicit Instagram video\u003c/a> where he threatened his accusers with more sexual violence. “I’ma f–k y’all little sisters in they throats, I swear to God. I swear to God, everybody that called me a domestic abuser, I’m finna domestically abuse y’all little sister p—y from the back.”\u003c/p>\n\u003cp>His response speaks for itself.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prior to Pitchfork publishing gruesome details from \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\" target=\"_blank\" rel=\"noopener\">XXXtentacion’s accuser’s deposition\u003c/a> last Friday, many in the music industry regarded allegations of domestic violence against the rapper as an inconvenient detail that, while unsettling, was easy to ignore. After all, his album, \u003cem>17\u003c/em>, \u003ca href=\"http://www.rollingstone.com/music/news/on-the-charts-lil-uzi-vert-xxxtentacion-take-top-two-spots-w501076\" target=\"_blank\" rel=\"noopener\">just hit No. 2 on the Billboard 200 chart\u003c/a>; the rapper (whose real name is Jahseh Onfroy) was also featured on \u003ca href=\"http://freshman.xxlmag.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>XXL’s\u003c/em> Freshman 15 list\u003c/a>, positioning him as a rising star. \u003c/p>\n\u003cp>But Pitchfork’s extensive report cast a shadow on XXXTentacion’s successful year: The deposition spelled out an alleged pattern of violence and torture, details of which culminate with XXXTentacion kidnapping his then-girlfriend and holding her prisoner in a North Miami Beach apartment. He now faces charges for aggravated battery of a pregnant woman, domestic battery by strangulation, false imprisonment, and witness-tampering.\u003c/p>\n\u003cp>These gruesome details should be a wake-up call for industry gatekeepers, whose continued silence on the matter is deafening. \u003c/p>\n\u003cfigure id=\"attachment_13808602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-800x516.jpg\" alt=\"XXXTentacion's latest album, '17,' was released by San Francisco-based Empire. \" width=\"800\" height=\"516\" class=\"size-medium wp-image-13808602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Empire.XXXtentacion.jpg 957w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">XXXTentacion’s latest album, ’17,’ was released by San Francisco-based Empire. \u003ccite>(@EMPIRE / IG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The debate of whether we should separate art from artist is a long and sticky one: How many of us are disturbed by the accusations of sexual abuse against R. Kelly but still can’t help but “Step in the Name of Love”? And how many of us forget Rihanna’s bruised face when we hum along to Chris Brown’s “Loyal”? For many, it’s difficult to sever allegiance to an artist after years or even decades of fandom. Our love of these artists’ work, coupled with implicit gender bias, often prevents us from holding them accountable. \u003c/p>\n\u003caside class=\"pullquote alignright\">Right now, the wheels of the music industry are turning to make viral upstarts like XXXTentacion into idols through record deals, PR campaigns, and prominent bookings.\u003c/aside>\n\u003cp>But this pattern of normalizing domestic violence and sexual abuse in the entertainment industry has to end somewhere. Perhaps the generations of people raised on R. Kelly will never fully turn their backs on his music. But people in powerful positions in today’s industry also have a responsibility not to make icons out of a new generation of abusers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Well before his accuser’s deposition was published on Pitchfork, it was known that XXXTentacion faced an October trial for allegedly beating a pregnant woman. And yet the San Francisco record label \u003ca href=\"https://www.empi.re/\" target=\"_blank\" rel=\"noopener\">Empire\u003c/a> — whose roster includes progressive, feminist singer Goapele — still put out \u003cem>17\u003c/em>. (Empire did not respond to KQED’s request for comment about the future of its relationship with XXXTentacion.) \u003c/p>\n\u003cp>Furthermore, the rap tour \u003ca href=\"http://www.rollingloud.com/\" target=\"_blank\" rel=\"noopener\">Rolling Loud\u003c/a>, which makes its Bay Area stop at Shoreline Pavilion on Oct. 21–22, features XXXTentacion and two other accused abusers: Famous Dex and Kodak Black. A \u003ca href=\"http://www.complex.com/music/2016/09/shocking-footage-shows-famous-dex-assaulting-woman\" target=\"_blank\" rel=\"noopener\">surveillance video\u003c/a> circulated last year of Famous Dex chasing and beating a woman in a hallway; and there’s an \u003ca href=\"http://www.thefader.com/2016/11/30/kodak-blacks-sexual-battery-accusation-case\" target=\"_blank\" rel=\"noopener\">ongoing sexual battery case\u003c/a> against Kodak Black along with \u003ca href=\"http://www.thefader.com/2017/04/05/kodak-black-assault-miami-strip-club\" target=\"_blank\" rel=\"noopener\">new allegations of him assaulting a female bartender\u003c/a> at a Miami strip club. (The organizers of Rolling Loud also did not comment on the matter when contacted by KQED.)\u003c/p>\n\u003cfigure id=\"attachment_13808601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/KodakBlack-800x533.jpg\" alt=\"Kodak Black attends the 2017 MTV Video Music Awards at The Forum on August 27, 2017 in Inglewood, California. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13808601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/KodakBlack.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kodak Black attends the 2017 MTV Video Music Awards at The Forum on August 27, 2017 in Inglewood, California. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These artists have faced some backlash — most notably from comedian \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7934250/eric-andre-comedian-twitter-rant-kodak-black-xxxtentacion\" target=\"_blank\" rel=\"noopener\">Eric Andre\u003c/a> — but their careers have continued almost undisturbed. Part of the reason is that XXXTentacion, Kodak Black, and Famous Dex’s followings skew largely young and male. And in a country \u003ca href=\"https://www.nytimes.com/2015/10/15/us/california-high-schools-sexual-consent-classes.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">that lacks progressive, consent-based sex education\u003c/a>, those fans might not fully comprehend the gravity of the allegations. But the onus is not solely on the fans: right now, the wheels of the music industry are turning to make viral upstarts like XXXTentacion into idols through record deals, PR campaigns, and prominent bookings. \u003c/p>\n\u003cp>It’s one thing for a viral Soundcloud hit like “Look At Me” to propel XXXTentacion into the public eye. But festival curators, record executives, and editors at tastemaking publications like \u003cem>XXL\u003c/em> have the power to turn a fleeting 15 minutes of viral fame into a long-term, mainstream career, and they need to wield that power wisely. There are plenty of other buzzed-about, up-and-coming artists who haven’t been accused of domestic violence or sexual assault who industry gatekeepers can choose for these lucrative, career-defining opportunities. \u003c/p>\n\u003cfigure id=\"attachment_13808618\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/xxxtentacion.gif\" alt=\"XXXTentacion during his XXL Freshman Freestyle.\" width=\"480\" height=\"270\" class=\"size-full wp-image-13808618\">\u003cfigcaption class=\"wp-caption-text\">XXXTentacion during his XXL Freshman Freestyle.\u003c/figcaption>\u003c/figure>\n\u003cp>“Booking a show or running a music label is an imperfect science, but it involves a lot of really deliberate decisions,” said Will Bundy, the co-founder of culture blog \u003ca href=\"http://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a> and its popular Oakland festival, Feels. “When you see XXX on a bill — or you see Famous Dex, or you see R. Kelly on a bill — someone is writing a check. You’re making the conscious decision to put money in that person’s pocket. If you have the luxury of choice and a big budget, I can’t imagine why you’d feel like you can’t avoid people who do these disgusting things.”\u003c/p>\n\u003cp>Hip-hop is a notoriously male-dominated industry, so male artists who use their platforms to speak out against gender-based violence can have a powerful impact. For instance, rape accusations against A$AP Mob-adjacent fashion stylist Ian Connor went largely ignored — despite the fact that several alleged victims came forward — \u003ca href=\"http://www.thefader.com/2016/06/23/theophilus-london-calls-ian-connor-rapist\" target=\"_blank\" rel=\"noopener\">until rapper Theophilus London called him out\u003c/a> on Twitter last year. The beef with London — and the press it generated — made Connor’s name synonymous with sexual assault, and Connor has since receded from the public eye. \u003c/p>\n\u003cp>Since the release of his accuser’s deposition on Pitchfork, public condemnation of XXXTentacion has become louder. Stefan Aguilar, a.k.a. DJ Aux Cord of the popular Bay Area DJ collective \u003ca href=\"http://anotherpartyfam.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Another Party Fam\u003c/a>, tweeted that he will personally unplug the laptop of any DJ who plays XXXTentacion or Kodak Black at his parties, which draw thousands of attendees every first Friday.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">AYE \u003ca href=\"https://twitter.com/xxxtentacion\">@XXXTENTACION\u003c/a> AND \u003ca href=\"https://twitter.com/KodakBlack1k\">@KODAKBLACK1K\u003c/a> CAN NO LONGER BE PLAYED AT \u003ca href=\"https://twitter.com/AnotherPartyFam\">@ANOTHERPARTYFAM\u003c/a> PARTIES – I WILL PERSONALLY UNPLUG YOUR LAPTOP IF YOU TRY!!!\u003c/p>\n\u003cp>— DJ AUX CORD (@heyauxcord) \u003ca href=\"https://twitter.com/heyauxcord/status/906353381802782720\">September 9, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Aguilar had known about the domestic abuse allegations, but “I didn’t know how heavy it was ’til I read the article that just came out,” he said when reached by phone. “The biggest thing is that the majority of our guests are women. And we have girls in our collective, so we have to make sure that everyone is comfortable.”\u003c/p>\n\u003cp>“Abuse is so ‘normal’ in the music industry,” tweeted Richmond singer Rayana Jay the day the deposition was published on Pitchfork, adding that “It’s a cycle that’s been going on forever. [It] has to stop.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Abuse is so \"normal\" in the music industry and it's fucking sickening. It's a cycle that's been going on forever. Has to stop\u003c/p>\n\u003cp>— BAD MOM (@RayanaJay) \u003ca href=\"https://twitter.com/RayanaJay/status/906268315491852288\">September 8, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>As for XXXTentacion, he still hasn’t shown remorse — or indicated in any way that he takes domestic violence seriously. He responded to the allegations with \u003ca href=\"https://www.vibe.com/2017/09/xxxtentacion-disturbing-response-domestic-abuse/?utm_source=twitter&utm_medium=social&utm_campaign=timeline\" target=\"_blank\" rel=\"noopener\">an explicit Instagram video\u003c/a> where he threatened his accusers with more sexual violence. “I’ma f–k y’all little sisters in they throats, I swear to God. I swear to God, everybody that called me a domestic abuser, I’m finna domestically abuse y’all little sister p—y from the back.”\u003c/p>\n\u003cp>His response speaks for itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Grant Hart, Hüsker Dü Drummer and Songwriter, is Dead at 56",
"headTitle": "Grant Hart, Hüsker Dü Drummer and Songwriter, is Dead at 56 | KQED",
"content": "\u003cp>Grant Hart, a drummer and songwriter best-known as a member of Minneapolis’ widely influential punk trio, Hüsker Dü, died Wednesday night at the University of Minnesota Medical Center of complications from liver cancer and hepatitis, his wife, Brigid McGough, confirmed to NPR. He was 56 years old.\u003c/p>\n\u003cp>The seed of Hüsker Dü — named after a phonetic game its members played with the Talking Heads song “Psycho Killer” — germinated in 1978, when the band’s eventual guitarist and singer Bob Mould met Hart while the latter was working at a record store called Cheapo near Macalester College in St. Paul, Minn., where Mould was in school. As Mould described in his memoir, \u003cem>See A Little Light,\u003c/em> Hart closed the store after Mould mentioned he played guitar: “I’m gonna close the store and I wanna go see you play right now.”\u003c/p>\n\u003cp>That pairing, with the addition of bassist Greg Norton, began 10 years of collaboration that saw Hüsker Dü transition from speed-obsessed hardcore punks to the architects of the melodic, high-concept double album \u003cem>Zen Arcade\u003c/em>. The trio’s final album, \u003cem>Warehouse: Songs & Stories, \u003c/em>was a relatively bright and melodic piece that would help define the sound of alternative and college rock for nearly a decade after.\u003c/p>\n\u003cp>The health of Hart and Mould’s relationship as co-songwriters was inversely proportional to Hüsker Dü’s success. Healthy competition was a principal driving force of the band, but as Mould became the group’s manager following the suicide of David Savoy, the acrimony between them increased. Hart slipped into heavier drug use around 1986, particularly heroin (amphetamines were openly shared among the group’s members, according to Mould in his book). In 1988, the group split following an attempted intervention at the house of Hart’s parents. “We’re lucky we got out of it with our lives,” Hart told the filmmaker Gorman Bechard for \u003ca href=\"https://vimeo.com/ondemand/51351\">Every Everything\u003c/a>, a documentary on Hart’s life.\u003c/p>\n\u003cp>In contrast to the fierce salt of Mould, Hart’s songwriting often looked skyward, melodic and heady, typified in “Turn on the News.” His solo work would showcase the same reflective, tender sensibilities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We stayed in contact over the next 29 years — sometimes peaceful, sometimes difficult, sometimes through go-betweens,” \u003ca href=\"https://www.facebook.com/bobmouldmusic/photos/a.440776305698.243232.45470330698/10155650510815699/?type=3&theater\" target=\"_blank\" rel=\"noopener\">wrote Mould\u003c/a> in a remembrance posted on Facebook Thursday morning. “For better or worse, that’s how it was, and occasionally that’s what it is when two people care deeply about everything they built together.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eoKeH7JYE48\u003c/p>\n\u003cp>Hart’s final show, held this past July 1 at the Hook and Ladder Theater in Minneapolis, was actually a surprise tribute to him that featured Soul Asylum’s Dave Pirner, Babes In Toyland’s Lori Barbero and others.\u003c/p>\n\u003cp>“I carried my guitar in, and it was like this sea of faces turning to me with great affection. There’s not too many big surprises that have been successfully thrown at me, but that was definitely one,” he \u003ca href=\"https://blog.thecurrent.org/2017/09/songwriter-and-husker-du-founder-grant-hart-passes-away-at-56/\" target=\"_blank\" rel=\"noopener\">told Andrea Swensson\u003c/a> of member station The Current in what would be his final interview.\u003c/p>\n\u003cp>Hart was born in St. Paul in 1961, the youngest of three children. After his elder brother was killed by a drunken driver, Hart began playing his drum set, going on to play in various bands before founding Hüsker Dü with Mould and Norton.\u003c/p>\n\u003cp>Following the world tours and the frenetic Hüsker years, Hart continued to release music under his given name and with Nova Mob, which shared a chuggy, pristine, punk-rooted sensibility with contemporaries like Lungfish. He was a constant presence in the clubs and stage-equipped bars of Minneapolis and St. Paul, floating through crowds whether he was performing, often solo with a guitar, or not. Possessing a silver tongue with a flair for self-aggrandizement, Hart was always happy to hold forth with interlocutors, regardless of their source.\u003c/p>\n\u003cp>Ken Shipley, head of the Numero Group reissue label, which recently announced a years-in-the-making box set of remastered material from Hüsker’s aggressive early years, describes Hart as loving “to stir the peanut butter” and “disarming and masterminding all at once.”\u003c/p>\n\u003cp>As Hart told \u003ca href=\"https://thumped.com/features/interviews/grant-hart-all-of-my-old-friends-are-assholes/\">Thumped\u003c/a>\u003cem> \u003c/em>in 2012: “Any music that was ever broadcast is right now heading further into space at light speed.” His and Hüsker’s work might get there before everyone else. \u003c/p>\n\u003cp>\u003ci>Watch Grant Hart play live on KEXP in 2011:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rl7mtCQbVf4\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Grant+Hart%2C+H%C3%BCsker+D%C3%BC+Drummer+And+Songwriter%2C+Is+Dead+At+56&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Hart, who wrote songs like \"Turn on the News\" for the influential Minneapolis band and went on to become a fixture of the city after the band's dissolution, battled cancer publicly for many years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grant Hart, a drummer and songwriter best-known as a member of Minneapolis’ widely influential punk trio, Hüsker Dü, died Wednesday night at the University of Minnesota Medical Center of complications from liver cancer and hepatitis, his wife, Brigid McGough, confirmed to NPR. He was 56 years old.\u003c/p>\n\u003cp>The seed of Hüsker Dü — named after a phonetic game its members played with the Talking Heads song “Psycho Killer” — germinated in 1978, when the band’s eventual guitarist and singer Bob Mould met Hart while the latter was working at a record store called Cheapo near Macalester College in St. Paul, Minn., where Mould was in school. As Mould described in his memoir, \u003cem>See A Little Light,\u003c/em> Hart closed the store after Mould mentioned he played guitar: “I’m gonna close the store and I wanna go see you play right now.”\u003c/p>\n\u003cp>That pairing, with the addition of bassist Greg Norton, began 10 years of collaboration that saw Hüsker Dü transition from speed-obsessed hardcore punks to the architects of the melodic, high-concept double album \u003cem>Zen Arcade\u003c/em>. The trio’s final album, \u003cem>Warehouse: Songs & Stories, \u003c/em>was a relatively bright and melodic piece that would help define the sound of alternative and college rock for nearly a decade after.\u003c/p>\n\u003cp>The health of Hart and Mould’s relationship as co-songwriters was inversely proportional to Hüsker Dü’s success. Healthy competition was a principal driving force of the band, but as Mould became the group’s manager following the suicide of David Savoy, the acrimony between them increased. Hart slipped into heavier drug use around 1986, particularly heroin (amphetamines were openly shared among the group’s members, according to Mould in his book). In 1988, the group split following an attempted intervention at the house of Hart’s parents. “We’re lucky we got out of it with our lives,” Hart told the filmmaker Gorman Bechard for \u003ca href=\"https://vimeo.com/ondemand/51351\">Every Everything\u003c/a>, a documentary on Hart’s life.\u003c/p>\n\u003cp>In contrast to the fierce salt of Mould, Hart’s songwriting often looked skyward, melodic and heady, typified in “Turn on the News.” His solo work would showcase the same reflective, tender sensibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We stayed in contact over the next 29 years — sometimes peaceful, sometimes difficult, sometimes through go-betweens,” \u003ca href=\"https://www.facebook.com/bobmouldmusic/photos/a.440776305698.243232.45470330698/10155650510815699/?type=3&theater\" target=\"_blank\" rel=\"noopener\">wrote Mould\u003c/a> in a remembrance posted on Facebook Thursday morning. “For better or worse, that’s how it was, and occasionally that’s what it is when two people care deeply about everything they built together.”\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/eoKeH7JYE48'\n title='//www.youtube.com/embed/eoKeH7JYE48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hart’s final show, held this past July 1 at the Hook and Ladder Theater in Minneapolis, was actually a surprise tribute to him that featured Soul Asylum’s Dave Pirner, Babes In Toyland’s Lori Barbero and others.\u003c/p>\n\u003cp>“I carried my guitar in, and it was like this sea of faces turning to me with great affection. There’s not too many big surprises that have been successfully thrown at me, but that was definitely one,” he \u003ca href=\"https://blog.thecurrent.org/2017/09/songwriter-and-husker-du-founder-grant-hart-passes-away-at-56/\" target=\"_blank\" rel=\"noopener\">told Andrea Swensson\u003c/a> of member station The Current in what would be his final interview.\u003c/p>\n\u003cp>Hart was born in St. Paul in 1961, the youngest of three children. After his elder brother was killed by a drunken driver, Hart began playing his drum set, going on to play in various bands before founding Hüsker Dü with Mould and Norton.\u003c/p>\n\u003cp>Following the world tours and the frenetic Hüsker years, Hart continued to release music under his given name and with Nova Mob, which shared a chuggy, pristine, punk-rooted sensibility with contemporaries like Lungfish. He was a constant presence in the clubs and stage-equipped bars of Minneapolis and St. Paul, floating through crowds whether he was performing, often solo with a guitar, or not. Possessing a silver tongue with a flair for self-aggrandizement, Hart was always happy to hold forth with interlocutors, regardless of their source.\u003c/p>\n\u003cp>Ken Shipley, head of the Numero Group reissue label, which recently announced a years-in-the-making box set of remastered material from Hüsker’s aggressive early years, describes Hart as loving “to stir the peanut butter” and “disarming and masterminding all at once.”\u003c/p>\n\u003cp>As Hart told \u003ca href=\"https://thumped.com/features/interviews/grant-hart-all-of-my-old-friends-are-assholes/\">Thumped\u003c/a>\u003cem> \u003c/em>in 2012: “Any music that was ever broadcast is right now heading further into space at light speed.” His and Hüsker’s work might get there before everyone else. \u003c/p>\n\u003cp>\u003ci>Watch Grant Hart play live on KEXP in 2011:\u003c/i>\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/Rl7mtCQbVf4'\n title='//www.youtube.com/embed/Rl7mtCQbVf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 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=Grant+Hart%2C+H%C3%BCsker+D%C3%BC+Drummer+And+Songwriter%2C+Is+Dead+At+56&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The week on the Do List we welcome co-host Eli Wirtschafter, a musician, theater person, and contributing reporter for KQED! Listen to the picks above, and click through for more details on each show below.\u003c/p>\n\u003cp>\u003cstrong>Sept. 21-26:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWbU\" target=\"_blank\" rel=\"noopener noreferrer\">Songs from a folk-singing nomad now settled in Los Angeles\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 17:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWc5\" target=\"_blank\" rel=\"noopener noreferrer\"> A million much-needed, free laughs at Comedy Day in Golden Gate Park\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 23 &24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWbH\" target=\"_blank\" rel=\"noopener noreferrer\">A dance company explores the story of Moses and the exodus through an African American lens\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aug. 25-Jan. 14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW3L\" target=\"_blank\" rel=\"noopener noreferrer\">A San Jose Museum show that welcomes selfies and explores their long history in photography\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 16: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWc8\" target=\"_blank\" rel=\"noopener noreferrer\">A hip-hop oratorio for challenging times from Ensemble Mik Nawooj\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 21:\u003c/strong> \u003ca href=\"https://www.loscenzontles.com/tourdates/one-lobo-one-night-david-hidalgo-w-los-cenzontles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Los Cenzontles play a show on their home stage in San Pablo, with guest David Hidalgo of Los Lobos\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 26: \u003c/strong>\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/sam-amidon/\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Amidon brings his serious folk songs and deadpan humor to Cafe du Nord\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Oakland musician, composer and band leader \u003c/span>\u003cspan style=\"font-weight: 400\">Joowan\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Kim is always ambitious, a hip-hop artist with classical rigor. Witness his newest effort, a hip hop oratorio called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Death Become Life, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">written for his\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"http://www.ensemblemiknawooj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ensemble Mik Nawooj\u003c/a>, involving turf dancing, DJs and rappers, and a variation on the story of Orpheus and Eurydice — it’s about a girl trying to reclaim her life after the death of her boyfriend, and her journey to an underground party in search of his spirit.\u003c/span>\u003c/p>\n\u003cp>Joowan Kim told me he built the oratorio around what he called a prayer. “\u003cb>\u003ci>\u003c/i>\u003c/b>May good conquer evil, may light banish darkness and death become life,” something he said he wrote after losing his mother, grandfather and girlfriend in the same three-month period. “And we are very aware,” Kim continued, “of the environmental changes going on, and political changes, this horrible time. And we want to contribute to the positive transformation. And it’s inevitable actually, otherwise we will die, ‘we’ as in humanity.”\u003c/p>\n\u003cp>The music, including deconstructions of classic hip-hop from decades past, is more buoyant and optimistic than that description may sound. Witness the video below, or better yet, see the show at \u003ca href=\"https://proartsgallery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pro Arts Gallery in Oakland\u003c/a>. It’s cheap — just $5. \u003ca href=\"https://proartsgallery.org/event/ensemble-mik-nawooj-death-become-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q6PfGFDNGN0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Bedouine is\u003cspan style=\"font-weight: 400\"> the stage name of Azniv Korkejian,\u003c/span>\u003cspan style=\"font-weight: 400\"> an Armenian born in Syria who’s settled now in Los Angeles, and she’s one of the few singer-songwriters working today who really sounds like a folk musician, with a voice right to the soul. My Do List co-host this week, Eli Wirtschafter, says it’s been a while since he’s fallen in love with a musician like he has with Bedouine, and he loves the lush arrangements on her debut CD. Fascinating side note: she did the music editing on \u003ca href=\"http://www.thebigsickmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kumail Najiani’s \u003cem>The Big Sick\u003c/em>\u003c/a>, the sleeper comedy hit of this past summer. She’s at Harlow’s in Sacramento Sept. 21, Sweetwater in Mill Valley Sept. 24, and Freight and Salvage in Berkeley Sept. 26. \u003ca href=\"https://www.bedouinemusic.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6p-OFHW5WGA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In \u003ca href=\"https://www.topsyturvycircus.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Paradise: Return to Aja\u003c/em>\u003c/a>, the Afrofuturist sci-fi play that ran at San Francisco’s Brava Theater during Pride month, \u003ca href=\"https://soundcloud.com/saturnrisingsf\" target=\"_blank\" rel=\"noopener\">Saturn Rising\u003c/a> (Saturn Jones) strutted onto the stage draped in colorful fabrics, braids whipping around as they twirled, dipped, and sashayed. The role of Aja, a non-binary deity that exists in a universe of one’s own creation, couldn’t have been more fitting for the multi-faceted, gender-non-conforming artist.\u003c/p>\n\u003cp>“[Aja] was this god of living your complete truth and being so full of your light, so I was like, ‘Oh, of course that’s me,’” says Saturn — who goes by the pronoun “they” — when we meet after a studio session in Oakland. Dressed casually in athletic leggings and a mesh jersey, Saturn’s faux-dreadlocks are wrapped in a colorful scarf — a look that exemplifies the constant interplay of masculine and feminine in their work. \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/331807515″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Saturn has long been a champion of androgynous self-expression, with a vibrant presence as a dancer and self-styled fashion icon in the Bay Area’s LGBTQ nightlife scene well before they started making music. A native of Hercules, an East Bay suburb between Richmond and Vallejo, Saturn flocked to San Francisco’s club scene immediately after turning 18. Go-go gigs came first, but they later developed an identity as a boundary-pushing dancer and performance artist who was much more than eye candy for the club. They’ve performed at popular queer parties like Swagger Like Us, opened for big-name artists like L1ef and Big Freedia, and created multi-media performance art pieces for \u003ca href=\"http://codame.com/\" target=\"_blank\" rel=\"noopener\">Codame Art+Tech\u003c/a> and other art events. \u003c/p>\n\u003cp>All of these accomplishments paved the way for Saturn to break into the local music scene. After releasing a string of singles and music videos over the past two years, last month finally brought a debut EP, \u003cem>Darkest Dream\u003c/em>, on \u003ca href=\"http://www.sfchronicle.com/music/article/Molly-House-Records-aims-to-take-LGBTQ-artists-11100671.php\" target=\"_blank\" rel=\"noopener\">Molly House Records\u003c/a>, a San Francisco label that champions the work of LGBTQ pop, rap, and electronic artists from both coasts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/FAApLDVkXrs\u003c/p>\n\u003cp>“Since I took my first go-go gig at Blow Up, I’ve wanted to do music,” Saturn says, referring to a popular 18+ club night that was synonymous with San Francisco’s indie-electro scene in the 2000s. “It was always the goal to get confident by performing on stage in my underwear.”\u003c/p>\n\u003cp>\u003cem>Darkest Dream\u003c/em> is sensual, sexy, and sinister: On its opening, titular track, gritty synths slink over a big, spacious beat, calling to mind the trip-hop influences of avant-pop artists like FKA Twigs. Saturn’s coos and pouts are audible as they sing their manifesto of self-love and self-confidence: “Can I be real and still keep my appeal?/Or do I have to worry about how I appear?/Not giving into these massive fears/I take a step even if it’s not clear,” they talk-sing in a breathy voice barely above a whisper. \u003c/p>\n\u003cp>Other tracks on the EP showcase Saturn’s range of pop and dance music sensibilities. “FUKWITME,” produced by Molly House co-founder davOmakesbeats, is a cathartic dancefloor anthem that conjures visions of the club as a sacred space to let go and feel free. Its suspenseful synth melody builds to a hypnotic hook, exploding into an amped-up, four-on-the-floor instrumental breakdown speckled with steel drums. “Blown,” featuring San Francisco singer Bobbi Rohs, is dreamy future-R&B: sweet yet seductive, with a swaying melody that contrasts with the rest of the project’s darker club sound. \u003c/p>\n\u003cp>https://youtu.be/DcSdG97hvsI\u003c/p>\n\u003cp>The courage it takes to be one’s authentic self is a major theme in Saturn’s work, and the singer explained that it came of an arduous journey of self-acceptance. “\u003cem>Darkest Dream\u003c/em> was literally me seeing myself in my light. Over time, any minority group, any queer person, any woman has been told not to dream as high as they want to, to be as big as they want to be, and to live as greatly as they want to be. This album, this project is my darkest dream — like the thing I thought I couldn’t do, I’m doing it.”\u003c/p>\n\u003cp>Though Saturn projects an ultra-bold persona, it took a long time to embody gender expression with such confidence. They recalled once being scared to leave the house with colorful hair extensions — which are now a hallmark of their look — or to open up to others in relationships. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"https://www.topsyturvycircus.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Paradise: Return to Aja\u003c/em>\u003c/a>, the Afrofuturist sci-fi play that ran at San Francisco’s Brava Theater during Pride month, \u003ca href=\"https://soundcloud.com/saturnrisingsf\" target=\"_blank\" rel=\"noopener\">Saturn Rising\u003c/a> (Saturn Jones) strutted onto the stage draped in colorful fabrics, braids whipping around as they twirled, dipped, and sashayed. The role of Aja, a non-binary deity that exists in a universe of one’s own creation, couldn’t have been more fitting for the multi-faceted, gender-non-conforming artist.\u003c/p>\n\u003cp>“[Aja] was this god of living your complete truth and being so full of your light, so I was like, ‘Oh, of course that’s me,’” says Saturn — who goes by the pronoun “they” — when we meet after a studio session in Oakland. Dressed casually in athletic leggings and a mesh jersey, Saturn’s faux-dreadlocks are wrapped in a colorful scarf — a look that exemplifies the constant interplay of masculine and feminine in their work. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/331807515″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/playlists/331807515″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Saturn has long been a champion of androgynous self-expression, with a vibrant presence as a dancer and self-styled fashion icon in the Bay Area’s LGBTQ nightlife scene well before they started making music. A native of Hercules, an East Bay suburb between Richmond and Vallejo, Saturn flocked to San Francisco’s club scene immediately after turning 18. Go-go gigs came first, but they later developed an identity as a boundary-pushing dancer and performance artist who was much more than eye candy for the club. They’ve performed at popular queer parties like Swagger Like Us, opened for big-name artists like L1ef and Big Freedia, and created multi-media performance art pieces for \u003ca href=\"http://codame.com/\" target=\"_blank\" rel=\"noopener\">Codame Art+Tech\u003c/a> and other art events. \u003c/p>\n\u003cp>All of these accomplishments paved the way for Saturn to break into the local music scene. After releasing a string of singles and music videos over the past two years, last month finally brought a debut EP, \u003cem>Darkest Dream\u003c/em>, on \u003ca href=\"http://www.sfchronicle.com/music/article/Molly-House-Records-aims-to-take-LGBTQ-artists-11100671.php\" target=\"_blank\" rel=\"noopener\">Molly House Records\u003c/a>, a San Francisco label that champions the work of LGBTQ pop, rap, and electronic artists from both coasts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/FAApLDVkXrs'\n title='//www.youtube.com/embed/FAApLDVkXrs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Since I took my first go-go gig at Blow Up, I’ve wanted to do music,” Saturn says, referring to a popular 18+ club night that was synonymous with San Francisco’s indie-electro scene in the 2000s. “It was always the goal to get confident by performing on stage in my underwear.”\u003c/p>\n\u003cp>\u003cem>Darkest Dream\u003c/em> is sensual, sexy, and sinister: On its opening, titular track, gritty synths slink over a big, spacious beat, calling to mind the trip-hop influences of avant-pop artists like FKA Twigs. Saturn’s coos and pouts are audible as they sing their manifesto of self-love and self-confidence: “Can I be real and still keep my appeal?/Or do I have to worry about how I appear?/Not giving into these massive fears/I take a step even if it’s not clear,” they talk-sing in a breathy voice barely above a whisper. \u003c/p>\n\u003cp>Other tracks on the EP showcase Saturn’s range of pop and dance music sensibilities. “FUKWITME,” produced by Molly House co-founder davOmakesbeats, is a cathartic dancefloor anthem that conjures visions of the club as a sacred space to let go and feel free. Its suspenseful synth melody builds to a hypnotic hook, exploding into an amped-up, four-on-the-floor instrumental breakdown speckled with steel drums. “Blown,” featuring San Francisco singer Bobbi Rohs, is dreamy future-R&B: sweet yet seductive, with a swaying melody that contrasts with the rest of the project’s darker club sound. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DcSdG97hvsI'\n title='//www.youtube.com/embed/DcSdG97hvsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The courage it takes to be one’s authentic self is a major theme in Saturn’s work, and the singer explained that it came of an arduous journey of self-acceptance. “\u003cem>Darkest Dream\u003c/em> was literally me seeing myself in my light. Over time, any minority group, any queer person, any woman has been told not to dream as high as they want to, to be as big as they want to be, and to live as greatly as they want to be. This album, this project is my darkest dream — like the thing I thought I couldn’t do, I’m doing it.”\u003c/p>\n\u003cp>Though Saturn projects an ultra-bold persona, it took a long time to embody gender expression with such confidence. They recalled once being scared to leave the house with colorful hair extensions — which are now a hallmark of their look — or to open up to others in relationships. But through pursuing their art, they’ve began to let go of those fears and hope their listeners will do the same. \u003c/p>\n\u003cp>“The theme of getting to my darkest dream is getting over my bullshit — all my fears, all my walls, all my masks,” Saturn says. \u003c/p>\n\u003cp>“I want to be the lightest version of myself that I can be — the brightest, shiniest version of myself — because that’s not where I started.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hardly Strictly Lineup: Cheap Trick, Big Freedia, Courtney Barnett, More",
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"content": "\u003cp>It seems like just yesterday that hundreds of thousands of music lovers stormed Golden Gate Park for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> — and now it’s time to do it all over again for the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place Oct. 6-8. As its name suggests, Hardly Strictly once featured exclusively bluegrass, but in recent years the free festival has diversified its roster to include hip-hop, classic rock, Afrobeat, and a slew of other genres. \u003c/p>\n\u003cp>Festival mainstays like Emmylou Harris, Steve Earle, Buddy Miller, Hot Tuna and Conner Oberst are back on the lineup, but there are also plenty of surprises. See Hardly Strictly’s full lineup — over 100 acts — \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read more for five unexpected acts not to miss at its 17th edition.\u003c/p>\n\u003ch3>Kurt Vile and Courtney Barnett\u003c/h3>\n\u003cp>https://youtu.be/3KNsBCf34fQ\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/kurtvile\" target=\"_blank\" rel=\"noopener\">Kurt Vile\u003c/a>, former guitarist for The War on Drugs-turned-solo songwriter, is a long-haired rocker whose reverb-laden chillwave tunes conjure images of skipping class to smoke cigarettes at the skatepark. He recently teamed up with \u003ca href=\"https://soundcloud.com/courtney-barnett-milk\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, an Australian singer-songwriter who makes high-energy garage rock, for a forthcoming collaborative album called \u003ca href=\"http://courtneybarnettandkurtvile.com/home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lotta Sea Lice\u003c/em>\u003c/a>. Together, they’ve developed a twangy, country-rock sound that still contains the same disaffected swagger of their solo work. \u003c/p>\n\u003ch3>Big Freedia\u003c/h3>\n\u003cp>https://youtu.be/fMQGqOg4lDw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia\u003c/a> is the queen diva of New Orleans bounce music, the rump-shaking hip-hop subgenre that gave rise to twerking as we know it today. The bold, gender-nonconforming artist has always represented NoLa’s queer club culture. An annual mainstay at Outside Lands, and longtime underground favorite, she recently broke into the mainstream with “\u003ca href=\"https://www.youtube.com/watch?v=bHNiNP3hDkU\" target=\"_blank\" rel=\"noopener\">Drop\u003c/a>,” a collaboration with Diplo and DJ Snake. \u003c/p>\n\u003ch3>Cheap Trick\u003c/h3>\n\u003cp>https://youtu.be/th370QmFtk8\u003c/p>\n\u003cp>With their classics “Surrender” and “I Want You to Want Me,” \u003ca href=\"http://www.cheaptrick.com/\" target=\"_blank\" rel=\"noopener\">Cheap Trick\u003c/a> helped define the power-pop sound of the ’70s, which is why the Platinum-selling band was rightfully — and \u003ca href=\"http://www.salon.com/2015/04/15/cheap_trick_is_one_of_the_best_rock_bands_ever_why_arent_they_in_the_hall_of_fame/\" target=\"_blank\" rel=\"noopener\">according to some critics\u003c/a>, belatedly — inducted into the Rock & Roll Hall of Fame last year. The band is independent now and still touring, but a free performance from these legends is pretty rare. \u003c/p>\n\u003ch3>Seun Kuti & Egypt 80\u003c/h3>\n\u003cp>https://youtu.be/hADxHPEekqg\u003c/p>\n\u003cp>Nigerian musician \u003ca href=\"https://www.facebook.com/seunkutiofficial/\" target=\"_blank\" rel=\"noopener\">Seun Kuti\u003c/a> was just 14 years old when his father, Afrobeat pioneer Fela Kuti, passed away in 1997. The young man picked up where his dad left off and took the helm of his band, Egypt 80. They now tour the world with their percussive, high-energy, and often political live show, which includes new originals and Fela Kuti classics.\u003c/p>\n\u003ch3>Jello Biafra\u003c/h3>\n\u003cp>https://youtu.be/eIqESwzCGg4\u003c/p>\n\u003cp>As the former frontman of legendary San Francisco band the Dead Kennedys, \u003ca href=\"https://www.facebook.com/jbiafra/\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a> is a Bay Area punk icon who has long been on the political frontlines. In the ’80s, he and his label, Alternative Tentacles, were taken to court for an obscenity charge, an accusation they decried as political censorship (the case was eventually dropped); Biafra is also a member of the Green Party and ran for president in 2000. Today, he’s a staunch critic of the Trump administration and continues to perform solo, both as a musician and spoken word artist. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Our music editor's picks for who to see at the free San Francisco fest — a list of five unlikely acts among the mostly acoustic lineup. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems like just yesterday that hundreds of thousands of music lovers stormed Golden Gate Park for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> — and now it’s time to do it all over again for the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place Oct. 6-8. As its name suggests, Hardly Strictly once featured exclusively bluegrass, but in recent years the free festival has diversified its roster to include hip-hop, classic rock, Afrobeat, and a slew of other genres. \u003c/p>\n\u003cp>Festival mainstays like Emmylou Harris, Steve Earle, Buddy Miller, Hot Tuna and Conner Oberst are back on the lineup, but there are also plenty of surprises. See Hardly Strictly’s full lineup — over 100 acts — \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read more for five unexpected acts not to miss at its 17th edition.\u003c/p>\n\u003ch3>Kurt Vile and Courtney Barnett\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3KNsBCf34fQ'\n title='//www.youtube.com/embed/3KNsBCf34fQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://soundcloud.com/kurtvile\" target=\"_blank\" rel=\"noopener\">Kurt Vile\u003c/a>, former guitarist for The War on Drugs-turned-solo songwriter, is a long-haired rocker whose reverb-laden chillwave tunes conjure images of skipping class to smoke cigarettes at the skatepark. He recently teamed up with \u003ca href=\"https://soundcloud.com/courtney-barnett-milk\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, an Australian singer-songwriter who makes high-energy garage rock, for a forthcoming collaborative album called \u003ca href=\"http://courtneybarnettandkurtvile.com/home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lotta Sea Lice\u003c/em>\u003c/a>. Together, they’ve developed a twangy, country-rock sound that still contains the same disaffected swagger of their solo work. \u003c/p>\n\u003ch3>Big Freedia\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fMQGqOg4lDw'\n title='//www.youtube.com/embed/fMQGqOg4lDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia\u003c/a> is the queen diva of New Orleans bounce music, the rump-shaking hip-hop subgenre that gave rise to twerking as we know it today. The bold, gender-nonconforming artist has always represented NoLa’s queer club culture. An annual mainstay at Outside Lands, and longtime underground favorite, she recently broke into the mainstream with “\u003ca href=\"https://www.youtube.com/watch?v=bHNiNP3hDkU\" target=\"_blank\" rel=\"noopener\">Drop\u003c/a>,” a collaboration with Diplo and DJ Snake. \u003c/p>\n\u003ch3>Cheap Trick\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/th370QmFtk8'\n title='//www.youtube.com/embed/th370QmFtk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With their classics “Surrender” and “I Want You to Want Me,” \u003ca href=\"http://www.cheaptrick.com/\" target=\"_blank\" rel=\"noopener\">Cheap Trick\u003c/a> helped define the power-pop sound of the ’70s, which is why the Platinum-selling band was rightfully — and \u003ca href=\"http://www.salon.com/2015/04/15/cheap_trick_is_one_of_the_best_rock_bands_ever_why_arent_they_in_the_hall_of_fame/\" target=\"_blank\" rel=\"noopener\">according to some critics\u003c/a>, belatedly — inducted into the Rock & Roll Hall of Fame last year. The band is independent now and still touring, but a free performance from these legends is pretty rare. \u003c/p>\n\u003ch3>Seun Kuti & Egypt 80\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hADxHPEekqg'\n title='//www.youtube.com/embed/hADxHPEekqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nigerian musician \u003ca href=\"https://www.facebook.com/seunkutiofficial/\" target=\"_blank\" rel=\"noopener\">Seun Kuti\u003c/a> was just 14 years old when his father, Afrobeat pioneer Fela Kuti, passed away in 1997. The young man picked up where his dad left off and took the helm of his band, Egypt 80. They now tour the world with their percussive, high-energy, and often political live show, which includes new originals and Fela Kuti classics.\u003c/p>\n\u003ch3>Jello Biafra\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eIqESwzCGg4'\n title='//www.youtube.com/embed/eIqESwzCGg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the former frontman of legendary San Francisco band the Dead Kennedys, \u003ca href=\"https://www.facebook.com/jbiafra/\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a> is a Bay Area punk icon who has long been on the political frontlines. In the ’80s, he and his label, Alternative Tentacles, were taken to court for an obscenity charge, an accusation they decried as political censorship (the case was eventually dropped); Biafra is also a member of the Green Party and ran for president in 2000. Today, he’s a staunch critic of the Trump administration and continues to perform solo, both as a musician and spoken word artist. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Death of Local Character Bubbles Leads to Investigation of Strip Club",
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"content": "\u003cp>San Francisco’s LGBTQ scene was reeling Monday after Bubbles, a local DJ, artist and queer activist was shot to death over the weekend near a Tenderloin strip club. The incident has led one San Francisco Supervisor to call for the club, the New Century theater, to be investigated.\u003c/p>\n\u003cp>San Francisco Police say an unknown assailant shot Bubbles near the New Century theater around 2:50am Saturday morning. Doctors pronounced Bubbles dead at the hospital. \u003c/p>\n\u003cp>Police said on Monday that they believe — so far — that the shooting was not a hate crime.\u003c/p>\n\u003cp>On Sunday, social media lit up with remembrances of the beloved character, known for being a ubiquitous presence in San Francisco’s nightlife with dreadlock wigs, outrageously tight shirts, oversized sunglasses and a handlebar mustache.\u003c/p>\n\u003cp>“My heart is breaking for Bubbles,” wrote LGBT activist Tom Temprano \u003ca href=\"https://www.facebook.com/tom.temprano/posts/10102582909276018\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>. “They brought so much energy and light to our nightlife community and are truly irreplaceable.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bubbles, 44, was born Anthony Torres but 20 years ago took on the non-gender-conforming alter ego, often going by the pronoun “they.” Bubbles said in an interview that the persona was a product of San Francisco because in the city “you can get away with doing this.” \u003c/p>\n\u003cp>“It’s an escape from every mundane day, and San Francisco allows me to do that,” Bubbles told the \u003ca href=\"http://www.sfgate.com/bayarea/cityexposed/article/In-tight-times-Bubbles-still-comes-out-to-play-3689328.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em> in 2012\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808141\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Bubbles-3.jpg\" alt=\"Bubbles, poolside\" width=\"960\" height=\"540\" class=\"size-full wp-image-13808141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles at a hot springs. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>48 Hills editor and Bubbles’ former roommate Marke Bieschke says that before the alter ego, Bubbles dressed up only a few nights a week, “satisfied with it as an occasion for dress-up.” But after Bubbles moved out, he resurfaced as the Bubbles the full-time performer.\u003c/p>\n\u003cp>“The defining characteristic of Bubbles was freedom. Everything that you might question yourself doing, Bubbles would immediately go for it,” Bieschke said. “It was exhilarating and shocking and sometimes scary to watch.”\u003c/p>\n\u003cp>But even before he moved to the city, Bubbles was out and fearless. Marcus Wilson, also known as the Seattle-based drag performer Ursula Android, said he grew up with Bubbles in Phoenix, Arizona. The two attended junior high school together, and Wilson says that Bubbles dressed outrageously and never let the predictable bullying bring him down.\u003c/p>\n\u003cp>“Anthony was who I desperately wanted to be, but couldn’t even imagine having the courage to be. Anthony got taunted, chased, beaten up, threatened, and suspended on an almost daily basis, and somehow he really couldn’t care less, even then,” Wilson \u003ca href=\"https://www.facebook.com/marcus.wilson.33633/posts/10155181303126843\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>. “Anthony’s self-confidence and innate belief in theirself was truly awe-inspiring.” \u003c/p>\n\u003cp>In San Francisco, Bubbles became a fixture in the city’s nightlife. They could be seen DJing at a club, selling “\u003ca href=\"http://48hills.org/2017/09/11/tears-and-bubbly-for-bubbles/\" target=\"_blank\" rel=\"noopener\">tranny snow cones\u003c/a>” on the street, or just being a character in the middle of the night. \u003c/p>\n\u003cp>“Someone recently shared a video of Bubbles pretending to vacuum a piece of the Tenderloin at 3am, re-enacting Queen’s ‘\u003ca href=\"https://www.youtube.com/watch?v=f4Mc-NYPHaQ\" target=\"_blank\" rel=\"noopener\">I Want to Break Free\u003c/a>‘ video,” Bieschke said.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://www.instagram.com/p/BY32OkdDC8r/\u003cbr>\n\u003c/aside>\n\u003cp>Bubbles once considered leaving San Francisco after \u003ca href=\"https://ripplenews.com/read/san-francisco/we-need-more-bubbles-in-san-francisco-1309srla\" target=\"_blank\" rel=\"noopener\">being gay-bashed in 2008\u003c/a>, but stayed anyway. Yet at the end of September, Bubbles expected to move to Berlin — which captured the longtime San Franciscan’s imagination as a place where “people still partied like we did in the ’90s.”\u003c/p>\n\u003cp>Instead of a going-away party, Bubbles’ friends will hold a moment of silence at this Wednesday’s \u003ca href=\"https://www.facebook.com/events/827822534058795\" target=\"_blank\" rel=\"noopener\">Housepitality,\u003c/a> the weekly dance party Bubbles was most associated with. \u003c/p>\n\u003cp>“We will never forget the amazing art show he produced for us and all the wonderful moments of fun crazyness and weird that he provided us on our dancefloor, outside of our door and in the scene in general,” the promoters of Housepitality wrote. \u003c/p>\n\u003ch3>New Century Investigation\u003c/h3>\n\u003cp>San Francisco Supervisor Jane Kim says she’s investigating the New Century Theater, near where Bubbles’ body was found. Kim believes the strip club may be connected to a fatal shooting this weekend, and she says that residents have told her that the New Century Theater contributes to crime on the block.\u003c/p>\n\u003cp>“They believe that you know they either don’t act as a steward of the block and allow the drug dealing to go on,” Kim said.\u003c/p>\n\u003cp>Kim also said her investigation could lead to the removal of one of New Century’s business permits.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Additional reporting provided by Sonja Huston.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s LGBTQ scene was reeling Monday after Bubbles, a local DJ, artist and queer activist was shot to death over the weekend near a Tenderloin strip club. The incident has led one San Francisco Supervisor to call for the club, the New Century theater, to be investigated.\u003c/p>\n\u003cp>San Francisco Police say an unknown assailant shot Bubbles near the New Century theater around 2:50am Saturday morning. Doctors pronounced Bubbles dead at the hospital. \u003c/p>\n\u003cp>Police said on Monday that they believe — so far — that the shooting was not a hate crime.\u003c/p>\n\u003cp>On Sunday, social media lit up with remembrances of the beloved character, known for being a ubiquitous presence in San Francisco’s nightlife with dreadlock wigs, outrageously tight shirts, oversized sunglasses and a handlebar mustache.\u003c/p>\n\u003cp>“My heart is breaking for Bubbles,” wrote LGBT activist Tom Temprano \u003ca href=\"https://www.facebook.com/tom.temprano/posts/10102582909276018\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>. “They brought so much energy and light to our nightlife community and are truly irreplaceable.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bubbles, 44, was born Anthony Torres but 20 years ago took on the non-gender-conforming alter ego, often going by the pronoun “they.” Bubbles said in an interview that the persona was a product of San Francisco because in the city “you can get away with doing this.” \u003c/p>\n\u003cp>“It’s an escape from every mundane day, and San Francisco allows me to do that,” Bubbles told the \u003ca href=\"http://www.sfgate.com/bayarea/cityexposed/article/In-tight-times-Bubbles-still-comes-out-to-play-3689328.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em> in 2012\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808141\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Bubbles-3.jpg\" alt=\"Bubbles, poolside\" width=\"960\" height=\"540\" class=\"size-full wp-image-13808141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles at a hot springs. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>48 Hills editor and Bubbles’ former roommate Marke Bieschke says that before the alter ego, Bubbles dressed up only a few nights a week, “satisfied with it as an occasion for dress-up.” But after Bubbles moved out, he resurfaced as the Bubbles the full-time performer.\u003c/p>\n\u003cp>“The defining characteristic of Bubbles was freedom. Everything that you might question yourself doing, Bubbles would immediately go for it,” Bieschke said. “It was exhilarating and shocking and sometimes scary to watch.”\u003c/p>\n\u003cp>But even before he moved to the city, Bubbles was out and fearless. Marcus Wilson, also known as the Seattle-based drag performer Ursula Android, said he grew up with Bubbles in Phoenix, Arizona. The two attended junior high school together, and Wilson says that Bubbles dressed outrageously and never let the predictable bullying bring him down.\u003c/p>\n\u003cp>“Anthony was who I desperately wanted to be, but couldn’t even imagine having the courage to be. Anthony got taunted, chased, beaten up, threatened, and suspended on an almost daily basis, and somehow he really couldn’t care less, even then,” Wilson \u003ca href=\"https://www.facebook.com/marcus.wilson.33633/posts/10155181303126843\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>. “Anthony’s self-confidence and innate belief in theirself was truly awe-inspiring.” \u003c/p>\n\u003cp>In San Francisco, Bubbles became a fixture in the city’s nightlife. They could be seen DJing at a club, selling “\u003ca href=\"http://48hills.org/2017/09/11/tears-and-bubbly-for-bubbles/\" target=\"_blank\" rel=\"noopener\">tranny snow cones\u003c/a>” on the street, or just being a character in the middle of the night. \u003c/p>\n\u003cp>“Someone recently shared a video of Bubbles pretending to vacuum a piece of the Tenderloin at 3am, re-enacting Queen’s ‘\u003ca href=\"https://www.youtube.com/watch?v=f4Mc-NYPHaQ\" target=\"_blank\" rel=\"noopener\">I Want to Break Free\u003c/a>‘ video,” Bieschke said.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://www.instagram.com/p/BY32OkdDC8r/\u003cbr>\n\u003c/aside>\n\u003cp>Bubbles once considered leaving San Francisco after \u003ca href=\"https://ripplenews.com/read/san-francisco/we-need-more-bubbles-in-san-francisco-1309srla\" target=\"_blank\" rel=\"noopener\">being gay-bashed in 2008\u003c/a>, but stayed anyway. Yet at the end of September, Bubbles expected to move to Berlin — which captured the longtime San Franciscan’s imagination as a place where “people still partied like we did in the ’90s.”\u003c/p>\n\u003cp>Instead of a going-away party, Bubbles’ friends will hold a moment of silence at this Wednesday’s \u003ca href=\"https://www.facebook.com/events/827822534058795\" target=\"_blank\" rel=\"noopener\">Housepitality,\u003c/a> the weekly dance party Bubbles was most associated with. \u003c/p>\n\u003cp>“We will never forget the amazing art show he produced for us and all the wonderful moments of fun crazyness and weird that he provided us on our dancefloor, outside of our door and in the scene in general,” the promoters of Housepitality wrote. \u003c/p>\n\u003ch3>New Century Investigation\u003c/h3>\n\u003cp>San Francisco Supervisor Jane Kim says she’s investigating the New Century Theater, near where Bubbles’ body was found. Kim believes the strip club may be connected to a fatal shooting this weekend, and she says that residents have told her that the New Century Theater contributes to crime on the block.\u003c/p>\n\u003cp>“They believe that you know they either don’t act as a steward of the block and allow the drug dealing to go on,” Kim said.\u003c/p>\n\u003cp>Kim also said her investigation could lead to the removal of one of New Century’s business permits.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Additional reporting provided by Sonja Huston.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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