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"content": "\u003cp>After missing two chances to control the compositions he co-authored while in The Beatles — once in 1969 when he and John Lennon were outbid and \u003ca href=\"http://www.billboard.com/articles/news/7263857/paul-mccartney-beatles-songs-publishing\" target=\"_blank\" rel=\"noopener\">again\u003c/a> to Michael Jackson, in a duplicitous move by the King of Pop, in the ’80s — Paul McCartney is not taking any chances.\u003c/p>\n\u003cp>First, the fine print. In the U.S., authors are allowed to regain copyrights they had previously assigned to other parties, such as a music publishing company, after 56 years, a feature of stateside copyright law designed to give late-in-life artists and their families a financial silver lining (not that McCartney needs it). McCartney is \u003cem>extremely\u003c/em> keen, after the previously mentioned burns he sustained, to regain control of his Beatles work — so much so that he filed termination notices, the legal mechanism for him to regain his copyrights, on The Beatles’ “Love Me Do” and “P.S. I Love You,” about 10 years ahead of schedule. (They turn 56 years old in October, 2018.)\u003c/p>\n\u003cp>Despite that due diligence, McCartney is understandably skittish given his track record of failure in this particular area of his business. The pop genius filed suit, in fact, this past January against Sony/ATV — the world’s largest music publisher, which controls much of the Lennon/McCartney songbook — based essentially on a conversation, shared in court documents, in late 2016 during a Billy Joel concert between his lawyer and Sony/ATV chairman and CEO Martin Bandier. The talk seemed to indicate that McCartney’s reclamations, which should be protected by U.S. law, may not go as smoothly as he’d hoped.\u003c/p>\n\u003cp>The pair’s chat focused on a recent U.K. court case in which Sony/ATV successfully prevented members of Duran Duran \u003ca href=\"http://www.billboard.com/articles/business/7597255/duran-duran-loses-copyright-case-britain-us-termination\" target=\"_blank\" rel=\"noopener\">from regaining\u003c/a> control of hit songs they’d signed away to publishers in the ’80s, despite filing notices much as McCartney has. The discussion alarmed McCartney enough that he brought suit against the publishing giant to ensure it wasn’t planning on using the same legal strategy against him next year. The company urged calm.\u003c/p>\n\u003cp>In both an email thread before McCartney sued and in subsequent court documents, Sony/ATV has maintained that it does not plan to challenge the notices McCartney filed to get back his landmark Beatles compositions. Bandier emailed McCartney’s lawyer that “the previously served notices of termination … constitute an effective exercise … and will become effective on the dates stated in the notices.” Sony/ATV also wrote in a court memo Monday (Mar. 13) that it “has never stated that it intends to assert” a claim similar to the one in the Duran Duran case.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the rub, though: The purpose of Sony/ATV’s filing on Mar. 13 was to claim that McCartney’s suit is premature — or “unripe” — since the Duran Duran case in the U.K. in ongoing (it is currently awaiting appeal). Because of this, the publisher wants to have McCartney’s suit against the company dismissed without prejudice (“without” allows McCartney to bring his case again). That the company is looking to dismiss McCartney’s case until Duran Duran’s is finished could, however, is an ominous sign — one that McCartney and his lawyers picked up on, clearly.\u003c/p>\n\u003cp>Sony/ATV maintains it is simply protecting itself by not signing away rights before they’re fully determined via the Duran Duran case — rights it could, ostensibly, use to challenge McCartney’s termination claims in the U.K. Which, again, it says it does not plan on doing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McCartney, wisely given his past copyright failures, isn’t waiting around to find out whether or not Sony/ATV is as benevolent as it claims. \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=Paul+McCartney%2C+Denied+Control+Over+Beatles+Hits+For+Decades%2C+Is+Told+To+Wait&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>It’s an interesting time to be a woman in America. As \u003cem>Saturday Night Live\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=42_fVUFsN8M&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">skillfully depicted last weekend\u003c/a>, gender equality, sexual harassment and the state of women’s rights are at the forefront of everyday conversation like never before — and yet, somehow, it still feels like women rarely get the mic to themselves.\u003c/p>\n\u003cp>Which is part of why music shows featuring all-female lineups, still an embarrassingly rare occurrence in the progressive Bay Area in the year 2017, are such a breath of determined, fresh air. \u003cem>This is our room\u003c/em>, they say. \u003cem>We are physically going to take up this entire stage tonight, all night, with our bodies and our voices and our ideas. \u003c/em>\u003c/p>\n\u003cp>The Great American Music Hall, \u003ca href=\"http://archives.sfweekly.com/sanfrancisco/great-american-music-hall-duke-ellington-ghosts/Content?oid=3226706\" target=\"_blank\" rel=\"noopener\">once a storied burlesque club and brothel\u003c/a> — a kind of, ah, permanent ladies’ night of a different variety? — hosts just such a lineup on Thursday, March 16, with a benefit show for the \u003ca href=\"http://www.bawcc.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Women and Children’s Center\u003c/a>. Headlined by the folk/rock/bossa nova-flecked stylings of \u003ca href=\"https://ww2.kqed.org/pop/2016/09/09/video-premiere-sf-musician-kendra-mckinley-reminds-you-to-do-what-you-want/\" target=\"_blank\" rel=\"noopener\">Kendra McKinley\u003c/a>, the bill also includes the funky collective \u003ca href=\"https://www.facebook.com/RainbowGirlsStomp/\" target=\"_blank\" rel=\"noopener\">Rainbow Girls\u003c/a> (who in 2015 headlined the first all-female bill at the Fillmore, 50 years after Bill Graham started booking shows there), and beachy indie-folk four-piece \u003ca href=\"https://vanwavesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Vanwave\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uzF9sUCsRm0\u003c/p>\n\u003cp>Putting together an all-female bill just felt right for a benefit show supporting women and children, says organizer Brittany Powers, a San Francisco musician who currently sings with a band called The Fell Swoop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The inspiration for this event started from feeling really defeated by our current politics,” says Powers. “I wanted to switch that feeling of large-scale defeat to a smaller scope and focus on my community.”\u003c/p>\n\u003cp>After working in the Tenderloin for the past year, she began researching local nonprofits to get involved with, and soon met with Midge Wilson, the founder of the BAWCC. The organization, now in its 36th year, serves low-income women and families in the Tenderloin through a drop-in resource center, a food pantry, a clothing closet, a parent-child playgroup, and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IHQcw_a6IjY\u003c/p>\n\u003cp>“I was in total awe of [Wilson],” says Powers. “Her tenacity for getting things done against all odds, and her pride in the work she’s doing is inspiring and contagious. BAWCC has created so much space and opportunity for the people in the Tenderloin, which is impressive at a time when gentrification is such a strong force in pushing out underprivileged communities and their resources.”\u003c/p>\n\u003cp>Powers says 100 percent of proceeds from ticket sales will go to BAWCC afterschool programs at Tenderloin Community School, a K-5 school, with a raffle bringing in even more funds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f8gNxHpg0Vw\u003c/p>\n\u003cp>It’s a small drop in the bucket for an underserved population, to be sure. But at a time when it’s all too easy to list the problems facing San Francisco — and yes, the country — there’s something to be said for thinking small, says Powers. “Interacting with so many people in the Bay Area who are so excited about this event, the bands and the work BAWCC is doing has given me so much hope for the future of our city.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kendra McKinley, Rainbow Girls and Vanwave play this Thursday, March 16, 8pm, at the Great American Music Hall in San Francisco. \u003ca href=\"https://www.facebook.com/events/290857264662193/\" target=\"_blank\" rel=\"noopener\">Tickets ($18) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an interesting time to be a woman in America. As \u003cem>Saturday Night Live\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=42_fVUFsN8M&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">skillfully depicted last weekend\u003c/a>, gender equality, sexual harassment and the state of women’s rights are at the forefront of everyday conversation like never before — and yet, somehow, it still feels like women rarely get the mic to themselves.\u003c/p>\n\u003cp>Which is part of why music shows featuring all-female lineups, still an embarrassingly rare occurrence in the progressive Bay Area in the year 2017, are such a breath of determined, fresh air. \u003cem>This is our room\u003c/em>, they say. \u003cem>We are physically going to take up this entire stage tonight, all night, with our bodies and our voices and our ideas. \u003c/em>\u003c/p>\n\u003cp>The Great American Music Hall, \u003ca href=\"http://archives.sfweekly.com/sanfrancisco/great-american-music-hall-duke-ellington-ghosts/Content?oid=3226706\" target=\"_blank\" rel=\"noopener\">once a storied burlesque club and brothel\u003c/a> — a kind of, ah, permanent ladies’ night of a different variety? — hosts just such a lineup on Thursday, March 16, with a benefit show for the \u003ca href=\"http://www.bawcc.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Women and Children’s Center\u003c/a>. Headlined by the folk/rock/bossa nova-flecked stylings of \u003ca href=\"https://ww2.kqed.org/pop/2016/09/09/video-premiere-sf-musician-kendra-mckinley-reminds-you-to-do-what-you-want/\" target=\"_blank\" rel=\"noopener\">Kendra McKinley\u003c/a>, the bill also includes the funky collective \u003ca href=\"https://www.facebook.com/RainbowGirlsStomp/\" target=\"_blank\" rel=\"noopener\">Rainbow Girls\u003c/a> (who in 2015 headlined the first all-female bill at the Fillmore, 50 years after Bill Graham started booking shows there), and beachy indie-folk four-piece \u003ca href=\"https://vanwavesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Vanwave\u003c/a>.\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/uzF9sUCsRm0'\n title='//www.youtube.com/embed/uzF9sUCsRm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Putting together an all-female bill just felt right for a benefit show supporting women and children, says organizer Brittany Powers, a San Francisco musician who currently sings with a band called The Fell Swoop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The inspiration for this event started from feeling really defeated by our current politics,” says Powers. “I wanted to switch that feeling of large-scale defeat to a smaller scope and focus on my community.”\u003c/p>\n\u003cp>After working in the Tenderloin for the past year, she began researching local nonprofits to get involved with, and soon met with Midge Wilson, the founder of the BAWCC. The organization, now in its 36th year, serves low-income women and families in the Tenderloin through a drop-in resource center, a food pantry, a clothing closet, a parent-child playgroup, and more.\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/IHQcw_a6IjY'\n title='//www.youtube.com/embed/IHQcw_a6IjY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I was in total awe of [Wilson],” says Powers. “Her tenacity for getting things done against all odds, and her pride in the work she’s doing is inspiring and contagious. BAWCC has created so much space and opportunity for the people in the Tenderloin, which is impressive at a time when gentrification is such a strong force in pushing out underprivileged communities and their resources.”\u003c/p>\n\u003cp>Powers says 100 percent of proceeds from ticket sales will go to BAWCC afterschool programs at Tenderloin Community School, a K-5 school, with a raffle bringing in even more funds.\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/f8gNxHpg0Vw'\n title='//www.youtube.com/embed/f8gNxHpg0Vw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a small drop in the bucket for an underserved population, to be sure. But at a time when it’s all too easy to list the problems facing San Francisco — and yes, the country — there’s something to be said for thinking small, says Powers. “Interacting with so many people in the Bay Area who are so excited about this event, the bands and the work BAWCC is doing has given me so much hope for the future of our city.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kendra McKinley, Rainbow Girls and Vanwave play this Thursday, March 16, 8pm, at the Great American Music Hall in San Francisco. \u003ca href=\"https://www.facebook.com/events/290857264662193/\" target=\"_blank\" rel=\"noopener\">Tickets ($18) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tommy LiPuma, a record label executive and producer who made recordings with George Benson, Diana Krall, Paul McCartney, Natalie Cole, Dr. John, David Sanborn, Barbra Streisand, Queen Latifah, Leon Russell, Al Jarreau and Miles Davis, died Monday evening in New York City after a brief, undisclosed illness. His death was announced by Regina Joskow, a former colleague, family friend and jazz publicist.\u003c/p>\n\u003cp>Over the course of his career, LiPuma brought his artists — and labels — notable commercial success outside the realm pop albums. The recordings which he produced sold more than 75 million copies in total, including 35 titles that went gold or platinum. They include Natalie Cole’s 1991 album \u003cem>Unforgettable … With Love\u003c/em> (which went seven times platinum); George Benson’s \u003cem>Breezin’ \u003c/em>from 1976, which became a \u003ca href=\"http://www.billboard.com/artist/1489992/george-benson/chart?f=305\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> album on the Billboard 200 Chart; and a string of hits with singer Diana Krall across 11 titles and over 15 million albums sold. Along the way, LiPuma also won five Grammy Awards and earned 33 Grammy nominations.\u003c/p>\n\u003cp>Born July 5, 1936, LiPuma grew up in Cleveland, and played saxophone as a student. His rise in the record business was the result of a very old-school progression through the music industry. As jazz bassist and composer (and \u003cem>\u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener\">Jazz Night in America\u003c/a>\u003c/em> host) Christian McBride \u003ca href=\"http://www.cleveland.com/entertainment/index.ssf/2016/06/diana_krall_al_jarreau_more_se.html\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> at an 80th-birthday celebration concert held last year in LiPuma’s honor, he went from “cutting hair to cutting hit records.”\u003c/p>\n\u003cp>After working as a barber, LiPuma began packing vinyl records at a warehouse. Soon, he was offered a job in Los Angeles as a radio promoter for Liberty Records before taking a job in publishing. He then began to work as a producer on early recordings by performers including The O’Jays and Randy Newman.\u003c/p>\n\u003cp>He was the first staff producer at A&M records, and in the ’60s co-founded the musically eclectic \u003ca href=\"http://www.bsnpubs.com/abc/bluethumb.html\" target=\"_blank\" rel=\"noopener\">Blue Thumb Records\u003c/a> with future Rock and Roll Hall of Fame co-founder Bob Krasnow. He went on to hold executive positions at many of the top American labels that produced jazz, smooth jazz and music aimed at older audiences; they included Warner Bros., Elektra, GRP/Impulse and Verve.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2011, he produced Paul McCartney’s Concord album \u003cem>Kisses On The Bottom\u003c/em>, which won a Grammy for Best Pop Standard Album (Vocal) along with projects with Leon Russell and the trumpeter Dominick Farinacci. His last production was a forthcoming album from Krall entitled \u003cem>Turn Up The Quiet\u003c/em>, which is scheduled for release in May.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LiPuma is survived by his wife, Gill, daughters Jen Monti and Danielle Wiener, and four granchildren: Matty, Julia, Chloe and Ava. \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=Record+Producer+And+Label+Executive+Tommy+LiPuma+Has+Died+At+Age+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tommy LiPuma, a record label executive and producer who made recordings with George Benson, Diana Krall, Paul McCartney, Natalie Cole, Dr. John, David Sanborn, Barbra Streisand, Queen Latifah, Leon Russell, Al Jarreau and Miles Davis, died Monday evening in New York City after a brief, undisclosed illness. His death was announced by Regina Joskow, a former colleague, family friend and jazz publicist.\u003c/p>\n\u003cp>Over the course of his career, LiPuma brought his artists — and labels — notable commercial success outside the realm pop albums. The recordings which he produced sold more than 75 million copies in total, including 35 titles that went gold or platinum. They include Natalie Cole’s 1991 album \u003cem>Unforgettable … With Love\u003c/em> (which went seven times platinum); George Benson’s \u003cem>Breezin’ \u003c/em>from 1976, which became a \u003ca href=\"http://www.billboard.com/artist/1489992/george-benson/chart?f=305\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> album on the Billboard 200 Chart; and a string of hits with singer Diana Krall across 11 titles and over 15 million albums sold. Along the way, LiPuma also won five Grammy Awards and earned 33 Grammy nominations.\u003c/p>\n\u003cp>Born July 5, 1936, LiPuma grew up in Cleveland, and played saxophone as a student. His rise in the record business was the result of a very old-school progression through the music industry. As jazz bassist and composer (and \u003cem>\u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener\">Jazz Night in America\u003c/a>\u003c/em> host) Christian McBride \u003ca href=\"http://www.cleveland.com/entertainment/index.ssf/2016/06/diana_krall_al_jarreau_more_se.html\" target=\"_blank\" rel=\"noopener\">noted\u003c/a> at an 80th-birthday celebration concert held last year in LiPuma’s honor, he went from “cutting hair to cutting hit records.”\u003c/p>\n\u003cp>After working as a barber, LiPuma began packing vinyl records at a warehouse. Soon, he was offered a job in Los Angeles as a radio promoter for Liberty Records before taking a job in publishing. He then began to work as a producer on early recordings by performers including The O’Jays and Randy Newman.\u003c/p>\n\u003cp>He was the first staff producer at A&M records, and in the ’60s co-founded the musically eclectic \u003ca href=\"http://www.bsnpubs.com/abc/bluethumb.html\" target=\"_blank\" rel=\"noopener\">Blue Thumb Records\u003c/a> with future Rock and Roll Hall of Fame co-founder Bob Krasnow. He went on to hold executive positions at many of the top American labels that produced jazz, smooth jazz and music aimed at older audiences; they included Warner Bros., Elektra, GRP/Impulse and Verve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead | KQED",
"content": "\u003cp>Like most people who hear the words “Pussy Riot musical,” I arrived at the Regency Ballroom on Friday night not quite knowing what to expect. But lack of clarity about what we were about to witness didn’t seem to temper enthusiasm: A crowd of visibly excited people, mostly women — some of whom were wearing their pink hats from the Women’s March — piled into the third-floor lounge on March 10 for \u003cem>Revolution\u003c/em>, a new multimedia musical theater piece based on the forthcoming memoir of Pussy Riot’s Maria Alyokhina.\u003c/p>\n\u003cp>It marked another chapter for the activist/music collective, who first arrived in mainstream consciousness in 2012 after staging an anti-Putin protest at a Moscow cathedral. When members Maria Alyokhina and her bandmate Nadezhda Tolokonnikova received two-year sentences for a protest that lasted only 40 seconds, their plight as political prisoners made international headlines.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=grEBLskpDWQ\u003c/p>\n\u003cp>But for progressive Russian immigrants like myself, Pussy Riot became beacons of possibility. Authoritarianism has been ubiquitous in our home country for so long, most people don’t see the point of fighting. Centuries of political oppression have rendered Russian people cynical to the point of nihilism. The fact that a group of young women put themselves at risk to speak out in such a dramatic way was nothing short of revolutionary.\u003c/p>\n\u003cp>After their arrest, Pussy Riot came to be regarded as symbols of resistance abroad. Their brash feminism resonated with American audiences who were already primed on several decades of women’s liberation movements. Meanwhile, in Russia, their views were seen as fringe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But interesting things happened when Pussy Riot was released in 2013: Tolokonnikova and Alyokhina became activist-celebrities and seemed to enjoy their newfound fame. When they appeared on an episode of \u003cem>House of Cards\u003c/em>, where they criticized a fictional version of Putin at a dinner in Frank Underwood’s White House, some of my young, feminist Russian-American friends accused them of being too Hollywood. “Hadn’t they just served two years in a penal colony?” I thought. “If they want to have some fun now, we should let them live.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s-bKFo30o2o\u003c/p>\n\u003cp>Still, something seemed to be lost in translation in Pussy Riot’s attempts to cross over into mainstream America. In 2016, Tolokonnikova released two English-language singles as Pussy Riot, seemingly without the other group members’ involvement: “Make America Great Again” was an anti-Trump song set to an awkward combination of folk guitar and trap drums. And “Straight Outta Vagina,” a play on NWA’s “Straight Outta Compton,” presented itself as a radical, feminist statement. But with lyrics like \u003cem>Does your vagina have a brand?/Let your vagina start a band\u003c/em>, it came off as nonsensical at best and equating women with their genitals at worst.\u003c/p>\n\u003cp>Alyokhina’s \u003cem>Revolution, \u003c/em>which moved onto L.A. after one night in San Francisco on this national tour, taps into Pussy Riot’s legacy of avant-garde performance art in a much more authentic way.\u003c/p>\n\u003cp>Alyokhina took the stage with three collaborators: Nastia and Max (who go only by their first names) of “junk-punk” duo Asian Women on the Telephone, as well as actor Kiryl Masheka. Alyokhina and Masheka narrated, in Russian, the tale of Pussy Riot’s now famous 2012 “Punk Prayer” protest and subsequent incarceration in a remote, Siberian penal colony. A video projection with footage of the protest, courtroom drawings, and images from the penal colony played in the background, along with English subtitles to translate the dialogue on stage. Meanwhile, Nastia and Max played a live noise-punk soundtrack with drums, saxophone, and electronics.\u003c/p>\n\u003cp>It’s worth noting that director Yury Muravitsky wasn’t in attendance because, said Alyokhina, he was denied a travel visa into the United States. The reasons for the denial are unclear, but with the work’s subversive content — and the parallels between its critiques of Putin and anti-Trump rhetoric, along with the current debate over Trump’s travel ban — that news was enough to cause murmurs in the audience.\u003c/p>\n\u003cp>The performance was scrappy, but the DIY feel gave it plenty of charm. The actors actually had to restart the show after a few minutes because they had discovered that the subtitles weren’t showing up. But the audience only cheered louder the second time they declared “What about the revolution?” in the prologue. It’s also worth remembering, of course, Pussy Riot started out as a loose, informal collective of liberal arts students who staged guerrilla actions in public places and put videos of them on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_12895731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg\" alt=\"'Revolution': Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1180x708.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-960x576.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-520x312.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Revolution’: Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \u003ccite>(Glen Casebeer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Revolution\u003c/em> was also a bit of a sensory overload, between Alyokhina’s motor-mouth monologues, the footage, and the experimental soundtrack vying for the viewers’ attention at once. She and the other actor would often break into song: he danced around like the frontman of a punk band as she recited her lines with an intense rigidity befitting her interpretations of Russian legal jargon and political rhetoric. The jumble of stimuli on stage created a Kafka-esque sense of confusion that conveyed, on an emotional level, the counterintuitive belief systems and Orwellian double-think required to sustain an authoritarian state.\u003c/p>\n\u003cp>A particularly emotive moment came as Alyokhina described being driven to the remote Siberian penal colony in an autozak (a Russian vehicle whose name is literally an acronym for “automobile for transporting the incarcerated”). “Next time you’re passing an autozak on the freeway, look closely. You might notice the eyes of an incarcerated person looking at you,” she said in Russian.\u003c/p>\n\u003cfigure id=\"attachment_12899708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12899708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-800x599.jpg\" alt=\"Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia. \u003ccite>(Sergei Karpukhin via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Pussy Riot’s infamous arrest, Putin’s approval ratings have grown to 83 percent. There was a resistance movement, the so-called Snow Revolution of 2011, but over time, people grew complacent. Russia doesn’t have a viable opposition party; Putin’s outspoken critics, such as the former deputy prime minister Boris Nemtsov, mysteriously wind up dead; and public protests require permits from the state. Needless to say, it should be extremely alarming that the extent of Russia’s ties to the Trump administration are not yet known.\u003c/p>\n\u003cp>Alyokhina’s ultimate goal is to bring \u003cem>Revolution\u003c/em> to Russia — yes, her theater production, but also an actual revolution. Despite the traumatizing experiences she’s been through, she’s still fighting. That’s a powerful lesson for her American audience: that the fight for freedom is a slow, messy one; that one Women’s March isn’t enough to challenge the authoritarianism creeping into American politics; and that even though it’s hard, one needs to keep resisting.\u003c/p>\n\u003cp>Or, as Alyokhina said during the Q&A portion of the event: “The most dangerous prison is that which you can build inside your head.”\u003c/p>\n\u003cp>[ad floatright]\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "At a time when anti-Putin protest and anti-Trump rhetoric look eerily similar, a new multimedia theater piece from Maria Alyokhina strikes a highly relevant note. ",
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"description": "At a time when anti-Putin protest and anti-Trump rhetoric look eerily similar, a new multimedia theater piece from Maria Alyokhina strikes a highly relevant note. ",
"title": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like most people who hear the words “Pussy Riot musical,” I arrived at the Regency Ballroom on Friday night not quite knowing what to expect. But lack of clarity about what we were about to witness didn’t seem to temper enthusiasm: A crowd of visibly excited people, mostly women — some of whom were wearing their pink hats from the Women’s March — piled into the third-floor lounge on March 10 for \u003cem>Revolution\u003c/em>, a new multimedia musical theater piece based on the forthcoming memoir of Pussy Riot’s Maria Alyokhina.\u003c/p>\n\u003cp>It marked another chapter for the activist/music collective, who first arrived in mainstream consciousness in 2012 after staging an anti-Putin protest at a Moscow cathedral. When members Maria Alyokhina and her bandmate Nadezhda Tolokonnikova received two-year sentences for a protest that lasted only 40 seconds, their plight as political prisoners made international headlines.\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/grEBLskpDWQ'\n title='//www.youtube.com/embed/grEBLskpDWQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But for progressive Russian immigrants like myself, Pussy Riot became beacons of possibility. Authoritarianism has been ubiquitous in our home country for so long, most people don’t see the point of fighting. Centuries of political oppression have rendered Russian people cynical to the point of nihilism. The fact that a group of young women put themselves at risk to speak out in such a dramatic way was nothing short of revolutionary.\u003c/p>\n\u003cp>After their arrest, Pussy Riot came to be regarded as symbols of resistance abroad. Their brash feminism resonated with American audiences who were already primed on several decades of women’s liberation movements. Meanwhile, in Russia, their views were seen as fringe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But interesting things happened when Pussy Riot was released in 2013: Tolokonnikova and Alyokhina became activist-celebrities and seemed to enjoy their newfound fame. When they appeared on an episode of \u003cem>House of Cards\u003c/em>, where they criticized a fictional version of Putin at a dinner in Frank Underwood’s White House, some of my young, feminist Russian-American friends accused them of being too Hollywood. “Hadn’t they just served two years in a penal colony?” I thought. “If they want to have some fun now, we should let them live.”\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/s-bKFo30o2o'\n title='//www.youtube.com/embed/s-bKFo30o2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, something seemed to be lost in translation in Pussy Riot’s attempts to cross over into mainstream America. In 2016, Tolokonnikova released two English-language singles as Pussy Riot, seemingly without the other group members’ involvement: “Make America Great Again” was an anti-Trump song set to an awkward combination of folk guitar and trap drums. And “Straight Outta Vagina,” a play on NWA’s “Straight Outta Compton,” presented itself as a radical, feminist statement. But with lyrics like \u003cem>Does your vagina have a brand?/Let your vagina start a band\u003c/em>, it came off as nonsensical at best and equating women with their genitals at worst.\u003c/p>\n\u003cp>Alyokhina’s \u003cem>Revolution, \u003c/em>which moved onto L.A. after one night in San Francisco on this national tour, taps into Pussy Riot’s legacy of avant-garde performance art in a much more authentic way.\u003c/p>\n\u003cp>Alyokhina took the stage with three collaborators: Nastia and Max (who go only by their first names) of “junk-punk” duo Asian Women on the Telephone, as well as actor Kiryl Masheka. Alyokhina and Masheka narrated, in Russian, the tale of Pussy Riot’s now famous 2012 “Punk Prayer” protest and subsequent incarceration in a remote, Siberian penal colony. A video projection with footage of the protest, courtroom drawings, and images from the penal colony played in the background, along with English subtitles to translate the dialogue on stage. Meanwhile, Nastia and Max played a live noise-punk soundtrack with drums, saxophone, and electronics.\u003c/p>\n\u003cp>It’s worth noting that director Yury Muravitsky wasn’t in attendance because, said Alyokhina, he was denied a travel visa into the United States. The reasons for the denial are unclear, but with the work’s subversive content — and the parallels between its critiques of Putin and anti-Trump rhetoric, along with the current debate over Trump’s travel ban — that news was enough to cause murmurs in the audience.\u003c/p>\n\u003cp>The performance was scrappy, but the DIY feel gave it plenty of charm. The actors actually had to restart the show after a few minutes because they had discovered that the subtitles weren’t showing up. But the audience only cheered louder the second time they declared “What about the revolution?” in the prologue. It’s also worth remembering, of course, Pussy Riot started out as a loose, informal collective of liberal arts students who staged guerrilla actions in public places and put videos of them on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_12895731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg\" alt=\"'Revolution': Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1180x708.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-960x576.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-520x312.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Revolution’: Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \u003ccite>(Glen Casebeer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Revolution\u003c/em> was also a bit of a sensory overload, between Alyokhina’s motor-mouth monologues, the footage, and the experimental soundtrack vying for the viewers’ attention at once. She and the other actor would often break into song: he danced around like the frontman of a punk band as she recited her lines with an intense rigidity befitting her interpretations of Russian legal jargon and political rhetoric. The jumble of stimuli on stage created a Kafka-esque sense of confusion that conveyed, on an emotional level, the counterintuitive belief systems and Orwellian double-think required to sustain an authoritarian state.\u003c/p>\n\u003cp>A particularly emotive moment came as Alyokhina described being driven to the remote Siberian penal colony in an autozak (a Russian vehicle whose name is literally an acronym for “automobile for transporting the incarcerated”). “Next time you’re passing an autozak on the freeway, look closely. You might notice the eyes of an incarcerated person looking at you,” she said in Russian.\u003c/p>\n\u003cfigure id=\"attachment_12899708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12899708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-800x599.jpg\" alt=\"Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia. \u003ccite>(Sergei Karpukhin via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Pussy Riot’s infamous arrest, Putin’s approval ratings have grown to 83 percent. There was a resistance movement, the so-called Snow Revolution of 2011, but over time, people grew complacent. Russia doesn’t have a viable opposition party; Putin’s outspoken critics, such as the former deputy prime minister Boris Nemtsov, mysteriously wind up dead; and public protests require permits from the state. Needless to say, it should be extremely alarming that the extent of Russia’s ties to the Trump administration are not yet known.\u003c/p>\n\u003cp>Alyokhina’s ultimate goal is to bring \u003cem>Revolution\u003c/em> to Russia — yes, her theater production, but also an actual revolution. Despite the traumatizing experiences she’s been through, she’s still fighting. That’s a powerful lesson for her American audience: that the fight for freedom is a slow, messy one; that one Women’s March isn’t enough to challenge the authoritarianism creeping into American politics; and that even though it’s hard, one needs to keep resisting.\u003c/p>\n\u003cp>Or, as Alyokhina said during the Q&A portion of the event: “The most dangerous prison is that which you can build inside your head.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Phono del Sol Lineup Announced: Thee Oh Sees, The Coathangers, Jay Som, Rayana Jay and More",
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"content": "\u003cp>Phono del Sol, the annual summer festival presented by local music blog The Bay Bridged and recording studio Tiny Telephone, announced its lineup today for the 2017 fest, which takes place Saturday, June 17, in San Francisco’s Potrero del Sol Park. See the full lineup below.\u003c/p>\n\u003cp>Psych-rock titans Thee Oh Sees (who came up in San Francisco, though they now call Los Angeles home) and punk rock four-piece The Coathangers, out of Atlanta, are the biggest names on this bill. But the local artists rounding out this poster are also (moreso?) worth getting excited about — in particular, a trio of East Bay women. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som\u003c/a>, Oakland’s buzziest indie-pop act right now, should receive a warm welcome at this homecoming show following her current national tour for new album \u003cem>Everybody Works\u003c/em>. Rayana Jay, from Richmond, is one of the fastest-rising local R&B acts in town thanks to her 2016 EP \u003cem>Sorry About Last Night\u003c/em>. And Madeline Kenney, who sings sweet, twangy shoegaze, is an up-and-coming Oaklander by way of Seattle. Folk-soul singer Sean Hayes, R&B act Bells Atlas, boundary-pushing rapper DUCKWRTH, punks Never Young, and weirdo doo-wop singer Tino Drima all also hail from the Bay.\u003c/p>\n\u003cp>https://vimeo.com/208258788\u003c/p>\n\u003cp>Tickets, which start at $29, are on sale now at the \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">festival’s website\u003c/a>. VIP passes go for $60. A full slate of food trucks and an afterparty lineup will be announced in the coming weeks.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Phono del Sol Music and Food Festival 2017\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thee Oh Sees\u003cbr>\nThe Coathangers\u003cbr>\nJay Som\u003cbr>\nSean Hayes\u003cbr>\nDUCKWRTH\u003cbr>\nBells Atlas\u003cbr>\nNever Young\u003cbr>\nRayana Jay\u003cbr>\nMadeline Kenney\u003cbr>\nTino Drima\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Phono del Sol Music and Food Festival takes Saturday, June 17 at Potrero del Sol Park in San Francisco. Tickets ($29 and up) and \u003ca href=\"http://phonodelsol.com\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Phono del Sol, the annual summer festival presented by local music blog The Bay Bridged and recording studio Tiny Telephone, announced its lineup today for the 2017 fest, which takes place Saturday, June 17, in San Francisco’s Potrero del Sol Park. See the full lineup below.\u003c/p>\n\u003cp>Psych-rock titans Thee Oh Sees (who came up in San Francisco, though they now call Los Angeles home) and punk rock four-piece The Coathangers, out of Atlanta, are the biggest names on this bill. But the local artists rounding out this poster are also (moreso?) worth getting excited about — in particular, a trio of East Bay women. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som\u003c/a>, Oakland’s buzziest indie-pop act right now, should receive a warm welcome at this homecoming show following her current national tour for new album \u003cem>Everybody Works\u003c/em>. Rayana Jay, from Richmond, is one of the fastest-rising local R&B acts in town thanks to her 2016 EP \u003cem>Sorry About Last Night\u003c/em>. And Madeline Kenney, who sings sweet, twangy shoegaze, is an up-and-coming Oaklander by way of Seattle. Folk-soul singer Sean Hayes, R&B act Bells Atlas, boundary-pushing rapper DUCKWRTH, punks Never Young, and weirdo doo-wop singer Tino Drima all also hail from the Bay.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tickets, which start at $29, are on sale now at the \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">festival’s website\u003c/a>. VIP passes go for $60. A full slate of food trucks and an afterparty lineup will be announced in the coming weeks.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>Phono del Sol Music and Food Festival 2017\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thee Oh Sees\u003cbr>\nThe Coathangers\u003cbr>\nJay Som\u003cbr>\nSean Hayes\u003cbr>\nDUCKWRTH\u003cbr>\nBells Atlas\u003cbr>\nNever Young\u003cbr>\nRayana Jay\u003cbr>\nMadeline Kenney\u003cbr>\nTino Drima\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Phono del Sol Music and Food Festival takes Saturday, June 17 at Potrero del Sol Park in San Francisco. Tickets ($29 and up) and \u003ca href=\"http://phonodelsol.com\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Egyptian-Canadian Band Blocked at Border from Heading to SXSW",
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"content": "\u003cp>Before Cherine Amr and her metal band \u003ca href=\"http://massivescarera.com/\" target=\"_blank\" rel=\"noopener\">Massive Scar Era\u003c/a> reached the Canadian-American border, Amr thought she had taken care of everything. The band had three shows in the states, one of them during the renowned South By Southwest (SXSW) music festival in Austin, Texas, and Amr, an Egyptian citizen living in Canada, had visited the Egyptian embassy beforehand to ensure she had the proper paperwork. \u003c/p>\n\u003cp>But the agent at the border crossing near Seattle saw Amr’s Egyptian passport and told the band to wait. After several hours, the agent informed the group that they had to turn around because they didn’t have the proper visa to play SXSW. The band had B-1 visas (for tourists) and they were told they needed P-2 visas.\u003c/p>\n\u003cp>“I told him we had played twice at SXSW already, and I had my visa issued from the Cairo embassy under the impression that we were going to play,” Amr said in a phone interview Monday. “He said, ‘Just because a person gave you this visa doesn’t mean its lawful.'” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qu9VAG9ffAQ\u003c/p>\n\u003cp>The issue wasn’t the two free shows in Denver and Utah the band had scheduled for after the festival — the agent was fine with those, according to Amr. It was specifically the SXSW show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amr says she called a SXSW representative who was willing to speak with the agent but he wouldn’t take the phone. Worst of all, the agent said the band’s bassist, Dylan Pieter Wijdenes-Charles, couldn’t cross the border either, even though he’s First Nation. Per the \u003ca href=\"http://ptla.org/border-crossing-rights-jay-treaty\" target=\"_blank\" rel=\"noopener\">Jay Treaty of 1794\u003c/a>, Wijdenes-Charles should’ve been able to cross the border without any issues since he carried an identification card provided by his tribe.\u003c/p>\n\u003cp>“[The agent] looked at Dylan and said, ‘Regarding you, of course you’re welcome into the United States whenever you want to. However, you should’ve brought a DNA test,'” Amr said.\u003c/p>\n\u003cp>Before the band made their way back to their hometown of Vancouver, Amr recorded a Facebook Live video where she \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">described her experiences\u003c/a>. As of press time, it had almost 9,000 views.\u003c/p>\n\u003cp>Massive Scar Era was one of three bands headed to SXSW that was stopped from entering the states within the past week. Last Thursday, the Italian post-punk band \u003ca href=\"https://ww2.kqed.org/arts/2017/03/10/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported/\" target=\"_blank\" rel=\"noopener\">Soviet Soviet\u003c/a> was held an airport for several hours before being deported, despite having booked a full tour. (\u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/why-was-that-italian-band-soviet-soviet-deported/\" target=\"_blank\" rel=\"noopener\">Read about why it happened here\u003c/a>.) On Monday afternoon, the London-based record label \u003ca href=\"https://www.facebook.com/brownswood/photos/a.84125771394.85771.11482706394/10154462164886395/?type=3&theater\" target=\"_blank\" rel=\"noopener\">Brownswood Recordings\u003c/a> announced that two of its bands, Yussef Kamaal and United Vibrations, had to cancel their SXSW shows because their members had their visas revoked “at the 11th hour.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1g826StJhLk\u003c/p>\n\u003cp>“The situation is infuriating and desperately unfair to all involved,” Brownswood Recordings wrote on their \u003ca href=\"https://www.facebook.com/brownswood/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. “The fact that the visa was issued and then revoked has left no time to appeal the decision as the band were due to travel tomorrow.”\u003c/p>\n\u003cp>Amr said she cried after being denied from entering the United States. She had left Egypt in 2015 to escape the \u003ca href=\"https://bitchmedia.org/article/egypts-female-fronted-metal-band-massive-scar-era-shreds-whole-new-sound\" target=\"_blank\" rel=\"noopener\">oppressive political climate\u003c/a> only to be held back by the politics of a different nation. \u003c/p>\n\u003cp>“[The agent] actually said, ‘Well, some people are using SXSW to protest,'” Amr said. “I am sure [the denial] was political.”\u003c/p>\n\u003cp>Egypt isn’t one of the six Muslim-majority countries included in President Donald Trump’s revised travel ban, but Amr said it was clear that the agent had an issue with her ethnicity. On top of the discrimination, Amr is also angry about her plans — in which she invested heavily — being ruined. She had found new band members just to play these shows, and the band had invested over $1,000 in the tour (equipment, plane tickets, and more) that they won’t be getting back, she said. \u003c/p>\n\u003cp>“We don’t have anything — \u003cem>anything\u003c/em> — against the U.S.,” Amr said. “We just wanted to get in, play our shows, promote ourselves and go back, you know?” \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_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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": "Massive Scar Era has played SXSW twice before; this year, however, they were stopped at the Canadian border and told they needed to turn around.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Cherine Amr and her metal band \u003ca href=\"http://massivescarera.com/\" target=\"_blank\" rel=\"noopener\">Massive Scar Era\u003c/a> reached the Canadian-American border, Amr thought she had taken care of everything. The band had three shows in the states, one of them during the renowned South By Southwest (SXSW) music festival in Austin, Texas, and Amr, an Egyptian citizen living in Canada, had visited the Egyptian embassy beforehand to ensure she had the proper paperwork. \u003c/p>\n\u003cp>But the agent at the border crossing near Seattle saw Amr’s Egyptian passport and told the band to wait. After several hours, the agent informed the group that they had to turn around because they didn’t have the proper visa to play SXSW. The band had B-1 visas (for tourists) and they were told they needed P-2 visas.\u003c/p>\n\u003cp>“I told him we had played twice at SXSW already, and I had my visa issued from the Cairo embassy under the impression that we were going to play,” Amr said in a phone interview Monday. “He said, ‘Just because a person gave you this visa doesn’t mean its lawful.'” \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/qu9VAG9ffAQ'\n title='//www.youtube.com/embed/qu9VAG9ffAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The issue wasn’t the two free shows in Denver and Utah the band had scheduled for after the festival — the agent was fine with those, according to Amr. It was specifically the SXSW show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amr says she called a SXSW representative who was willing to speak with the agent but he wouldn’t take the phone. Worst of all, the agent said the band’s bassist, Dylan Pieter Wijdenes-Charles, couldn’t cross the border either, even though he’s First Nation. Per the \u003ca href=\"http://ptla.org/border-crossing-rights-jay-treaty\" target=\"_blank\" rel=\"noopener\">Jay Treaty of 1794\u003c/a>, Wijdenes-Charles should’ve been able to cross the border without any issues since he carried an identification card provided by his tribe.\u003c/p>\n\u003cp>“[The agent] looked at Dylan and said, ‘Regarding you, of course you’re welcome into the United States whenever you want to. However, you should’ve brought a DNA test,'” Amr said.\u003c/p>\n\u003cp>Before the band made their way back to their hometown of Vancouver, Amr recorded a Facebook Live video where she \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">described her experiences\u003c/a>. As of press time, it had almost 9,000 views.\u003c/p>\n\u003cp>Massive Scar Era was one of three bands headed to SXSW that was stopped from entering the states within the past week. Last Thursday, the Italian post-punk band \u003ca href=\"https://ww2.kqed.org/arts/2017/03/10/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported/\" target=\"_blank\" rel=\"noopener\">Soviet Soviet\u003c/a> was held an airport for several hours before being deported, despite having booked a full tour. (\u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/why-was-that-italian-band-soviet-soviet-deported/\" target=\"_blank\" rel=\"noopener\">Read about why it happened here\u003c/a>.) On Monday afternoon, the London-based record label \u003ca href=\"https://www.facebook.com/brownswood/photos/a.84125771394.85771.11482706394/10154462164886395/?type=3&theater\" target=\"_blank\" rel=\"noopener\">Brownswood Recordings\u003c/a> announced that two of its bands, Yussef Kamaal and United Vibrations, had to cancel their SXSW shows because their members had their visas revoked “at the 11th hour.”\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/1g826StJhLk'\n title='//www.youtube.com/embed/1g826StJhLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The situation is infuriating and desperately unfair to all involved,” Brownswood Recordings wrote on their \u003ca href=\"https://www.facebook.com/brownswood/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. “The fact that the visa was issued and then revoked has left no time to appeal the decision as the band were due to travel tomorrow.”\u003c/p>\n\u003cp>Amr said she cried after being denied from entering the United States. She had left Egypt in 2015 to escape the \u003ca href=\"https://bitchmedia.org/article/egypts-female-fronted-metal-band-massive-scar-era-shreds-whole-new-sound\" target=\"_blank\" rel=\"noopener\">oppressive political climate\u003c/a> only to be held back by the politics of a different nation. \u003c/p>\n\u003cp>“[The agent] actually said, ‘Well, some people are using SXSW to protest,'” Amr said. “I am sure [the denial] was political.”\u003c/p>\n\u003cp>Egypt isn’t one of the six Muslim-majority countries included in President Donald Trump’s revised travel ban, but Amr said it was clear that the agent had an issue with her ethnicity. On top of the discrimination, Amr is also angry about her plans — in which she invested heavily — being ruined. She had found new band members just to play these shows, and the band had invested over $1,000 in the tour (equipment, plane tickets, and more) that they won’t be getting back, she said. \u003c/p>\n\u003cp>“We don’t have anything — \u003cem>anything\u003c/em> — against the U.S.,” Amr said. “We just wanted to get in, play our shows, promote ourselves and go back, you know?” \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_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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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"content": "\u003cp>Internet radio company Pandora is launching an on-demand music service for $10 a month.\u003c/p>\n\u003cp>Pandora’s existing service works more like radio. People listen to music on customizable stations. The premium service launching this month will let users choose specific songs or albums and will personalize recommendations based on people’s listening habits. There is also an “offline mode.”\u003c/p>\n\u003cp>The new Pandora Premium offering will compete with Apple Music and Spotify, both of which have given the music-streaming pioneer a run for its money. Spotify has 50 million subscribers, while Pandora had about 4.4 million as of the end of 2016. That’s because most people listen to Pandora without paying; the company has 81 million total “active listeners.”\u003c/p>\n\u003cp>Until now, the Pandora subscription mostly stripped out ads — for $5 a month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>With President Trump’s determined attempts to restrict travel from six Muslim-majority countries, several concerts in cities around the United States have presented music from those regions. Some of them are accidental tributes to resilience, like the 2017 Kronos Festival at the SFJAZZ Center with music from \u003ca href=\"https://ww2.kqed.org/arts/2017/03/07/iranian-born-composer-sahba-aminikia-bridges-worlds-in-extreme-times/\" target=\"_blank\" rel=\"noopener\">Iranian-born Sahba Aminikia\u003c/a>, who fled his home country for its violent persecution of his Baha’i faith. \u003c/p>\n\u003cp>And then there’s \u003ca href=\"https://www.eventbrite.com/e/notes-against-the-ban-a-musical-response-from-the-seven-tickets-32281298232\" target=\"_blank\" rel=\"noopener\">Notes Against the Ban\u003c/a>, a concert on March 25 by the Aswat Ensemble and guests at the Islamic Cultural Center of Northern California, in Oakland. Presenting music from Libya, Yemen, Iran, Syria, Somalia, Sudan and Iraq, the concert serves dual roles as ambassadorial outreach and as a healing salve.\u003c/p>\n\u003cfigure id=\"attachment_12895311\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Aswat2.jpg\" alt=\"At a rehearsal by the Aswat Ensemble and guests, 2016.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-12895311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">At a rehearsal by the Aswat Ensemble and guests, 2016. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In advance of Notes Against the Ban, we asked organizer Nabila Mango about the intent and outcome of such a concert under this administration.\u003c/p>\n\u003cp>\u003cstrong>Why did you decide to undertake this concert?\u003c/strong>\u003c/p>\n\u003cp>The idea came to me while I was in the MRI machine on Feb. 6, getting my six-month cancer tests, which cleared me for the next six months! I was lying in the machine and humming some music to kill the time, and it happened that I was humming some Sudanese tunes. It got me thinking about the state of this country and the repercussions of this executive order, which reinforces the ideas of “otherness” at a time when the world seems smaller and more connected than ever.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>I thought that since music is the universal language that we all understand and love, why not put together a show to celebrate the beauty of “the others,” those who are being dehumanized and collectively punished for no obvious reason? And what better way to resist and show solidarity than for the Aswat Ensemble (Aswat means “voices” in Arabic) to lend their voice to celebrate the cultural heritage of those who have been affected by the ban?\u003c/p>\n\u003cp>I am convinced that by experiencing aspects of other people’s culture, we become less inclined to stereotype based on false media narratives, and perhaps would even be moved and inspired to learn more about these rich cultures. Aswat is no stranger to hosting concerts that celebrate people’s struggles for justice: in 2011 at the beginning of the uprisings in the Arab world, Aswat members put together a two-hour concert, with a mere one week of preparations, to celebrate and show solidarity with the people in these countries. This is what Arts are about, and music might be one of the most powerful and subtly far-reaching of the arts. \u003c/p>\n\u003cfigure id=\"attachment_12895312\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Aswat3.jpg\" alt=\"At a rehearsal by the Aswat Ensemble and guests, 2016.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-12895312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">At a rehearsal by the Aswat Ensemble and guests, 2016. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does the evening’s programming look like — which composers and performers do you have lined up for the concert?\u003c/strong>\u003c/p>\n\u003cp>The program takes people on a short musical journey across the seven countries. We will mostly be presenting songs, as well as a couple of instrumental pieces, one of which is composed by an Iraqi Aswat instrumentalist, as well as a poetry reading by Eman, a Somali youth, and a folk dance from Yemen. In addition to the Aswat musicians, we are hosting three guest Sudanese performers, a Yemeni singer, and a few Iranian musicians from the South Bay. The music program was chosen very organically by our own Aswat members and guest artists. The songs range from folk to classical repertoire to modern hits from the seven countries, with no particular theme: love, longing for home, sacred music, etc. For the music nerd and the lay music lover, this will be a very rich musical experience, spanning different rhythmic structures, scales and tonal modes that are unique to each region/country.\u003c/p>\n\u003cp>\u003cstrong>What do you hope to convey to the audience at this concert?\u003c/strong>\u003c/p>\n\u003cp>We want this concert to be an evening of healing, of reasserting our humanity by celebrating what makes us both similar and unique. Most importantly, we want to bring our diverse community together. We are convinced that once one has experienced the artistic richness of another culture, they are much less likely to dehumanize them by seeing them through media-propagated stereotypes. We also want to convey a sense of hope, to reinvigorate our community to continue resisting, and to remind everyone what is at stake if we become complacent.\u003c/p>\n\u003cfigure id=\"attachment_12895313\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Aswat4.jpg\" alt=\"At a rehearsal by the Aswat Ensemble and guests, 2016.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-12895313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">At a rehearsal by the Aswat Ensemble and guests, 2016. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you see this concert as an act of defiance? Of not, is it an act of empathy?\u003c/strong>\u003c/p>\n\u003cp>We see this concert as both, but more as an act of resistance than defiance. Defiance is more reactionary, while resistance is more grounded, organic, and longer-lasting. We are resisting through music, and reaffirming our beliefs in diversity and basic human rights, as well as the rights of people to move and seek refuge. There is no denying that we are facing growing Islamophobia in this country, and that institutionalized anti-Muslim rhetoric is fueling these sentiments, and pervasive ignorance about Islam and Muslims is enabling these attitudes to become normalized. We believe that discriminatory sentiments and attitudes serve to impoverish us in our humanity; whereas sharing across cultures enriches us all. This concert is therefore also an act of empathy toward those whose circumstances have prevented them from experiencing the beauty of diversity in the world. If someone wishes to get a glimpse into the cultures and faces behind the countries on the ban list, this show is for them as well.\u003c/p>\n\u003cp>\u003cstrong>On this particular issue, what can music express that words cannot?\u003c/strong>\u003c/p>\n\u003cp>Music is a microcosm of a culture: it is the element that accompanies most rituals and rites. Its rhythmic structures are the pulse, its tonal/melodic structures are the soul, and its poetry is the language of the heart and mind.\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_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003cem>‘Notes Against the Ban’ takes place Saturday, March 25, at the Islamic Cultural Center of Northern California. 1433 Madison Street, Oakland. 7pm. Free; registration required. \u003ca href=\"https://www.eventbrite.com/e/notes-against-the-ban-a-musical-response-from-the-seven-tickets-32281298232\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With President Trump’s determined attempts to restrict travel from six Muslim-majority countries, several concerts in cities around the United States have presented music from those regions. Some of them are accidental tributes to resilience, like the 2017 Kronos Festival at the SFJAZZ Center with music from \u003ca href=\"https://ww2.kqed.org/arts/2017/03/07/iranian-born-composer-sahba-aminikia-bridges-worlds-in-extreme-times/\" target=\"_blank\" rel=\"noopener\">Iranian-born Sahba Aminikia\u003c/a>, who fled his home country for its violent persecution of his Baha’i faith. \u003c/p>\n\u003cp>And then there’s \u003ca href=\"https://www.eventbrite.com/e/notes-against-the-ban-a-musical-response-from-the-seven-tickets-32281298232\" target=\"_blank\" rel=\"noopener\">Notes Against the Ban\u003c/a>, a concert on March 25 by the Aswat Ensemble and guests at the Islamic Cultural Center of Northern California, in Oakland. Presenting music from Libya, Yemen, Iran, Syria, Somalia, Sudan and Iraq, the concert serves dual roles as ambassadorial outreach and as a healing salve.\u003c/p>\n\u003cfigure id=\"attachment_12895311\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Aswat2.jpg\" alt=\"At a rehearsal by the Aswat Ensemble and guests, 2016.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-12895311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat2-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">At a rehearsal by the Aswat Ensemble and guests, 2016. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In advance of Notes Against the Ban, we asked organizer Nabila Mango about the intent and outcome of such a concert under this administration.\u003c/p>\n\u003cp>\u003cstrong>Why did you decide to undertake this concert?\u003c/strong>\u003c/p>\n\u003cp>The idea came to me while I was in the MRI machine on Feb. 6, getting my six-month cancer tests, which cleared me for the next six months! I was lying in the machine and humming some music to kill the time, and it happened that I was humming some Sudanese tunes. It got me thinking about the state of this country and the repercussions of this executive order, which reinforces the ideas of “otherness” at a time when the world seems smaller and more connected than ever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>I thought that since music is the universal language that we all understand and love, why not put together a show to celebrate the beauty of “the others,” those who are being dehumanized and collectively punished for no obvious reason? And what better way to resist and show solidarity than for the Aswat Ensemble (Aswat means “voices” in Arabic) to lend their voice to celebrate the cultural heritage of those who have been affected by the ban?\u003c/p>\n\u003cp>I am convinced that by experiencing aspects of other people’s culture, we become less inclined to stereotype based on false media narratives, and perhaps would even be moved and inspired to learn more about these rich cultures. Aswat is no stranger to hosting concerts that celebrate people’s struggles for justice: in 2011 at the beginning of the uprisings in the Arab world, Aswat members put together a two-hour concert, with a mere one week of preparations, to celebrate and show solidarity with the people in these countries. This is what Arts are about, and music might be one of the most powerful and subtly far-reaching of the arts. \u003c/p>\n\u003cfigure id=\"attachment_12895312\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Aswat3.jpg\" alt=\"At a rehearsal by the Aswat Ensemble and guests, 2016.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-12895312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat3-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">At a rehearsal by the Aswat Ensemble and guests, 2016. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does the evening’s programming look like — which composers and performers do you have lined up for the concert?\u003c/strong>\u003c/p>\n\u003cp>The program takes people on a short musical journey across the seven countries. We will mostly be presenting songs, as well as a couple of instrumental pieces, one of which is composed by an Iraqi Aswat instrumentalist, as well as a poetry reading by Eman, a Somali youth, and a folk dance from Yemen. In addition to the Aswat musicians, we are hosting three guest Sudanese performers, a Yemeni singer, and a few Iranian musicians from the South Bay. The music program was chosen very organically by our own Aswat members and guest artists. The songs range from folk to classical repertoire to modern hits from the seven countries, with no particular theme: love, longing for home, sacred music, etc. For the music nerd and the lay music lover, this will be a very rich musical experience, spanning different rhythmic structures, scales and tonal modes that are unique to each region/country.\u003c/p>\n\u003cp>\u003cstrong>What do you hope to convey to the audience at this concert?\u003c/strong>\u003c/p>\n\u003cp>We want this concert to be an evening of healing, of reasserting our humanity by celebrating what makes us both similar and unique. Most importantly, we want to bring our diverse community together. We are convinced that once one has experienced the artistic richness of another culture, they are much less likely to dehumanize them by seeing them through media-propagated stereotypes. We also want to convey a sense of hope, to reinvigorate our community to continue resisting, and to remind everyone what is at stake if we become complacent.\u003c/p>\n\u003cfigure id=\"attachment_12895313\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Aswat4.jpg\" alt=\"At a rehearsal by the Aswat Ensemble and guests, 2016.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-12895313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Aswat4-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">At a rehearsal by the Aswat Ensemble and guests, 2016. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you see this concert as an act of defiance? Of not, is it an act of empathy?\u003c/strong>\u003c/p>\n\u003cp>We see this concert as both, but more as an act of resistance than defiance. Defiance is more reactionary, while resistance is more grounded, organic, and longer-lasting. We are resisting through music, and reaffirming our beliefs in diversity and basic human rights, as well as the rights of people to move and seek refuge. There is no denying that we are facing growing Islamophobia in this country, and that institutionalized anti-Muslim rhetoric is fueling these sentiments, and pervasive ignorance about Islam and Muslims is enabling these attitudes to become normalized. We believe that discriminatory sentiments and attitudes serve to impoverish us in our humanity; whereas sharing across cultures enriches us all. This concert is therefore also an act of empathy toward those whose circumstances have prevented them from experiencing the beauty of diversity in the world. If someone wishes to get a glimpse into the cultures and faces behind the countries on the ban list, this show is for them as well.\u003c/p>\n\u003cp>\u003cstrong>On this particular issue, what can music express that words cannot?\u003c/strong>\u003c/p>\n\u003cp>Music is a microcosm of a culture: it is the element that accompanies most rituals and rites. Its rhythmic structures are the pulse, its tonal/melodic structures are the soul, and its poetry is the language of the heart and mind.\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_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003cem>‘Notes Against the Ban’ takes place Saturday, March 25, at the Islamic Cultural Center of Northern California. 1433 Madison Street, Oakland. 7pm. Free; registration required. \u003ca href=\"https://www.eventbrite.com/e/notes-against-the-ban-a-musical-response-from-the-seven-tickets-32281298232\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Was That Italian Band Soviet Soviet Deported?",
"headTitle": "Why Was That Italian Band Soviet Soviet Deported? | KQED",
"content": "\u003cp>Last Friday afternoon, a controversy erupted about the Italian post-punk band Soviet Soviet, who were denied entrance to the United States on Wednesday and detained overnight before being \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/10/519707931/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported\" target=\"_blank\" rel=\"noopener\">deported\u003c/a> back to Italy.\u003c/p>\n\u003cp>In the wake of that news, there was a huge wellspring of reader commentary and questions about what had happened. To help clarify, we’re digging into the thickets of U.S. policy, specifically the regulations surrounding performing artists, as well as various interpretations of those regulations, to figure out what exactly happened — and what musicians, fans and industry professionals alike can learn from the Soviet Soviet situation.\u003c/p>\n\u003cp>It is also very likely that there will be other denials of entry for other performers trying to enter the U.S. in the coming days and weeks, especially as the South by Southwest [SXSW] festival, which begins today, continues. Just last night, the band Massive Scar Era, who were, like Soviet Soviet also hoping to perform at SXSW, posted a \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">video\u003c/a> claiming that they were denied entry as well, though under a different set of circumstances.\u003c/p>\n\u003cp>\u003cstrong>What exactly did Soviet Soviet do wrong?\u003c/strong>\u003c/p>\n\u003cp>The Italian trio \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\">has stated\u003c/a> it tried to come into the U.S. for a number of performances: a showcase at SXSW, a live performance at Member Station \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">KEXP\u003c/a> and at least two other shows. It’s those two other shows that seem to have formed the basis of the Custom and Border Protection [CBP] officials’ decision to deport the bands’ members. NPR is basing our interpretation of these events on statements made by Soviet Soviet and the Department of Homeland Security [DHS], as well as in articles by and interviews with several immigration lawyers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Soviet Soviet, its members told immigration officials that at two of the planned shows, the venues would be charging fans entry fees, but that the band itself would not get paid for those performances. The group seemed to believe that not receiving income from those shows would keep it on the right side of CBP — but this is exactly where Soviet Soviet’s case goes sideways.\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>As Italians, the band tried to entered the U.S. under the Visa Waiver Program (also known as ESTA), which permits citizens of nearly 40, mostly Western European countries to come into the U.S. for up to 90 days as non-working tourists.\u003c/p>\n\u003cp>However, under the Visa Waiver Program or as holders of tourist visas, travelers to the U.S. are theoretically allowed to solicit future business while in the U.S.\u003c/p>\n\u003cp>As immigration lawyer Leena Khandwala \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> to NPR earlier this month, this can mean doing things like attending a conference or convention, meeting with clients, or attending a meeting. Musicians often interpret this regulation as permitting them to perform at a showcase at a large industry event, such as SXSW.\u003c/p>\n\u003cp>\u003cstrong>Is the “showcase exception” a real thing?\u003c/strong>\u003c/p>\n\u003cp>That’s up for interpretation — and the “showcase exception” is not a universally accepted standard. One prominent immigration attorney who specializes in working with international performers, Brian Taylor Goldstein of GG Law, wrote an article last week \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">arguing\u003c/a> that there is no such exception:\u003c/p>\n\u003cblockquote>\n\u003cp>“Artists cannot perform on visitor visas (B-1/B-2) or through the Visa Waiver Program (‘ESTA’) regardless of whether or not they are being paid and regarding of whether or not tickets are sold. Except in the most narrowly defined circumstances, US immigration law has always defined ‘work’ as it pertains to artists, as any kind of performance. Artists denied entry on the basis of fraud, will have a denied entry on their record, impeding future visas and travel.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On the other hand, certain presenters and festivals — including SXSW — do encourage artists to utilize this theoretical exception, provided that they don’t try to do other performances or activities while in the U.S.\u003c/p>\n\u003cp>As Roland Swenson, SXSW’s co-founder and CEO, \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">argued\u003c/a> to NPR earlier this month, securing a work visa is beyond the reach of many musicians, especially younger or emerging acts. (More on those work visas below.) “If the artists had to qualify for other types of visas,” Swenson said, “they might not have the career credentials to gain those.”\u003c/p>\n\u003cp>In essence, what SXSW was saying was that \u003cem>if\u003c/em> bands choose to try to come into the U.S. under the so-called “showcase exception,” then they can only perform at an industry-focused event like SXSW. (Whether or not SXSW is solely an industry event at this point — considering the fact that \u003ca href=\"https://www.sxsw.com/wp-content/uploads/2016/05/2016-SXSW-Economic-Impact-Analysis.pdf\" target=\"_blank\" rel=\"noopener\">tens of thousands\u003c/a> of SXSW passes are sold to fans and not solely to music-business professionals — is a matter for another day.)\u003c/p>\n\u003cp>\u003cstrong>Did Soviet Soviet even use the “showcase exception” correctly? \u003c/strong>\u003c/p>\n\u003cp>Apparently not — the band seemed to believe that their planned non-paid appearances were equivalent to showcases, and CBP apparently disagreed. (KEXP reported on Friday that the Department of Homeland Security [DHS] “\u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">maintained the position\u003c/a> that the band lacked the proper visa for entry into the United States.”)\u003c/p>\n\u003cp>Two immigration attorneys who specialize in securing visas for performing artists — Matthew Covey and Will Spitz of the non-profit organization \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/06/513255643/even-with-travel-ban-blocked-artists-are-still-left-hanging\">Tamizdat\u003c/a> — posted a \u003ca href=\"https://www.facebook.com/matthew.covey.9/posts/10154227691171610\" target=\"_blank\" rel=\"noopener\">piece on Facebook\u003c/a> over the weekend that posited why Soviet Soviet were specifically wrong. They wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soviet Soviet was doing precisely what the much maligned SXSW invitation letter was attempting to caution them against doing. As monstrous as reports of CBP’s handling of Soviet Soviet sound, it is clear that these artists were entering the U.S. intending to violate U.S. law. They were scheduled to play non-showcase events, and even after all last week’s fuss, they still did not understand: not getting paid does not mean you don’t need a visa. That they did not understand the law is, of course, unfortunately ‘no defense.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Soviet Soviet says that its members were handcuffed and kept in jail overnight before being put on a flight back to Italy. Is that standard treatment?\u003c/strong>\u003c/p>\n\u003cp>According to the \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> that DHS gave to KEXP, the answer is yes, though the response referred to “restraints” rather than “handcuffs,” and described the place in which the three men were held as a “detention facility” rather than a jail.\u003c/p>\n\u003cblockquote>\n\u003cp>“When a traveler is deemed inadmissible, CBP makes every effort to return the traveler without delay. CBP does not have an overnight detention facility at the airport. Therefore, it is standard procedure for any traveler who is deemed inadmissible and is awaiting return travel to be taken to a detention center until return travel is available. According to CBP policy, it is standard procedure to restrain a traveler who is being transported to a detention facility. The use of restraints on detainees during transport is in a manner that is safe, secure, humane, and professional. It is the responsibility of officers to ensure that the need and level of restraints used is consistent with the operational office’s policies and procedures. At no time are restraints used in a punitive manner or in a manner that causes detainees undue pain.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>So the band was denied entry on security grounds, or for economic reasons?\u003c/strong>\u003c/p>\n\u003cp>Covey and Spitz argue that the CBP’s rationale in the Soviet Soviet case is entirely economic. They say that the reason that the current regulations exist in the way they do is a matter of protecting American labor:\u003c/p>\n\u003cblockquote>\n\u003cp>In this case, the U.S. artist visa laws were written for Congress by the artists’ labor unions in the late eighties with the intent of protecting the interests of U.S. labor — American performing artists. So let’s do a hypothetical: Imagine a group of lumberjacks in British Columbia wanted to enter the U.S. to log in Washington State; naturally the U.S. government would say ‘No way, not unless you can get a work visa first.’ But these loggers reply, ‘Well we like logging so much, how about we do it for free! That’s ok, right?’ No, it’s not, and in fact from a labor standpoint, the fact that they are working for free is WORSE than them getting paid: not only are they taking the jobs of individual American lumberjacks, they are generally depressing the value of the labor of U.S. lumberjacks! So from a labor standpoint, foreign musicians playing in the U.S. for free is anything but harmless. (Artists can get visas to perform in the U.S. of course; but they have to prove that they are eligible for an O or P visa, which is issued when the artist’s importance to American business or cultural interests is deemed to outweigh their threat to labor interests.)\u003c/p>\n\u003c/blockquote>\n\u003cp>But it also seems true that there are plenty of performance opportunities to go around: in 2016, \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> international acts from \u003ca href=\"https://www.sxsw.com/festivals/music/\" target=\"_blank\" rel=\"noopener\">more than 65\u003c/a> countries played SXSW showcases — but there were more than 2,200 official performers in total.\u003c/p>\n\u003cp>\u003cstrong>Is it going to be harder for international artists to come to the United States in the future?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>In a word: possibly. Of course, if more artists try to skirt visa regulations, it’s very likely that CBP will scrutinize all musicians’ entries even more closely.\u003c/p>\n\u003cp>However, it’s already very challenging to obtain what’s called an O or P visa, which are two of the kinds of visas granted to musicians and other performers. In order to qualify, individual artists (who would apply for an O category visa) or bands (a P visa) have to \u003ca href=\"http://www.artistsfromabroad.org/immigration-procedures/choosing-the-right-visa-category/o-and-p-visa-classifications/%20t\" target=\"_blank\" rel=\"noopener\">qualify\u003c/a> as “aliens of extraordinary ability in the arts.”\u003c/p>\n\u003cp>Getting one of these O or P visas takes many months, thousands of dollars and piles of paperwork, reviews and letters of recommendation attesting that the applying musicians have already built a professionally significant and generally recognized career. As the United States Citizenship and Immigration Services [USCIS] website \u003ca href=\"https://www.uscis.gov/working-united-states/temporary-workers/o-1-visa-individuals-extraordinary-ability-or-achievement%20&%20https://www.uscis.gov/working-united-states/temporary-workers/p-1b-member-internationally-recognized-entertainment-group\" target=\"_blank\" rel=\"noopener\">explains\u003c/a>, the government will grant these visas only under very specific conditions:\u003c/p>\n\u003cblockquote>\n\u003cp>“Extraordinary ability in the field of arts means distinction. Distinction means a high level of achievement in the field of the arts evidenced by a degree of skill and recognition substantially above that ordinarily encountered to the extent that a person described as prominent is renowned, leading, or well-known in the field of arts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>That is to say, if you’re a young, independent artist or band only starting to make your mark on the music scene — and hoping that a performance at an event like SXSW is going to boost your visibility to American bookers, agents, record labels and the like — it’s pretty improbable that the U.S. government is going to deem you “renowned.”\u003c/p>\n\u003cp>And as lawyer Brian Taylor Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> in his article, even if an O or P visa is issued, it remains totally up to the discretion of an individual immigration officer at the border to allow — or refuse — someone’s entry into the U.S., regardless of what visa that person is carrying. “An Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason,” he wrote. “To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003cp>\u003cstrong>But will things be harder in the \u003cem>immediate\u003c/em> future, given the heavy emphasis the Trump administration has put on travel, border control and immigration?\u003c/strong>\u003c/p>\n\u003cp>The laws regarding visa work rules have existed for years — well before the Trump administration took office. But the process for obtaining permission to travel to the U.S., including petitioning for an O or P visa, is becoming potentially more onerous and time-consuming than it was even a few months ago. This is partly because of President Trump’s \u003ca href=\"http://www.npr.org/2017/03/06/518785814/full-text-trumps-new-executive-order-on-travel-annotated\" target=\"_blank\" rel=\"noopener\">most recent\u003c/a> executive order on immigration, which was issued on March 6.\u003c/p>\n\u003cp>In the past, officials at individual consulates could choose to waive in-person interview requirements if someone was seeking to renew an O or P visa within 12 months of a previous O or P visa expiring. The idea was that since such an applicant had already been interviewed and vetted fairly recently, and since that person would have a demonstrated professional history already on the books, it wasn’t necessary to have the applicant come back to the U.S. consulate for another interview.\u003c/p>\n\u003cp>According to Section 9 of this executive order, however, all individuals seeking a non-immigrant visa — including previous holders of O or P visas — must return to U.S. consulates for personal interviews.\u003c/p>\n\u003cp>As Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">noted\u003c/a>, “Until additional consular staff is hired, [the] Order will place enormous burdens on U.S. consulates and embassies — particularly high-volume consulates — by increasing already extended interview wait times and processing times, wasting limited resources and potentially decreasing the quality of consular interviews.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Was+That+Band+Deported%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Was the Italian group Soviet Soviet a security risk? Did it pose an economic threat to Americans? And how hard is it to get a performer's visa, anyway? We work through the details.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Friday afternoon, a controversy erupted about the Italian post-punk band Soviet Soviet, who were denied entrance to the United States on Wednesday and detained overnight before being \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/10/519707931/italian-band-soviet-soviet-denied-entry-to-the-u-s-jailed-and-then-deported\" target=\"_blank\" rel=\"noopener\">deported\u003c/a> back to Italy.\u003c/p>\n\u003cp>In the wake of that news, there was a huge wellspring of reader commentary and questions about what had happened. To help clarify, we’re digging into the thickets of U.S. policy, specifically the regulations surrounding performing artists, as well as various interpretations of those regulations, to figure out what exactly happened — and what musicians, fans and industry professionals alike can learn from the Soviet Soviet situation.\u003c/p>\n\u003cp>It is also very likely that there will be other denials of entry for other performers trying to enter the U.S. in the coming days and weeks, especially as the South by Southwest [SXSW] festival, which begins today, continues. Just last night, the band Massive Scar Era, who were, like Soviet Soviet also hoping to perform at SXSW, posted a \u003ca href=\"https://www.facebook.com/massivescarera/videos/10155086449723664/\" target=\"_blank\" rel=\"noopener\">video\u003c/a> claiming that they were denied entry as well, though under a different set of circumstances.\u003c/p>\n\u003cp>\u003cstrong>What exactly did Soviet Soviet do wrong?\u003c/strong>\u003c/p>\n\u003cp>The Italian trio \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\">has stated\u003c/a> it tried to come into the U.S. for a number of performances: a showcase at SXSW, a live performance at Member Station \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">KEXP\u003c/a> and at least two other shows. It’s those two other shows that seem to have formed the basis of the Custom and Border Protection [CBP] officials’ decision to deport the bands’ members. NPR is basing our interpretation of these events on statements made by Soviet Soviet and the Department of Homeland Security [DHS], as well as in articles by and interviews with several immigration lawyers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Soviet Soviet, its members told immigration officials that at two of the planned shows, the venues would be charging fans entry fees, but that the band itself would not get paid for those performances. The group seemed to believe that not receiving income from those shows would keep it on the right side of CBP — but this is exactly where Soviet Soviet’s case goes sideways.\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>As Italians, the band tried to entered the U.S. under the Visa Waiver Program (also known as ESTA), which permits citizens of nearly 40, mostly Western European countries to come into the U.S. for up to 90 days as non-working tourists.\u003c/p>\n\u003cp>However, under the Visa Waiver Program or as holders of tourist visas, travelers to the U.S. are theoretically allowed to solicit future business while in the U.S.\u003c/p>\n\u003cp>As immigration lawyer Leena Khandwala \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> to NPR earlier this month, this can mean doing things like attending a conference or convention, meeting with clients, or attending a meeting. Musicians often interpret this regulation as permitting them to perform at a showcase at a large industry event, such as SXSW.\u003c/p>\n\u003cp>\u003cstrong>Is the “showcase exception” a real thing?\u003c/strong>\u003c/p>\n\u003cp>That’s up for interpretation — and the “showcase exception” is not a universally accepted standard. One prominent immigration attorney who specializes in working with international performers, Brian Taylor Goldstein of GG Law, wrote an article last week \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">arguing\u003c/a> that there is no such exception:\u003c/p>\n\u003cblockquote>\n\u003cp>“Artists cannot perform on visitor visas (B-1/B-2) or through the Visa Waiver Program (‘ESTA’) regardless of whether or not they are being paid and regarding of whether or not tickets are sold. Except in the most narrowly defined circumstances, US immigration law has always defined ‘work’ as it pertains to artists, as any kind of performance. Artists denied entry on the basis of fraud, will have a denied entry on their record, impeding future visas and travel.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On the other hand, certain presenters and festivals — including SXSW — do encourage artists to utilize this theoretical exception, provided that they don’t try to do other performances or activities while in the U.S.\u003c/p>\n\u003cp>As Roland Swenson, SXSW’s co-founder and CEO, \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">argued\u003c/a> to NPR earlier this month, securing a work visa is beyond the reach of many musicians, especially younger or emerging acts. (More on those work visas below.) “If the artists had to qualify for other types of visas,” Swenson said, “they might not have the career credentials to gain those.”\u003c/p>\n\u003cp>In essence, what SXSW was saying was that \u003cem>if\u003c/em> bands choose to try to come into the U.S. under the so-called “showcase exception,” then they can only perform at an industry-focused event like SXSW. (Whether or not SXSW is solely an industry event at this point — considering the fact that \u003ca href=\"https://www.sxsw.com/wp-content/uploads/2016/05/2016-SXSW-Economic-Impact-Analysis.pdf\" target=\"_blank\" rel=\"noopener\">tens of thousands\u003c/a> of SXSW passes are sold to fans and not solely to music-business professionals — is a matter for another day.)\u003c/p>\n\u003cp>\u003cstrong>Did Soviet Soviet even use the “showcase exception” correctly? \u003c/strong>\u003c/p>\n\u003cp>Apparently not — the band seemed to believe that their planned non-paid appearances were equivalent to showcases, and CBP apparently disagreed. (KEXP reported on Friday that the Department of Homeland Security [DHS] “\u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">maintained the position\u003c/a> that the band lacked the proper visa for entry into the United States.”)\u003c/p>\n\u003cp>Two immigration attorneys who specialize in securing visas for performing artists — Matthew Covey and Will Spitz of the non-profit organization \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/06/513255643/even-with-travel-ban-blocked-artists-are-still-left-hanging\">Tamizdat\u003c/a> — posted a \u003ca href=\"https://www.facebook.com/matthew.covey.9/posts/10154227691171610\" target=\"_blank\" rel=\"noopener\">piece on Facebook\u003c/a> over the weekend that posited why Soviet Soviet were specifically wrong. They wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soviet Soviet was doing precisely what the much maligned SXSW invitation letter was attempting to caution them against doing. As monstrous as reports of CBP’s handling of Soviet Soviet sound, it is clear that these artists were entering the U.S. intending to violate U.S. law. They were scheduled to play non-showcase events, and even after all last week’s fuss, they still did not understand: not getting paid does not mean you don’t need a visa. That they did not understand the law is, of course, unfortunately ‘no defense.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Soviet Soviet says that its members were handcuffed and kept in jail overnight before being put on a flight back to Italy. Is that standard treatment?\u003c/strong>\u003c/p>\n\u003cp>According to the \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> that DHS gave to KEXP, the answer is yes, though the response referred to “restraints” rather than “handcuffs,” and described the place in which the three men were held as a “detention facility” rather than a jail.\u003c/p>\n\u003cblockquote>\n\u003cp>“When a traveler is deemed inadmissible, CBP makes every effort to return the traveler without delay. CBP does not have an overnight detention facility at the airport. Therefore, it is standard procedure for any traveler who is deemed inadmissible and is awaiting return travel to be taken to a detention center until return travel is available. According to CBP policy, it is standard procedure to restrain a traveler who is being transported to a detention facility. The use of restraints on detainees during transport is in a manner that is safe, secure, humane, and professional. It is the responsibility of officers to ensure that the need and level of restraints used is consistent with the operational office’s policies and procedures. At no time are restraints used in a punitive manner or in a manner that causes detainees undue pain.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>So the band was denied entry on security grounds, or for economic reasons?\u003c/strong>\u003c/p>\n\u003cp>Covey and Spitz argue that the CBP’s rationale in the Soviet Soviet case is entirely economic. They say that the reason that the current regulations exist in the way they do is a matter of protecting American labor:\u003c/p>\n\u003cblockquote>\n\u003cp>In this case, the U.S. artist visa laws were written for Congress by the artists’ labor unions in the late eighties with the intent of protecting the interests of U.S. labor — American performing artists. So let’s do a hypothetical: Imagine a group of lumberjacks in British Columbia wanted to enter the U.S. to log in Washington State; naturally the U.S. government would say ‘No way, not unless you can get a work visa first.’ But these loggers reply, ‘Well we like logging so much, how about we do it for free! That’s ok, right?’ No, it’s not, and in fact from a labor standpoint, the fact that they are working for free is WORSE than them getting paid: not only are they taking the jobs of individual American lumberjacks, they are generally depressing the value of the labor of U.S. lumberjacks! So from a labor standpoint, foreign musicians playing in the U.S. for free is anything but harmless. (Artists can get visas to perform in the U.S. of course; but they have to prove that they are eligible for an O or P visa, which is issued when the artist’s importance to American business or cultural interests is deemed to outweigh their threat to labor interests.)\u003c/p>\n\u003c/blockquote>\n\u003cp>But it also seems true that there are plenty of performance opportunities to go around: in 2016, \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> international acts from \u003ca href=\"https://www.sxsw.com/festivals/music/\" target=\"_blank\" rel=\"noopener\">more than 65\u003c/a> countries played SXSW showcases — but there were more than 2,200 official performers in total.\u003c/p>\n\u003cp>\u003cstrong>Is it going to be harder for international artists to come to the United States in the future?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>In a word: possibly. Of course, if more artists try to skirt visa regulations, it’s very likely that CBP will scrutinize all musicians’ entries even more closely.\u003c/p>\n\u003cp>However, it’s already very challenging to obtain what’s called an O or P visa, which are two of the kinds of visas granted to musicians and other performers. In order to qualify, individual artists (who would apply for an O category visa) or bands (a P visa) have to \u003ca href=\"http://www.artistsfromabroad.org/immigration-procedures/choosing-the-right-visa-category/o-and-p-visa-classifications/%20t\" target=\"_blank\" rel=\"noopener\">qualify\u003c/a> as “aliens of extraordinary ability in the arts.”\u003c/p>\n\u003cp>Getting one of these O or P visas takes many months, thousands of dollars and piles of paperwork, reviews and letters of recommendation attesting that the applying musicians have already built a professionally significant and generally recognized career. As the United States Citizenship and Immigration Services [USCIS] website \u003ca href=\"https://www.uscis.gov/working-united-states/temporary-workers/o-1-visa-individuals-extraordinary-ability-or-achievement%20&%20https://www.uscis.gov/working-united-states/temporary-workers/p-1b-member-internationally-recognized-entertainment-group\" target=\"_blank\" rel=\"noopener\">explains\u003c/a>, the government will grant these visas only under very specific conditions:\u003c/p>\n\u003cblockquote>\n\u003cp>“Extraordinary ability in the field of arts means distinction. Distinction means a high level of achievement in the field of the arts evidenced by a degree of skill and recognition substantially above that ordinarily encountered to the extent that a person described as prominent is renowned, leading, or well-known in the field of arts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>That is to say, if you’re a young, independent artist or band only starting to make your mark on the music scene — and hoping that a performance at an event like SXSW is going to boost your visibility to American bookers, agents, record labels and the like — it’s pretty improbable that the U.S. government is going to deem you “renowned.”\u003c/p>\n\u003cp>And as lawyer Brian Taylor Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">explained\u003c/a> in his article, even if an O or P visa is issued, it remains totally up to the discretion of an individual immigration officer at the border to allow — or refuse — someone’s entry into the U.S., regardless of what visa that person is carrying. “An Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason,” he wrote. “To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003cp>\u003cstrong>But will things be harder in the \u003cem>immediate\u003c/em> future, given the heavy emphasis the Trump administration has put on travel, border control and immigration?\u003c/strong>\u003c/p>\n\u003cp>The laws regarding visa work rules have existed for years — well before the Trump administration took office. But the process for obtaining permission to travel to the U.S., including petitioning for an O or P visa, is becoming potentially more onerous and time-consuming than it was even a few months ago. This is partly because of President Trump’s \u003ca href=\"http://www.npr.org/2017/03/06/518785814/full-text-trumps-new-executive-order-on-travel-annotated\" target=\"_blank\" rel=\"noopener\">most recent\u003c/a> executive order on immigration, which was issued on March 6.\u003c/p>\n\u003cp>In the past, officials at individual consulates could choose to waive in-person interview requirements if someone was seeking to renew an O or P visa within 12 months of a previous O or P visa expiring. The idea was that since such an applicant had already been interviewed and vetted fairly recently, and since that person would have a demonstrated professional history already on the books, it wasn’t necessary to have the applicant come back to the U.S. consulate for another interview.\u003c/p>\n\u003cp>According to Section 9 of this executive order, however, all individuals seeking a non-immigrant visa — including previous holders of O or P visas — must return to U.S. consulates for personal interviews.\u003c/p>\n\u003cp>As Goldstein \u003ca href=\"https://www.hellostage.com/blog/2017-03-07-Avoiding-a-World-of-Trouble-WHAT-IN-THE-WORLD-IS-GOING-ON-AS-OF-MARCH-7-2017\" target=\"_blank\" rel=\"noopener\">noted\u003c/a>, “Until additional consular staff is hired, [the] Order will place enormous burdens on U.S. consulates and embassies — particularly high-volume consulates — by increasing already extended interview wait times and processing times, wasting limited resources and potentially decreasing the quality of consular interviews.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Was+That+Band+Deported%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: You Can Move Away, But You Can't Shake the Bay",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged mix of music from artists with Bay Area roots.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Bay_Area_Roots_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>We present a ton of new and emerging Bay Area bands on these mixtapes every month, but have far fewer opportunities to revisit artists after they move away from the region.\u003c/p>\n\u003cp>In this mixtape, we catch up with 11 acts with Bay Area roots, including \u003cstrong>\u003ca href=\"https://www.facebook.com/harrietbrownmusic\">Harriet Brown\u003c/a>\u003c/strong>, who grew up in the Bay Area before heading to L.A., where he’s now poised to have a breakout year. Others, including \u003cstrong>\u003ca href=\"https://www.facebook.com/CotillonMusic\">Cotillon\u003c/a>\u003c/strong>, spent fewer but no less impactful years in the local music scene; for Jordan Corso, his time in the Bay Area found him working with JR White to create Cotillon’s buzzed-about first album.\u003c/p>\n\u003cp>Still other artists included in this mix released a substantial number of records during their long stints in the Bay Area, like the prolific garage rock hero \u003cstrong>\u003ca href=\"http://www.ty-segall.com\">Ty Segall\u003c/a>\u003c/strong> and the versatile \u003cstrong>\u003ca href=\"http://jefrecantu-ledesma.com\">Jefre Cantu-Ledesma\u003c/a>\u003c/strong>. As this mixtape shows, the Bay Area’s influence is undeniable — artists nurtured by the scene here create compelling works wherever they land next.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 11 artists.\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sugarcandymountain\">Sugar Candy Mountain\u003c/a>\u003c/strong> – “Windows”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/talkiesatx/\">Talkies\u003c/a>\u003c/strong> – “Break Character”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/FoieGrasForever\">Foie Gras\u003c/a>\u003c/strong> – “Devotee”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/harrietbrownmusic\">Harriet Brown\u003c/a>\u003c/strong> – “Obsession”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/someember/\">Some Ember\u003c/a>\u003c/strong> – “Magnetic”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thisisbed\">bed.\u003c/a>\u003c/strong> – “Girl”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/CotillonMusic\">Cotillon\u003c/a>\u003c/strong> – “Alex’s Room”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.ty-segall.com\">Ty Segall\u003c/a>\u003c/strong> – “Orange Color Queen”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/moonduoofficial\">\u003cstrong>Moon Duo\u003c/strong>\u003c/a> – “Creepin’”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/AvalonEmerson\">Avalon Emerson\u003c/a>\u003c/strong> – “Natural Impasse”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://jefrecantu-ledesma.com\">Jefre Cantu-Ledesma\u003c/a>\u003c/strong> – “Love’s Refrain”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged mix of music from artists with Bay Area roots.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Bay_Area_Roots_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>We present a ton of new and emerging Bay Area bands on these mixtapes every month, but have far fewer opportunities to revisit artists after they move away from the region.\u003c/p>\n\u003cp>In this mixtape, we catch up with 11 acts with Bay Area roots, including \u003cstrong>\u003ca href=\"https://www.facebook.com/harrietbrownmusic\">Harriet Brown\u003c/a>\u003c/strong>, who grew up in the Bay Area before heading to L.A., where he’s now poised to have a breakout year. Others, including \u003cstrong>\u003ca href=\"https://www.facebook.com/CotillonMusic\">Cotillon\u003c/a>\u003c/strong>, spent fewer but no less impactful years in the local music scene; for Jordan Corso, his time in the Bay Area found him working with JR White to create Cotillon’s buzzed-about first album.\u003c/p>\n\u003cp>Still other artists included in this mix released a substantial number of records during their long stints in the Bay Area, like the prolific garage rock hero \u003cstrong>\u003ca href=\"http://www.ty-segall.com\">Ty Segall\u003c/a>\u003c/strong> and the versatile \u003cstrong>\u003ca href=\"http://jefrecantu-ledesma.com\">Jefre Cantu-Ledesma\u003c/a>\u003c/strong>. As this mixtape shows, the Bay Area’s influence is undeniable — artists nurtured by the scene here create compelling works wherever they land next.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 11 artists.\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Afghan Rockers Start New Musical Life in Oakland",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>I first met Sulyman Qardash and his band \u003ca href=\"https://www.kabuldreams.com/\">Kabul Dreams\u003c/a> in 2014, when they came to the U.S. to play at \u003ca href=\"https://www.sxsw.com/\">South by Southwest\u003c/a>, a music festival in Austin. The band decided to call Oakland their home soon after, because they'd received death threats back in Afghanistan for being in a Western rock band.\u003c/p>\n\u003cp>Three years later, in February 2017, they released their first U.S.-produced album, called \u003ca href=\"https://itunes.apple.com/us/album/megalomaniacs/id1198462437\">Megalomaniacs\u003c/a>. Sulyman says that in the wake of President Trump’s second travel ban, and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West.\u003c/p>\n\u003cp>“If a kid in California finds out about Kabul Dreams being from Afghanistan and being an Oakland-based band,\" Qardash says when we met up at a rehearsal studio in Oakland, \"if they listen to our music and they say, ‘Oh, wow, I like their music,' I'm pretty sure they would change their perspective about immigrants and people from different backgrounds.\"\u003c/p>\n\u003cp>Qardash has dark eyes, black hair and a thin frame. He’s dressed in a black leather jacket and Converse shoes. He picks up a guitar and plays a song for me off their new album, called \"\u003ca href=\"https://www.youtube.com/watch?v=y_-wEm07oyE\">Saturated Hope\u003c/a>,\" about the feeling of never being able to live in the place you call home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=y_-wEm07oyE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The song is about waking up every day, and some days waking up in different places and starting all over again,\" Qardash explains. \"And coming here and not having anything you have back home. And then you have to start all over again.”\u003c/p>\n\u003cp>Qardash was born in Kabul, but grew up as a refugee in nearby Uzbekistan during Taliban rule. In Uzbekistan, he enrolled in high school and his new punk friends introduced him to bands like Nirvana and the Sex Pistols. He was hooked. He picked up his first guitar at 14 and never put it down. As a refugee, music gave Qardash a sense of home. After the fall of the Taliban, Qardash returned to Afghanistan in 2007 and started Kabul Dreams. Bassist Siddique Ahmed had just returned from being a refugee in Pakistan, and former drummer Mujtaba Habibi had just returned from Iran (he was replaced by Raby Adib in 2014).\u003c/p>\n\u003cp>Qardash wrote the song, \"Sadae Man,\" or \"My Voice,\" a couple of years later as an anthem to his country’s hopes for democracy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i4kAvjgqh-U\u003c/p>\n\u003cp>“I think we needed a song to really encourage youth to be united, and that is what we felt, and that is really the entire idea behind having a band,\" Qardash says.\u003c/p>\n\u003cp>Kabul Dreams never planned to leave Kabul. But Qardash’s dreams of the U.S. invasion bringing democracy to his home were shattered. He saw people killed on the streets of Kabul. Bombings were frequent. The band received countless death threats. The U.N. reports more than \u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\"> \u003c/a>\u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\">63,000 civilians were killed in Afghanistan\u003c/a> between 2009 and 2016. Sulyman didn’t see an end. So Kabul Dreams decided to leave Afghanistan for good.\u003c/p>\n\u003cp>“We tried to copy the democracy that the U.S. or the Western world provides,\" Qardash says. \"Especially in Afghanistan, we preach about that. But if you look at it for me, outside of Bay Area, when I travel to different states, I'm experiencing the things and thoughts that I had were slightly wrong. Because we are living in 2017, and we are in America, and people are still fighting against racism or fighting against gender equality.\"\u003c/p>\n\u003cfigure id=\"attachment_11353369\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353369\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Sulyman-800x1200.jpg\" alt=\"Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West.\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West. \u003ccite>(Photo courtesy of Kabul Dreams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qardash says he’s grateful for the freedom he feels here in the U.S., and opportunities. In 2017, Qardash got to meet one of his childhood heroes -- Metallica -- when Kabul Dreams starred in an award-winning indie movie with Metallica drummer Lars Ulrich\u003cu>,\u003c/u> called \u003ca href=\"http://butimarproductions.org/films/radiodreams/\">Radio Dreams\u003c/a>.\u003c/p>\n\u003cp>Qardash says that blew his mind. He says he is grateful, but now he confronts a new challenge: Islamophobia.\u003c/p>\n\u003cp>“I can be a Muslim, but I can play rock 'n' roll and I can be a doctor or an engineer,\" Qardash says. \"That’s something very spiritual between me and what I believe in. You don't really get to choose what I believe in.”\u003c/p>\n\u003cp>Qardash calls the new travel ban aimed at Muslim-majority countries \"ridiculous.\" Even though Afghanistan is not on that list, he says his religion and ethnicity are being targeted. Qardash hopes his music will get people to reassess their own stereotypes.\u003c/p>\n\u003cp>Sulyman Qardash says the title of their newest album, \u003ca href=\"https://itunes.apple.com/us/album/megalomaniacs/id1198462437\">Megalomaniacs\u003c/a>, is a nod to those who rule the world today -- in Afghanistan, in the U.S., in so many places -- turning citizens into immigrants and refugees. Qardash says that is Kabul Dreams’ story -- a story they will share one song at a time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is part of \u003ca href=\"http://nnf.foundation/west-of-middle-east/\">West of Middle East,\u003c/a> a podcast by Neda Nobari Foundation about changemakers from the Middle East Diaspora in the West. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The song is about waking up every day, and some days waking up in different places and starting all over again,\" Qardash explains. \"And coming here and not having anything you have back home. And then you have to start all over again.”\u003c/p>\n\u003cp>Qardash was born in Kabul, but grew up as a refugee in nearby Uzbekistan during Taliban rule. In Uzbekistan, he enrolled in high school and his new punk friends introduced him to bands like Nirvana and the Sex Pistols. He was hooked. He picked up his first guitar at 14 and never put it down. As a refugee, music gave Qardash a sense of home. After the fall of the Taliban, Qardash returned to Afghanistan in 2007 and started Kabul Dreams. Bassist Siddique Ahmed had just returned from being a refugee in Pakistan, and former drummer Mujtaba Habibi had just returned from Iran (he was replaced by Raby Adib in 2014).\u003c/p>\n\u003cp>Qardash wrote the song, \"Sadae Man,\" or \"My Voice,\" a couple of years later as an anthem to his country’s hopes for democracy.\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/i4kAvjgqh-U'\n title='//www.youtube.com/embed/i4kAvjgqh-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think we needed a song to really encourage youth to be united, and that is what we felt, and that is really the entire idea behind having a band,\" Qardash says.\u003c/p>\n\u003cp>Kabul Dreams never planned to leave Kabul. But Qardash’s dreams of the U.S. invasion bringing democracy to his home were shattered. He saw people killed on the streets of Kabul. Bombings were frequent. The band received countless death threats. The U.N. reports more than \u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\"> \u003c/a>\u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\">63,000 civilians were killed in Afghanistan\u003c/a> between 2009 and 2016. Sulyman didn’t see an end. So Kabul Dreams decided to leave Afghanistan for good.\u003c/p>\n\u003cp>“We tried to copy the democracy that the U.S. or the Western world provides,\" Qardash says. \"Especially in Afghanistan, we preach about that. But if you look at it for me, outside of Bay Area, when I travel to different states, I'm experiencing the things and thoughts that I had were slightly wrong. Because we are living in 2017, and we are in America, and people are still fighting against racism or fighting against gender equality.\"\u003c/p>\n\u003cfigure id=\"attachment_11353369\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353369\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Sulyman-800x1200.jpg\" alt=\"Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West.\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West. \u003ccite>(Photo courtesy of Kabul Dreams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qardash says he’s grateful for the freedom he feels here in the U.S., and opportunities. In 2017, Qardash got to meet one of his childhood heroes -- Metallica -- when Kabul Dreams starred in an award-winning indie movie with Metallica drummer Lars Ulrich\u003cu>,\u003c/u> called \u003ca href=\"http://butimarproductions.org/films/radiodreams/\">Radio Dreams\u003c/a>.\u003c/p>\n\u003cp>Qardash says that blew his mind. He says he is grateful, but now he confronts a new challenge: Islamophobia.\u003c/p>\n\u003cp>“I can be a Muslim, but I can play rock 'n' roll and I can be a doctor or an engineer,\" Qardash says. \"That’s something very spiritual between me and what I believe in. You don't really get to choose what I believe in.”\u003c/p>\n\u003cp>Qardash calls the new travel ban aimed at Muslim-majority countries \"ridiculous.\" Even though Afghanistan is not on that list, he says his religion and ethnicity are being targeted. Qardash hopes his music will get people to reassess their own stereotypes.\u003c/p>\n\u003cp>Sulyman Qardash says the title of their newest album, \u003ca href=\"https://itunes.apple.com/us/album/megalomaniacs/id1198462437\">Megalomaniacs\u003c/a>, is a nod to those who rule the world today -- in Afghanistan, in the U.S., in so many places -- turning citizens into immigrants and refugees. Qardash says that is Kabul Dreams’ story -- a story they will share one song at a time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is part of \u003ca href=\"http://nnf.foundation/west-of-middle-east/\">West of Middle East,\u003c/a> a podcast by Neda Nobari Foundation about changemakers from the Middle East Diaspora in the West. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Italian Band Soviet Soviet Denied Entry to the U.S., Jailed and then Deported",
"headTitle": "Italian Band Soviet Soviet Denied Entry to the U.S., Jailed and then Deported | KQED",
"content": "\u003cp>This afternoon, the Italian trio Soviet Soviet posted a \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\" target=\"_blank\" rel=\"noopener\">lengthy statement\u003c/a> on Facebook explaining why they would not be keeping their U.S. tour dates this week and next: they had been deported.\u003c/p>\n\u003cp>https://www.facebook.com/sovietsovietband/posts/10155120054589810\u003c/p>\n\u003cp>The band, who are based in the city of Pesaro, landed in Seattle on Wednesday afternoon. They were traveling under ESTA (also known as the Visa Waiver Program), which allows citizens of nearly 40 countries to travel to the United States \u003ca href=\"https://travel.state.gov/content/visas/en/visit/visa-waiver-program.html\" target=\"_blank\" rel=\"noopener\">without\u003c/a> having to obtain a visa.\u003c/p>\n\u003cp>According to the group, its three members were carrying a letter from its American record label explaining that the musicians were scheduled to perform a number of “promotional,” non-paid performances in the U.S., including a live performance at Member Station KEXP, as well as a showcase at the South by Southwest (SXSW) festival in Austin, Texas.\u003c/p>\n\u003cp>The band says that its three musicians were questioned for several hours, and “agents” (presumably U.S. Customs and Border Protection officers) denied them entry into the country. From the airport, the band says, the three were taken to a jail and held overnight before being escorted to a plane and sent back to Italy. The trio says that they were treated “like criminals.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In its statement, Soviet Soviet says that the agents’ refusal to permit the band’s entry seems to have stemmed from the fact that the agents believed that the group needed work visas to enter the U.S., because two of the venues at which Soviet Soviet was slated to perform were going to charge audiences entry fees — even though the band says that its musicians were not going to earn any money while in the U.S.\u003c/p>\n\u003cp>This afternoon, KEXP \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> a short statement about the situation, saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“Yesterday, Thursday, March 9th, Italian trio Soviet Soviet were scheduled to perform live on The Morning Show on KEXP. Their sophomore album \u003cem>Endless\u003c/em> was released on felte Records back in December, and with its dark, anthemic, post-punk sound, quickly became a favorite on the KEXP airwaves. Unfortunately, the in-studio — as well as their scheduled performances at Kremwerk, SXSW, and venues along the west coast — had to be canceled … KEXP sincerely hopes we’ll be able to reschedule a session with the band in the near future.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It remains to be seen if other musicians will face similar circumstances as they arrive at U.S. border points of entry in the coming days. This period is a particular pressure point as SXSW gets underway on March 13; \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> foreign acts showcased there during the 2016 edition of the festival. Just a week ago, the festival’s organizers faced \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">intense scrutiny\u003c/a> over their contractual statements regarding international artists coming into the U.S. to play in Austin, which led to an \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/07/519063694/after-public-battle-sxsw-apologizes-and-pledges-to-change-its-artist-contract\" target=\"_blank\" rel=\"noopener\">official apology\u003c/a> and a promise to revise SXSW’s language going forward.\u003c/p>\n\u003cp>On Tuesday, a prominent immigration attorney named Brian Taylor Goldstein, whose \u003ca href=\"http://www.ggartslaw.com/gg_home.html\" target=\"_blank\" rel=\"noopener\">practice\u003c/a> is centered around working with artists seeking to tour the U.S., published a lengthy article advising international musicians about the current — and shifting — challenges regarding immigration policy under the Trump administration. Goldstein wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Given that the new Order specifically requires heightened vetting and screening of those “who seek to enter the United States on a fraudulent basis”, there is going to be even more scrutiny and less forgiveness than ever before with regard to artists attempting to enter the US on visitor visas (B-1/B-2) or through the Visa Waiver Program (“ESTA”). We are already receiving reports of artists being held and detained for hours upon entering the US to determine whether or not they are performing. Even artists entering as visitors for the purpose of attending a conference or “performing a showcase” are being pulled aside and, in many cases, being refused entry. Artists entering with B- 1/B-2 visas or through the Visa Waiver Program (ESTA) are being pulled aside the moment they say that they are “entertainers”, “performers”, or “artists” … In short, an Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason. To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DuSlEofvjf0\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Italian+Band+Soviet+Soviet+Denied+Entry+To+The+U.S.%2C+Jailed+And+Then+Deported&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This afternoon, the Italian trio Soviet Soviet posted a \u003ca href=\"https://www.facebook.com/sovietsovietband/posts/10155120054589810\" target=\"_blank\" rel=\"noopener\">lengthy statement\u003c/a> on Facebook explaining why they would not be keeping their U.S. tour dates this week and next: they had been deported.\u003c/p>\n\u003cp>https://www.facebook.com/sovietsovietband/posts/10155120054589810\u003c/p>\n\u003cp>The band, who are based in the city of Pesaro, landed in Seattle on Wednesday afternoon. They were traveling under ESTA (also known as the Visa Waiver Program), which allows citizens of nearly 40 countries to travel to the United States \u003ca href=\"https://travel.state.gov/content/visas/en/visit/visa-waiver-program.html\" target=\"_blank\" rel=\"noopener\">without\u003c/a> having to obtain a visa.\u003c/p>\n\u003cp>According to the group, its three members were carrying a letter from its American record label explaining that the musicians were scheduled to perform a number of “promotional,” non-paid performances in the U.S., including a live performance at Member Station KEXP, as well as a showcase at the South by Southwest (SXSW) festival in Austin, Texas.\u003c/p>\n\u003cp>The band says that its three musicians were questioned for several hours, and “agents” (presumably U.S. Customs and Border Protection officers) denied them entry into the country. From the airport, the band says, the three were taken to a jail and held overnight before being escorted to a plane and sent back to Italy. The trio says that they were treated “like criminals.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its statement, Soviet Soviet says that the agents’ refusal to permit the band’s entry seems to have stemmed from the fact that the agents believed that the group needed work visas to enter the U.S., because two of the venues at which Soviet Soviet was slated to perform were going to charge audiences entry fees — even though the band says that its musicians were not going to earn any money while in the U.S.\u003c/p>\n\u003cp>This afternoon, KEXP \u003ca href=\"http://blog.kexp.org/2017/03/10/why-soviet-soviet-werent-live-on-the-morning-show-yesterday/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> a short statement about the situation, saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“Yesterday, Thursday, March 9th, Italian trio Soviet Soviet were scheduled to perform live on The Morning Show on KEXP. Their sophomore album \u003cem>Endless\u003c/em> was released on felte Records back in December, and with its dark, anthemic, post-punk sound, quickly became a favorite on the KEXP airwaves. Unfortunately, the in-studio — as well as their scheduled performances at Kremwerk, SXSW, and venues along the west coast — had to be canceled … KEXP sincerely hopes we’ll be able to reschedule a session with the band in the near future.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It remains to be seen if other musicians will face similar circumstances as they arrive at U.S. border points of entry in the coming days. This period is a particular pressure point as SXSW gets underway on March 13; \u003ca href=\"http://support.sxsw.com/hc/en-us/articles/206421765-I-am-an-artist-located-outside-of-the-USA-What-do-I-need-to-know-about-showcasing-\" target=\"_blank\" rel=\"noopener\">nearly 600\u003c/a> foreign acts showcased there during the 2016 edition of the festival. Just a week ago, the festival’s organizers faced \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/03/518337140/how-a-contract-clause-led-to-a-fight-between-musicians-and-austins-biggest-event\" target=\"_blank\" rel=\"noopener\">intense scrutiny\u003c/a> over their contractual statements regarding international artists coming into the U.S. to play in Austin, which led to an \u003ca href=\"http://www.npr.org/sections/therecord/2017/03/07/519063694/after-public-battle-sxsw-apologizes-and-pledges-to-change-its-artist-contract\" target=\"_blank\" rel=\"noopener\">official apology\u003c/a> and a promise to revise SXSW’s language going forward.\u003c/p>\n\u003cp>On Tuesday, a prominent immigration attorney named Brian Taylor Goldstein, whose \u003ca href=\"http://www.ggartslaw.com/gg_home.html\" target=\"_blank\" rel=\"noopener\">practice\u003c/a> is centered around working with artists seeking to tour the U.S., published a lengthy article advising international musicians about the current — and shifting — challenges regarding immigration policy under the Trump administration. Goldstein wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Given that the new Order specifically requires heightened vetting and screening of those “who seek to enter the United States on a fraudulent basis”, there is going to be even more scrutiny and less forgiveness than ever before with regard to artists attempting to enter the US on visitor visas (B-1/B-2) or through the Visa Waiver Program (“ESTA”). We are already receiving reports of artists being held and detained for hours upon entering the US to determine whether or not they are performing. Even artists entering as visitors for the purpose of attending a conference or “performing a showcase” are being pulled aside and, in many cases, being refused entry. Artists entering with B- 1/B-2 visas or through the Visa Waiver Program (ESTA) are being pulled aside the moment they say that they are “entertainers”, “performers”, or “artists” … In short, an Immigration Officer has the unfettered authority and discretion to deny entry to any artist from any nationality for any reason. To what extent this authority will be exercised remains to be seen.”\u003c/p>\n\u003c/blockquote>\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/DuSlEofvjf0'\n title='//www.youtube.com/embed/DuSlEofvjf0'\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=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Italian+Band+Soviet+Soviet+Denied+Entry+To+The+U.S.%2C+Jailed+And+Then+Deported&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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