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"content": "\u003cp>On March 25, Sean “Diddy” Combs’ houses in Los Angeles and Miami were raided by Homeland Security agents, apparently prompted by an ongoing federal investigation in New York.\u003c/p>\n\u003cp>The home searches were the culmination of months of legal trouble for the rap mogul after he was accused by multiple individuals of sex trafficking, assault and harassment. The alleged incidents span over several years, with some dating back decades.\u003c/p>\n\u003cp>Here are all the accusations that Combs has so far faced and, in some cases, already settled.\u003c/p>\n\u003ch2>May 8, 2017: Combs’ former chef sues\u003c/h2>\n\u003cp>Cindy Rueda, Combs’ former chef, sued Combs in 2017 for sexual harassment, a hostile work environment and wrongful dismissal.\u003c/p>\n\u003cp>\u003ca href=\"https://mynewsla.com/wp-content/uploads/2017/05/Rueda-v-Combs.pdf\">Rueda’s suit\u003c/a> alleged that, during her time working for Combs, between Jan. 2016 and May 8, 2016, she was:\u003c/p>\n\u003cul>\n\u003cli>Chronically underpaid and expected to work excessive hours\u003c/li>\n\u003cli>Asked to serve food to Combs and his guests “while … or immediately following sexual activity”\u003c/li>\n\u003cli>Exposed to “offensive objects”\u003c/li>\n\u003cli>Sexually harassed by Combs while he was naked\u003c/li>\n\u003cli>Sexually harassed by one of Combs’ naked friends while she was cooking\u003c/li>\n\u003cli>Falsely accused of theft and fired after complaining about her working conditions\u003c/li>\n\u003c/ul>\n\u003cp>A representative for Combs called Rueda “disgruntled” and the lawsuit “frivolous.” The two ultimately settled the case in February of 2019.\u003c/p>\n\u003ch2>Nov. 16, 2023: Cassie sues, Combs quickly settles\u003c/h2>\n\u003cfigure id=\"attachment_13954776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-1780923026-scaled-e1711490898243.jpg\" alt=\"A Black man wearing a suit and very long couture coat stands holding hands with a Black woman wearing an elaborate black gown and purse in the shape of a skull.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Sean Combs and Cassie at the 2017 Met Gala. \u003ccite>(Clint Spaulding/ Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Casandra Ventura — better known as Cassie — filed a lawsuit in November of 2023 that accused Combs of ongoing abuse during a relationship that started in 2005 and lasted over a decade. Ventura was 19 when she met the then-37-year-old Combs. Cassie’s self-titled album was released by his Bad Boy Records in 2006.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://s3.documentcloud.org/documents/24169743/ventura-v-combs.pdf\">Ventura’s suit\u003c/a> alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Raped Ventura after she attempted to leave him\u003c/li>\n\u003cli>Beat and kicked Ventura, causing multiple injuries\u003c/li>\n\u003cli>“Blew up a man’s car” after learning of his romantic interest in Ventura\u003c/li>\n\u003cli>Forced Ventura to engage in “sex acts with male sex workers while masturbating and filming the encounters” in different cities across the U.S.\u003c/li>\n\u003cli>Required Ventura to “procure illicit prescriptions” for his personal use\u003c/li>\n\u003c/ul>\n\u003cp>On Nov. 17, just one day after Ventura filed the case, \u003ca href=\"https://apnews.com/article/sean-combs-cassie-lawsuit-2d2a4c8938eb82c34b62c01a30969554\">Combs settled with her for an undisclosed amount\u003c/a>.\u003c/p>\n\u003cp>On May 17, 2024, \u003ca href=\"https://www.cnn.com/2024/05/17/entertainment/sean-combs-cassie-ventura/index.html\">surveillance footage was released by CNN\u003c/a> showing Combs shoving, kicking and dragging Cassie across the hallway of a Los Angeles hotel. \u003ca href=\"https://www.instagram.com/reel/C7J4iUFRGUk/?igsh=MTdnejMxZXZ3YXpxNA%3D%3D\">Combs posted an apology video\u003c/a> to Instagram, stating in part: “My behavior on that video is inexcusable. I take full responsibility for my actions in that video. I was disgusted then when I did it, and I’m disgusted now.”\u003c/p>\n\u003ch2>Nov. 23, 2023: Joi Dickerson-Neal sues\u003c/h2>\n\u003cp>Joi Dickerson-Neal — who ran in similar circles to Combs, and also appeared with him in Finesse & Synquis’ “\u003ca href=\"https://www.youtube.com/watch?v=1k9h8LvGYSs\">Straight From The Soul\u003c/a>” music video — accused Combs of drugging and raping her in 1991.\u003c/p>\n\u003cp>[aside postid='arts_13954225']Dickerson-Neal’s November 2023 lawsuit alleges that, while the two were out having dinner, Combs secretly drugged her drink, leaving her “in a physical state where she could not independently stand or walk.” The lawsuit goes on to allege that Dickerson-Neal, then 19 years old, was later taken to Combs’ home, raped and filmed without her consent. The suit also alleges that Combs showed the video to a group of men that included her friend DeVante Swing from Jodeci. It was Swing, Dickerson-Neal claims, who alerted her to the existence of the tape.\u003c/p>\n\u003cp>Shortly after Dickerson-Neal filed her lawsuit, a representative for Combs told multiple outlets that it was “a money grab.”\u003c/p>\n\u003ch2>Nov. 23, 2023: Liza Gardner sues\u003c/h2>\n\u003cp>Liza Gardner filed a lawsuit that accused Combs and singer \u003ca href=\"https://en.wikipedia.org/wiki/Aaron_Hall_(singer)\">Aaron Hall\u003c/a> of a series of assaults against her and her then-roommate in 1990. At the time, Gardner was 16 and on vacation in New York with some friends from North Carolina who had connections in the music industry.\u003c/p>\n\u003cp>The suit alleges that, after providing Gardner and her friend with alcohol during an MCA Records event, Combs and Hall invited them back to Hall’s for an afterparty where more alcohol was provided. At some point in the evening, Gardner says she was coerced into having sex with Combs, which left her feeling “shocked and traumatized.” As Gardner was getting dressed afterwards, the court filing alleges, “Hall barged into the room, pinned her down, and forced [her] to have sex with him.”\u003c/p>\n\u003cp>The suit alleges that Gardner’s roommate was also forced to have sex with both men in another room. Further, it alleged that Combs, concerned that one of the girls might tell other people what happened, came to where the teens were staying a few days later and choked Gardner to the point that she passed out.\u003c/p>\n\u003ch2>Dec. 6, 2023: Jane Doe sues\u003c/h2>\n\u003cfigure id=\"attachment_13954773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-97628587-scaled-e1711490700758.jpg\" alt=\"Two Black men pose for the camera wearing black hats and clothes. One of them is smiling with his mouth open and wearing sunglasses.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Harve Pierre and Sean ‘Diddy’ Combs in New York, March 2010. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December, a Canadian woman alleged that when she was 17, she was raped by Combs, then-president of Bad Boy Records Harve Pierre, and a third, unnamed man.\u003c/p>\n\u003cp>In court filings, \u003ca href=\"https://www.courthousenews.com/wp-content/uploads/2023/12/sean-diddy-combs-lawsuit-sdny.pdf\">Doe \u003c/a>alleged that the 2003 incident happened in a bathroom at Combs’ Daddy’s House Recording Studio in New York City after the teenager had been “plied with drugs and alcohol.” The woman claimed she was introduced to Combs over the phone after meeting Pierre and the third man in a Detroit lounge. Combs allegedly persuaded her to fly to New Jersey by private jet with the two men shortly afterwards. Photos included in the lawsuit are said to show Doe in the studio with Combs.\u003c/p>\n\u003cp>[aside postid='arts_13934462']Before they left, Pierre allegedly smoked crack and forced Doe to give him oral sex.\u003c/p>\n\u003cp>In November, \u003ca href=\"https://people.com/former-bad-boy-president-harve-pierre-sued-for-sexual-assault-negligence-8406218\">Pierre was named in a separate suit\u003c/a> by a former assistant, accusing him of multiple incidents of sexual harassment and assault during 2016 and 2017. “Seeing other women bravely speak out against Mr. Combs and Mr. Pierre, respectively,” Doe’s complaint stated, “gave Ms. Doe the confidence to tell her story as well.”\u003c/p>\n\u003cp>Combs released a statement saying, “I did not do any of the awful things being alleged.”\u003c/p>\n\u003ch2>February 2024: ‘Love Album’ producer sues\u003c/h2>\n\u003cp>Producer and videographer Rodney “Lil Rod” Jones filed a $30 million \u003ca href=\"https://www.scribd.com/document/709272125/Complaint-Rodney-Jones-v-Sean-Combs-et-al\">lawsuit against Combs as well as a variety of Combs’ business and personal associates\u003c/a>. The suit concerned incidents Jones says took place between September of 2022 and November of 2023, while he was working on Combs’ \u003cem>The Love Album\u003c/em>.\u003c/p>\n\u003cp>The lawsuit alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Repeatedly groped and touched Jones against his will\u003c/li>\n\u003cli>Entertained underage girls at his homes\u003c/li>\n\u003cli>Forced Jones to solicit sex workers and engage in intimate acts with them\u003c/li>\n\u003cli>Served drinks laced with drugs at parties\u003c/li>\n\u003cli>Asked Jones to work in the same room while Combs was naked\u003c/li>\n\u003cli>Forced Jones to lie to police about a shooting incident in which one man was injured\u003c/li>\n\u003c/ul>\n\u003cp>The court filing also included multiple screenshots claimed to pertain to the allegations. (Jones alleged that he was required to film Combs at length and that he recorded hours of footage of the rapper and others “engaging in serious illegal activity.”)\u003c/p>\n\u003cp>One of Combs’ attorneys called the allegations “pure fiction” and “a transparent attempt to garner headlines.”\u003c/p>\n\u003ch2>March 25, 2024: Home raids begin\u003c/h2>\n\u003cfigure id=\"attachment_13954772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2105337314-scaled-e1711490438517.jpg\" alt=\"At dusk, three officers wearing HSI vests stand in a paved driveway. One of them is leading a German Shepherd away.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Homeland Security Investigation agents are seen at the entrance Sean ‘Diddy’ Combs’ home at Star Island in Miami Beach on March 25, 2024. \u003ccite>(GIORGIO VIERA/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Combs’ Los Angeles and Miami homes were raided, Homeland Security Investigations confirmed that it “executed law enforcement actions as part of an ongoing investigation, with assistance from HSI Los Angeles, HSI Miami, and our local law enforcement partners.”\u003c/p>\n\u003cp>In a statement about the raid, Combs’ attorney Aaron Dyer said: “This unprecedented ambush — paired with an advanced, coordinated media presence — leads to a premature rush to judgment of Mr. Combs and is nothing more than a witch hunt based on meritless accusations made in civil lawsuits.”\u003c/p>\n\u003ch2>April 4, 2024: Grace O’Marcaigh sues Combs and his son\u003c/h2>\n\u003cp>In December 2022, O’Marcaigh worked as a crew member on a yacht that Combs had leased for the holidays. The then-25-year-old worked from 6 p.m to 6 a.m nightly, and was tasked with serving dinner and drinks to Combs, his friends and, allegedly, a variety of sex workers.\u003c/p>\n\u003cp>[aside postid='arts_13933160']\u003ca href=\"https://deadline.com/wp-content/uploads/2024/04/combs-conformed-suit.pdf\">The lawsuit\u003c/a> makes clear that O’Marcaigh strongly suspected that drinks on board were regularly laced with drugs. She also alleges that on Dec. 28, Combs’ son Christian arrived “heavily intoxicated,” manhandled her while she was trying to serve him drinks and forced her to sit with him. O’Marcaigh claims that, once in that position, she was intimately groped by both Sean and Christian Combs. In addition, the lawsuit includes transcripts of recordings apparently made by Rodney ‘Lil Rod’ Jones in which O’Marcaigh repeatedly tells Christian to stop touching her, asks to leave since her shift has finished and openly questions the content of the tequila he is pressuring her to consume.\u003c/p>\n\u003cp>O’Marcaigh claims that Christian then used the excuse of needing to be shown to sleeping quarters in order to get her alone and sexually assault her. She says that she succeeded in getting away from him only after another staff member entered the room. O’Marcaigh says that she was forced to continue serving the Combs family even after complaining to the ship’s captain, and that the senior Combs had given the captain “a generous tip … in order to keep [him] quiet.”\u003c/p>\n\u003ch2>May 21, 2024: Crystal McKinney files a lawsuit\u003c/h2>\n\u003cp>\u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2024/05/diddy-v-crystal-mckinney-complaint-may-2024.pdf\">McKinney’s lawsuit\u003c/a> states that in 2003, when she was 22 and working as a model, she was introduced to Combs by a fashion designer in New York. After having dinner together, Combs invited McKinney to his studio where, she alleges, she was given a joint that she believes was laced with something stronger than weed.\u003c/p>\n\u003cp>McKinney says that once she was visibly intoxicated, Combs led her to a bathroom and forced her to perform oral sex, after which she passed out. McKinney claims she woke up in a taxi and quickly realized that she had been sexually assaulted. McKinney also believes that Combs then used his influence to hamper her career.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>If you are struggling with issues relating to sexual assault, please call RAINN’s National Sexual Assault Hotline (800.656.HOPE) or \u003ca href=\"https://hotline.rainn.org/online\">chat online with one of their counselors\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On March 25, Sean “Diddy” Combs’ houses in Los Angeles and Miami were raided by Homeland Security agents, apparently prompted by an ongoing federal investigation in New York.\u003c/p>\n\u003cp>The home searches were the culmination of months of legal trouble for the rap mogul after he was accused by multiple individuals of sex trafficking, assault and harassment. The alleged incidents span over several years, with some dating back decades.\u003c/p>\n\u003cp>Here are all the accusations that Combs has so far faced and, in some cases, already settled.\u003c/p>\n\u003ch2>May 8, 2017: Combs’ former chef sues\u003c/h2>\n\u003cp>Cindy Rueda, Combs’ former chef, sued Combs in 2017 for sexual harassment, a hostile work environment and wrongful dismissal.\u003c/p>\n\u003cp>\u003ca href=\"https://mynewsla.com/wp-content/uploads/2017/05/Rueda-v-Combs.pdf\">Rueda’s suit\u003c/a> alleged that, during her time working for Combs, between Jan. 2016 and May 8, 2016, she was:\u003c/p>\n\u003cul>\n\u003cli>Chronically underpaid and expected to work excessive hours\u003c/li>\n\u003cli>Asked to serve food to Combs and his guests “while … or immediately following sexual activity”\u003c/li>\n\u003cli>Exposed to “offensive objects”\u003c/li>\n\u003cli>Sexually harassed by Combs while he was naked\u003c/li>\n\u003cli>Sexually harassed by one of Combs’ naked friends while she was cooking\u003c/li>\n\u003cli>Falsely accused of theft and fired after complaining about her working conditions\u003c/li>\n\u003c/ul>\n\u003cp>A representative for Combs called Rueda “disgruntled” and the lawsuit “frivolous.” The two ultimately settled the case in February of 2019.\u003c/p>\n\u003ch2>Nov. 16, 2023: Cassie sues, Combs quickly settles\u003c/h2>\n\u003cfigure id=\"attachment_13954776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-1780923026-scaled-e1711490898243.jpg\" alt=\"A Black man wearing a suit and very long couture coat stands holding hands with a Black woman wearing an elaborate black gown and purse in the shape of a skull.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Sean Combs and Cassie at the 2017 Met Gala. \u003ccite>(Clint Spaulding/ Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Casandra Ventura — better known as Cassie — filed a lawsuit in November of 2023 that accused Combs of ongoing abuse during a relationship that started in 2005 and lasted over a decade. Ventura was 19 when she met the then-37-year-old Combs. Cassie’s self-titled album was released by his Bad Boy Records in 2006.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://s3.documentcloud.org/documents/24169743/ventura-v-combs.pdf\">Ventura’s suit\u003c/a> alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Raped Ventura after she attempted to leave him\u003c/li>\n\u003cli>Beat and kicked Ventura, causing multiple injuries\u003c/li>\n\u003cli>“Blew up a man’s car” after learning of his romantic interest in Ventura\u003c/li>\n\u003cli>Forced Ventura to engage in “sex acts with male sex workers while masturbating and filming the encounters” in different cities across the U.S.\u003c/li>\n\u003cli>Required Ventura to “procure illicit prescriptions” for his personal use\u003c/li>\n\u003c/ul>\n\u003cp>On Nov. 17, just one day after Ventura filed the case, \u003ca href=\"https://apnews.com/article/sean-combs-cassie-lawsuit-2d2a4c8938eb82c34b62c01a30969554\">Combs settled with her for an undisclosed amount\u003c/a>.\u003c/p>\n\u003cp>On May 17, 2024, \u003ca href=\"https://www.cnn.com/2024/05/17/entertainment/sean-combs-cassie-ventura/index.html\">surveillance footage was released by CNN\u003c/a> showing Combs shoving, kicking and dragging Cassie across the hallway of a Los Angeles hotel. \u003ca href=\"https://www.instagram.com/reel/C7J4iUFRGUk/?igsh=MTdnejMxZXZ3YXpxNA%3D%3D\">Combs posted an apology video\u003c/a> to Instagram, stating in part: “My behavior on that video is inexcusable. I take full responsibility for my actions in that video. I was disgusted then when I did it, and I’m disgusted now.”\u003c/p>\n\u003ch2>Nov. 23, 2023: Joi Dickerson-Neal sues\u003c/h2>\n\u003cp>Joi Dickerson-Neal — who ran in similar circles to Combs, and also appeared with him in Finesse & Synquis’ “\u003ca href=\"https://www.youtube.com/watch?v=1k9h8LvGYSs\">Straight From The Soul\u003c/a>” music video — accused Combs of drugging and raping her in 1991.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Dickerson-Neal’s November 2023 lawsuit alleges that, while the two were out having dinner, Combs secretly drugged her drink, leaving her “in a physical state where she could not independently stand or walk.” The lawsuit goes on to allege that Dickerson-Neal, then 19 years old, was later taken to Combs’ home, raped and filmed without her consent. The suit also alleges that Combs showed the video to a group of men that included her friend DeVante Swing from Jodeci. It was Swing, Dickerson-Neal claims, who alerted her to the existence of the tape.\u003c/p>\n\u003cp>Shortly after Dickerson-Neal filed her lawsuit, a representative for Combs told multiple outlets that it was “a money grab.”\u003c/p>\n\u003ch2>Nov. 23, 2023: Liza Gardner sues\u003c/h2>\n\u003cp>Liza Gardner filed a lawsuit that accused Combs and singer \u003ca href=\"https://en.wikipedia.org/wiki/Aaron_Hall_(singer)\">Aaron Hall\u003c/a> of a series of assaults against her and her then-roommate in 1990. At the time, Gardner was 16 and on vacation in New York with some friends from North Carolina who had connections in the music industry.\u003c/p>\n\u003cp>The suit alleges that, after providing Gardner and her friend with alcohol during an MCA Records event, Combs and Hall invited them back to Hall’s for an afterparty where more alcohol was provided. At some point in the evening, Gardner says she was coerced into having sex with Combs, which left her feeling “shocked and traumatized.” As Gardner was getting dressed afterwards, the court filing alleges, “Hall barged into the room, pinned her down, and forced [her] to have sex with him.”\u003c/p>\n\u003cp>The suit alleges that Gardner’s roommate was also forced to have sex with both men in another room. Further, it alleged that Combs, concerned that one of the girls might tell other people what happened, came to where the teens were staying a few days later and choked Gardner to the point that she passed out.\u003c/p>\n\u003ch2>Dec. 6, 2023: Jane Doe sues\u003c/h2>\n\u003cfigure id=\"attachment_13954773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-97628587-scaled-e1711490700758.jpg\" alt=\"Two Black men pose for the camera wearing black hats and clothes. One of them is smiling with his mouth open and wearing sunglasses.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Harve Pierre and Sean ‘Diddy’ Combs in New York, March 2010. \u003ccite>(Johnny Nunez/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December, a Canadian woman alleged that when she was 17, she was raped by Combs, then-president of Bad Boy Records Harve Pierre, and a third, unnamed man.\u003c/p>\n\u003cp>In court filings, \u003ca href=\"https://www.courthousenews.com/wp-content/uploads/2023/12/sean-diddy-combs-lawsuit-sdny.pdf\">Doe \u003c/a>alleged that the 2003 incident happened in a bathroom at Combs’ Daddy’s House Recording Studio in New York City after the teenager had been “plied with drugs and alcohol.” The woman claimed she was introduced to Combs over the phone after meeting Pierre and the third man in a Detroit lounge. Combs allegedly persuaded her to fly to New Jersey by private jet with the two men shortly afterwards. Photos included in the lawsuit are said to show Doe in the studio with Combs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before they left, Pierre allegedly smoked crack and forced Doe to give him oral sex.\u003c/p>\n\u003cp>In November, \u003ca href=\"https://people.com/former-bad-boy-president-harve-pierre-sued-for-sexual-assault-negligence-8406218\">Pierre was named in a separate suit\u003c/a> by a former assistant, accusing him of multiple incidents of sexual harassment and assault during 2016 and 2017. “Seeing other women bravely speak out against Mr. Combs and Mr. Pierre, respectively,” Doe’s complaint stated, “gave Ms. Doe the confidence to tell her story as well.”\u003c/p>\n\u003cp>Combs released a statement saying, “I did not do any of the awful things being alleged.”\u003c/p>\n\u003ch2>February 2024: ‘Love Album’ producer sues\u003c/h2>\n\u003cp>Producer and videographer Rodney “Lil Rod” Jones filed a $30 million \u003ca href=\"https://www.scribd.com/document/709272125/Complaint-Rodney-Jones-v-Sean-Combs-et-al\">lawsuit against Combs as well as a variety of Combs’ business and personal associates\u003c/a>. The suit concerned incidents Jones says took place between September of 2022 and November of 2023, while he was working on Combs’ \u003cem>The Love Album\u003c/em>.\u003c/p>\n\u003cp>The lawsuit alleged that Combs:\u003c/p>\n\u003cul>\n\u003cli>Repeatedly groped and touched Jones against his will\u003c/li>\n\u003cli>Entertained underage girls at his homes\u003c/li>\n\u003cli>Forced Jones to solicit sex workers and engage in intimate acts with them\u003c/li>\n\u003cli>Served drinks laced with drugs at parties\u003c/li>\n\u003cli>Asked Jones to work in the same room while Combs was naked\u003c/li>\n\u003cli>Forced Jones to lie to police about a shooting incident in which one man was injured\u003c/li>\n\u003c/ul>\n\u003cp>The court filing also included multiple screenshots claimed to pertain to the allegations. (Jones alleged that he was required to film Combs at length and that he recorded hours of footage of the rapper and others “engaging in serious illegal activity.”)\u003c/p>\n\u003cp>One of Combs’ attorneys called the allegations “pure fiction” and “a transparent attempt to garner headlines.”\u003c/p>\n\u003ch2>March 25, 2024: Home raids begin\u003c/h2>\n\u003cfigure id=\"attachment_13954772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2105337314-scaled-e1711490438517.jpg\" alt=\"At dusk, three officers wearing HSI vests stand in a paved driveway. One of them is leading a German Shepherd away.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Homeland Security Investigation agents are seen at the entrance Sean ‘Diddy’ Combs’ home at Star Island in Miami Beach on March 25, 2024. \u003ccite>(GIORGIO VIERA/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Combs’ Los Angeles and Miami homes were raided, Homeland Security Investigations confirmed that it “executed law enforcement actions as part of an ongoing investigation, with assistance from HSI Los Angeles, HSI Miami, and our local law enforcement partners.”\u003c/p>\n\u003cp>In a statement about the raid, Combs’ attorney Aaron Dyer said: “This unprecedented ambush — paired with an advanced, coordinated media presence — leads to a premature rush to judgment of Mr. Combs and is nothing more than a witch hunt based on meritless accusations made in civil lawsuits.”\u003c/p>\n\u003ch2>April 4, 2024: Grace O’Marcaigh sues Combs and his son\u003c/h2>\n\u003cp>In December 2022, O’Marcaigh worked as a crew member on a yacht that Combs had leased for the holidays. The then-25-year-old worked from 6 p.m to 6 a.m nightly, and was tasked with serving dinner and drinks to Combs, his friends and, allegedly, a variety of sex workers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://deadline.com/wp-content/uploads/2024/04/combs-conformed-suit.pdf\">The lawsuit\u003c/a> makes clear that O’Marcaigh strongly suspected that drinks on board were regularly laced with drugs. She also alleges that on Dec. 28, Combs’ son Christian arrived “heavily intoxicated,” manhandled her while she was trying to serve him drinks and forced her to sit with him. O’Marcaigh claims that, once in that position, she was intimately groped by both Sean and Christian Combs. In addition, the lawsuit includes transcripts of recordings apparently made by Rodney ‘Lil Rod’ Jones in which O’Marcaigh repeatedly tells Christian to stop touching her, asks to leave since her shift has finished and openly questions the content of the tequila he is pressuring her to consume.\u003c/p>\n\u003cp>O’Marcaigh claims that Christian then used the excuse of needing to be shown to sleeping quarters in order to get her alone and sexually assault her. She says that she succeeded in getting away from him only after another staff member entered the room. O’Marcaigh says that she was forced to continue serving the Combs family even after complaining to the ship’s captain, and that the senior Combs had given the captain “a generous tip … in order to keep [him] quiet.”\u003c/p>\n\u003ch2>May 21, 2024: Crystal McKinney files a lawsuit\u003c/h2>\n\u003cp>\u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2024/05/diddy-v-crystal-mckinney-complaint-may-2024.pdf\">McKinney’s lawsuit\u003c/a> states that in 2003, when she was 22 and working as a model, she was introduced to Combs by a fashion designer in New York. After having dinner together, Combs invited McKinney to his studio where, she alleges, she was given a joint that she believes was laced with something stronger than weed.\u003c/p>\n\u003cp>McKinney says that once she was visibly intoxicated, Combs led her to a bathroom and forced her to perform oral sex, after which she passed out. McKinney claims she woke up in a taxi and quickly realized that she had been sexually assaulted. McKinney also believes that Combs then used his influence to hamper her career.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>If you are struggling with issues relating to sexual assault, please call RAINN’s National Sexual Assault Hotline (800.656.HOPE) or \u003ca href=\"https://hotline.rainn.org/online\">chat online with one of their counselors\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The leadership of the San Francisco Symphony has attempted to offer more transparency into its financial challenges after Esa-Pekka Salonen’s decision to step down as music director. Over the past two weeks, \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">orchestra musicians have protested\u003c/a> both Salonen’s impending departure and the Symphony’s cuts to programs. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">a four-page statement\u003c/a> issued Monday, the Symphony said that it “deeply values” the musicians of the orchestra, as well as its relationship with Salonen, who on March 14 said he was stepping down from the Symphony “because I do not share the same goals for the future of the institution as the Board of Governors.”\u003c/p>\n\u003cp>Those goals are widely understood to be about Salonen’s creative vision for the Symphony, which includes international tours, special concerts, commissions and community programs, which the Symphony has either canceled or postponed. (As \u003ca href=\"https://www-hs-fi.translate.goog/kulttuuri/art-2000010292468.html?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp&_x_tr_hist=true&fbclid=IwAR3lLiC1drjtCx-DzU9k_ZYznsmIFuVXpQKVRwMRruugzjNels8ilQxGEi4\">Salonen explained to the Finnish newspaper \u003cem>Helsingin Sanomat\u003c/em>\u003c/a>, “The board has decided on big and dramatic cuts that affect the orchestra’s artistic profile so deeply that I don’t consider it possible to continue my contract.”)\u003c/p>\n\u003cp>“We would love nothing more than to be able to immediately restore the number of SoundBox performances, semi-staged productions, and new commissions; to resume touring; and to reinstate Concerts for Kids,” the Symphony’s statement reads. “The limiting factor prohibiting us from doing so is not a lack of desire, drive, or ambition. It is solely a lack of immediate financial resources.” \u003c/p>\n\u003cp>[aside postID='arts_13954297']The unsigned statement goes into additional detail about the Symphony’s declarations that its expenses exceed its revenue, asserting that in 2022–23, “the Symphony’s operating expenses totaled $78.6 million, while operating revenues, exclusive of extraordinary one-time contributions, totaled just $67.4 million.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Without taking action or receiving additional funding, “we anticipate that our cumulative cash losses could grow by an additional $80 million over the next five years,” the statement reads.\u003c/p>\n\u003cp>Andy Lynch, a spokesperson for the musicians, said the orchestra is still disappointed. \u003c/p>\n\u003cp>“While we are glad that the administration is responding to the overwhelming outpouring of concern regarding the departure of Esa-Pekka Salonen due to cuts to programming, education, and touring, there is still no plan nor timeline for the reinstatement of these supposedly temporary cuts. The administration claims they are committed to transparency and ensuring the Symphony remains a world-class organization, but their recent actions have driven away a world-class Music Director and left more questions than answers related to Symphony finances and endowment,” Lynch said in a statement.\u003c/p>\n\u003cp>“Despite our requests, the administration has still not provided us with audited financial statements to support their claims, which we are now only hearing about through a press release.”\u003c/p>\n\u003cp>Orchestra musicians \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">have argued\u003c/a> that the symphony should draw on its $325 million endowment — the second-largest of the country’s symphony orchestras — to keep programs afloat and, by extension, retain Salonen on the podium. \u003c/p>\n\u003cp>On this, the Symphony claims its hands are tied. \u003c/p>\n\u003cp>“There is a common misconception that endowments can be accessed like a savings account and used to support operating expenses at any time. In reality, our flexibility in spending from the endowment is limited by California law, as well as by legally binding donor applied restrictions,” the statement reads. (Restrictions on a nonprofit’s endowment can also be self-applied by the board.)\u003c/p>\n\u003cp>[aside postID='arts_13954083']Draws from the endowment provide an annual source of revenue for the organization. Musicians had provided figures to KQED showing a 4.4% draw on the endowment in 2022. The Symphony’s statement says the board has now authorized a larger draw of 6.45% for the 2024–25 season. \u003c/p>\n\u003cp>Another sticking point for the musicians has been their salaries, which have not been restored to pre-pandemic levels like those of their counterparts in other orchestras. (According to \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\">a flyer distributed by musicians to patrons at Davies Symphony Hall\u003c/a> on March 16, Salonen has personally argued for musicians’ pay to be restored.) The Symphony statement, however, did not mention nor address musicians’ pay. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, a \u003ca href=\"https://www.change.org/p/sf-symphony-board-retain-esa-pekka-salonen-invest-in-the-symphony\">Change.org petition addressed to the Symphony board\u003c/a>, calling to retain Salonen and reinvest in Symphony programs, has received over 5,000 signatures.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The leadership of the San Francisco Symphony has attempted to offer more transparency into its financial challenges after Esa-Pekka Salonen’s decision to step down as music director. Over the past two weeks, \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">orchestra musicians have protested\u003c/a> both Salonen’s impending departure and the Symphony’s cuts to programs. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">a four-page statement\u003c/a> issued Monday, the Symphony said that it “deeply values” the musicians of the orchestra, as well as its relationship with Salonen, who on March 14 said he was stepping down from the Symphony “because I do not share the same goals for the future of the institution as the Board of Governors.”\u003c/p>\n\u003cp>Those goals are widely understood to be about Salonen’s creative vision for the Symphony, which includes international tours, special concerts, commissions and community programs, which the Symphony has either canceled or postponed. (As \u003ca href=\"https://www-hs-fi.translate.goog/kulttuuri/art-2000010292468.html?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp&_x_tr_hist=true&fbclid=IwAR3lLiC1drjtCx-DzU9k_ZYznsmIFuVXpQKVRwMRruugzjNels8ilQxGEi4\">Salonen explained to the Finnish newspaper \u003cem>Helsingin Sanomat\u003c/em>\u003c/a>, “The board has decided on big and dramatic cuts that affect the orchestra’s artistic profile so deeply that I don’t consider it possible to continue my contract.”)\u003c/p>\n\u003cp>“We would love nothing more than to be able to immediately restore the number of SoundBox performances, semi-staged productions, and new commissions; to resume touring; and to reinstate Concerts for Kids,” the Symphony’s statement reads. “The limiting factor prohibiting us from doing so is not a lack of desire, drive, or ambition. It is solely a lack of immediate financial resources.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The unsigned statement goes into additional detail about the Symphony’s declarations that its expenses exceed its revenue, asserting that in 2022–23, “the Symphony’s operating expenses totaled $78.6 million, while operating revenues, exclusive of extraordinary one-time contributions, totaled just $67.4 million.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Without taking action or receiving additional funding, “we anticipate that our cumulative cash losses could grow by an additional $80 million over the next five years,” the statement reads.\u003c/p>\n\u003cp>Andy Lynch, a spokesperson for the musicians, said the orchestra is still disappointed. \u003c/p>\n\u003cp>“While we are glad that the administration is responding to the overwhelming outpouring of concern regarding the departure of Esa-Pekka Salonen due to cuts to programming, education, and touring, there is still no plan nor timeline for the reinstatement of these supposedly temporary cuts. The administration claims they are committed to transparency and ensuring the Symphony remains a world-class organization, but their recent actions have driven away a world-class Music Director and left more questions than answers related to Symphony finances and endowment,” Lynch said in a statement.\u003c/p>\n\u003cp>“Despite our requests, the administration has still not provided us with audited financial statements to support their claims, which we are now only hearing about through a press release.”\u003c/p>\n\u003cp>Orchestra musicians \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">have argued\u003c/a> that the symphony should draw on its $325 million endowment — the second-largest of the country’s symphony orchestras — to keep programs afloat and, by extension, retain Salonen on the podium. \u003c/p>\n\u003cp>On this, the Symphony claims its hands are tied. \u003c/p>\n\u003cp>“There is a common misconception that endowments can be accessed like a savings account and used to support operating expenses at any time. In reality, our flexibility in spending from the endowment is limited by California law, as well as by legally binding donor applied restrictions,” the statement reads. (Restrictions on a nonprofit’s endowment can also be self-applied by the board.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Draws from the endowment provide an annual source of revenue for the organization. Musicians had provided figures to KQED showing a 4.4% draw on the endowment in 2022. The Symphony’s statement says the board has now authorized a larger draw of 6.45% for the 2024–25 season. \u003c/p>\n\u003cp>Another sticking point for the musicians has been their salaries, which have not been restored to pre-pandemic levels like those of their counterparts in other orchestras. (According to \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\">a flyer distributed by musicians to patrons at Davies Symphony Hall\u003c/a> on March 16, Salonen has personally argued for musicians’ pay to be restored.) The Symphony statement, however, did not mention nor address musicians’ pay. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, a \u003ca href=\"https://www.change.org/p/sf-symphony-board-retain-esa-pekka-salonen-invest-in-the-symphony\">Change.org petition addressed to the Symphony board\u003c/a>, calling to retain Salonen and reinvest in Symphony programs, has received over 5,000 signatures.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A-1 and Baghead Headline a Rap Show with Heart at SF's SOMArts",
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"content": "\u003cp>On their collab album \u003ci>STEPxSTEP\u003c/i>, San Francisco rapper \u003ca href=\"https://www.instagram.com/adamraps/?hl=en\">A-1\u003c/a> and producer \u003ca href=\"https://www.instagram.com/baghead.fng/?hl=en\">Baghead\u003c/a> strike a balance with finesse. It’s a smart record without being full of itself, and flows naturally between heartfelt self-reflection, rallying cries for justice and a few danceable tracks prime for sun-drenched summer day parties.\u003c/p>\n\u003cp>Bay Area hip-hop fans might’ve missed it when it came out this past December — that notorious dead zone between year-end album lists and the holidays. But there’s now a chance to appreciate it live when the duo headlines San Francisco’s \u003ca href=\"https://posh.vip/e/a1-bags-big-headline-show?t=posh\">SOMArts\u003c/a> on April 6 to celebrate the release and A-1’s birthday.\u003c/p>\n\u003cp>\u003ci>STEPxSTEP\u003c/i> marks a resurgence for A-1, whose thoughtful bars on 2011’s \u003ci>The Book of Adam\u003c/i> established him as a standout in the local rap scene and earned him opportunities to open for heroes like E-40. After a major label deal gone wrong, he stayed mostly quiet, save for a few sporadic singles where he publicly grappled with the roadblocks of pursuing his dreams.\u003c/p>\n\u003cp>Now, he’s hit his stride once again in this collaboration with Baghead, the \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a> producer, DJ and community organizer whose clear-eyed commentary on San Francisco gentrification and human rights abuses in Gaza has \u003ca href=\"https://www.instagram.com/p/Cytj0mPvhhk/\">galvanized the local music scene\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3SoR0mOQOVvHwR1RAsri0z?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over Baghead’s smooth and soulful beats, A-1 raps with heart about current social and political upheaval. On “Campaign to Save the Planet,” he reflects on billionaires getting over on the working poor. “What’s the Love For Then?” shares a reminder not to give up, communicated to him by an ancestor in a dream. Party track “H2O,” with a hip-swaying hook perfect for chanting along, and uptempo house song “The Freak Show!” break out of the serious mood and acknowledge that fun is part of liberation. The album concludes with a recording of protesters calling for Palestinian freedom.\u003c/p>\n\u003cp>https://youtu.be/1SskbQhV0Ac?si=UsKm31VXIBF4u0to\u003c/p>\n\u003cp>In this time of collective struggle, \u003ci>STEPxSTEP\u003c/i> is real about what’s happening in the world, and provides a reminder that working towards change takes courage and resolve, and that community and joy are necessary.\u003c/p>\n\u003cp>At the SOMArts show, Baghead and A-1 are joined by \u003ca href=\"https://www.kqed.org/arts/13951286/the-qing-of-queens\">Qing Qi\u003c/a>, a rapper and actress known for her raunchy, unfiltered bars, along with \u003ca href=\"https://www.kqed.org/forum/2010101895281/best-bay-area-music-of-2023\">Afterthought\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13952088/cellski-mr-predicter-live-band-frisco\">Top Chefs\u003c/a>, whose heartwarming hip-hop and jazz stylings inspire listeners to see the best in themselves and each other.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A-1 and Baghead perform with Qing Qi and Afterthought and the Top Chefs on Saturday, April 6, at SOMArts in San Francisco. \u003ca href=\"https://posh.vip/e/a1-bags-big-headline-show?t=posh\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On their collab album \u003ci>STEPxSTEP\u003c/i>, San Francisco rapper \u003ca href=\"https://www.instagram.com/adamraps/?hl=en\">A-1\u003c/a> and producer \u003ca href=\"https://www.instagram.com/baghead.fng/?hl=en\">Baghead\u003c/a> strike a balance with finesse. It’s a smart record without being full of itself, and flows naturally between heartfelt self-reflection, rallying cries for justice and a few danceable tracks prime for sun-drenched summer day parties.\u003c/p>\n\u003cp>Bay Area hip-hop fans might’ve missed it when it came out this past December — that notorious dead zone between year-end album lists and the holidays. But there’s now a chance to appreciate it live when the duo headlines San Francisco’s \u003ca href=\"https://posh.vip/e/a1-bags-big-headline-show?t=posh\">SOMArts\u003c/a> on April 6 to celebrate the release and A-1’s birthday.\u003c/p>\n\u003cp>\u003ci>STEPxSTEP\u003c/i> marks a resurgence for A-1, whose thoughtful bars on 2011’s \u003ci>The Book of Adam\u003c/i> established him as a standout in the local rap scene and earned him opportunities to open for heroes like E-40. After a major label deal gone wrong, he stayed mostly quiet, save for a few sporadic singles where he publicly grappled with the roadblocks of pursuing his dreams.\u003c/p>\n\u003cp>Now, he’s hit his stride once again in this collaboration with Baghead, the \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a> producer, DJ and community organizer whose clear-eyed commentary on San Francisco gentrification and human rights abuses in Gaza has \u003ca href=\"https://www.instagram.com/p/Cytj0mPvhhk/\">galvanized the local music scene\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3SoR0mOQOVvHwR1RAsri0z?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over Baghead’s smooth and soulful beats, A-1 raps with heart about current social and political upheaval. On “Campaign to Save the Planet,” he reflects on billionaires getting over on the working poor. “What’s the Love For Then?” shares a reminder not to give up, communicated to him by an ancestor in a dream. Party track “H2O,” with a hip-swaying hook perfect for chanting along, and uptempo house song “The Freak Show!” break out of the serious mood and acknowledge that fun is part of liberation. The album concludes with a recording of protesters calling for Palestinian freedom.\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/1SskbQhV0Ac'\n title='//www.youtube.com/embed/1SskbQhV0Ac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this time of collective struggle, \u003ci>STEPxSTEP\u003c/i> is real about what’s happening in the world, and provides a reminder that working towards change takes courage and resolve, and that community and joy are necessary.\u003c/p>\n\u003cp>At the SOMArts show, Baghead and A-1 are joined by \u003ca href=\"https://www.kqed.org/arts/13951286/the-qing-of-queens\">Qing Qi\u003c/a>, a rapper and actress known for her raunchy, unfiltered bars, along with \u003ca href=\"https://www.kqed.org/forum/2010101895281/best-bay-area-music-of-2023\">Afterthought\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13952088/cellski-mr-predicter-live-band-frisco\">Top Chefs\u003c/a>, whose heartwarming hip-hop and jazz stylings inspire listeners to see the best in themselves and each other.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A-1 and Baghead perform with Qing Qi and Afterthought and the Top Chefs on Saturday, April 6, at SOMArts in San Francisco. \u003ca href=\"https://posh.vip/e/a1-bags-big-headline-show?t=posh\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tennessee Becomes the First State to Protect Musicians and Other Artists Against AI",
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"content": "\u003cp>Tennessee made history on Thursday, becoming the first U.S. state to sign off on legislation to protect musicians from unauthorized artificial intelligence impersonation.\u003c/p>\n\u003cp>“Tennessee is the music capital of the world, & we’re leading the nation with historic protections for Tennessee artists & songwriters against emerging AI technology,” Gov. Bill Lee \u003ca href=\"https://www.facebook.com/GovBillLee/posts/pfbid028sw61e5jvPuXr92Gm8khqz325gmrUQxYk8Kkdp5pJMjYuaSW6CvEQZVXwkcmL65zl\">announced on social media\u003c/a>.\u003c/p>\n\u003cp>The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state’s old right of publicity law. While the old law protected an artist’s name, photograph or likeness, the new legislation includes AI-specific protections. \u003c/p>\n\u003cp>[aside postID='arts_13928457']Once the law takes effect on July 1, people will be prohibited from using AI to mimic an artist’s voice without permission.\u003c/p>\n\u003cp>Lee signed the bill inside Robert’s Western World, the famed Nashville honky tonk, where he was gathered with country music superstars Chris Janson and Luke Bryan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What an amazing precedent for Tennessee to get in front of this,” Bryan told the crowd. \u003c/p>\n\u003cp>“To know that our state protects us and what we’re about and what we worked so hard for is just a testament to how great this state is.”\u003c/p>\n\u003cp>Tennessee has long been known as a musical powerhouse state, from country to blues music. The state has been a launching pad for the careers of some of the country’s biggest superstars, including Elvis Presley, Dolly Parton, BB King, and Taylor Swift. \u003c/p>\n\u003cp>[aside postID='arts_13952796']The state’s music industry supports more than 61,000 jobs and hosts more than 4,500 music venues, according to the governor’s office. \u003c/p>\n\u003cp>“From Beale Street to Broadway, to Bristol and beyond, Tennessee is known for our rich artistic heritage that tells the story of our great state,” said Lee in a press release \u003ca href=\"https://www.tn.gov/governor/news/2024/1/10/tennessee-first-in-the-nation-to-address-ai-impact-on-music-industry.html\">about\u003c/a> the bill when it was introduced in January. \u003c/p>\n\u003cp>“As the technology landscape evolves with artificial intelligence, I thank the General Assembly for its partnership in creating legal protection for our best-in-class artists and songwriters.” \u003c/p>\n\u003cp>Lawmakers have been struggling to keep up with the rapid acceleration of AI technology, as it continues to impact multiple industries. In the music industry, songwriters, singers, and producers have expressed concerns about the current lack of protections over things like copyrights and intellectual property.\u003c/p>\n\u003cp>[aside postID='mindshift_63390']Last year, music fans responded with \u003ca href=\"https://www.npr.org/2023/04/21/1171032649/ai-music-heart-on-my-sleeve-drake-the-weeknd\">disbelief\u003c/a> after an anonymous TikTok user used AI to simulate the voices of artists Drake and The Weeknd to create the viral song “Heart on My Sleeve.” The artists’ label owner Universal Music Group invoked copyright violation to get the song removed from platforms including TikTok, Spotify and YouTube. \u003c/p>\n\u003cp>While largely viewed as a threat, producers have also been using the technology to make some impressive breakthroughs. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was AI tools that made it possible for The Beatles to release what they’ve referred to as their \u003ca href=\"https://www.npr.org/2023/11/07/1197955845/all-songs-considered-draft-11-07-2023\">final\u003c/a> song, “Now and Then,” which was published in November 2023. The artist Grimes has also \u003ca href=\"https://www.npr.org/2023/04/24/1171738670/grimes-ai-songs-voice\">encouraged\u003c/a> the use of AI in song making, going as far to encourage creators to use AI-generated versions of her voice to make new music, offering to split 50% royalties on any successful hits. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tennessee+becomes+the+first+state+to+protect+musicians+and+other+artists+against+AI&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tennessee made history on Thursday, becoming the first U.S. state to sign off on legislation to protect musicians from unauthorized artificial intelligence impersonation.\u003c/p>\n\u003cp>“Tennessee is the music capital of the world, & we’re leading the nation with historic protections for Tennessee artists & songwriters against emerging AI technology,” Gov. Bill Lee \u003ca href=\"https://www.facebook.com/GovBillLee/posts/pfbid028sw61e5jvPuXr92Gm8khqz325gmrUQxYk8Kkdp5pJMjYuaSW6CvEQZVXwkcmL65zl\">announced on social media\u003c/a>.\u003c/p>\n\u003cp>The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state’s old right of publicity law. While the old law protected an artist’s name, photograph or likeness, the new legislation includes AI-specific protections. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Once the law takes effect on July 1, people will be prohibited from using AI to mimic an artist’s voice without permission.\u003c/p>\n\u003cp>Lee signed the bill inside Robert’s Western World, the famed Nashville honky tonk, where he was gathered with country music superstars Chris Janson and Luke Bryan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What an amazing precedent for Tennessee to get in front of this,” Bryan told the crowd. \u003c/p>\n\u003cp>“To know that our state protects us and what we’re about and what we worked so hard for is just a testament to how great this state is.”\u003c/p>\n\u003cp>Tennessee has long been known as a musical powerhouse state, from country to blues music. The state has been a launching pad for the careers of some of the country’s biggest superstars, including Elvis Presley, Dolly Parton, BB King, and Taylor Swift. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The state’s music industry supports more than 61,000 jobs and hosts more than 4,500 music venues, according to the governor’s office. \u003c/p>\n\u003cp>“From Beale Street to Broadway, to Bristol and beyond, Tennessee is known for our rich artistic heritage that tells the story of our great state,” said Lee in a press release \u003ca href=\"https://www.tn.gov/governor/news/2024/1/10/tennessee-first-in-the-nation-to-address-ai-impact-on-music-industry.html\">about\u003c/a> the bill when it was introduced in January. \u003c/p>\n\u003cp>“As the technology landscape evolves with artificial intelligence, I thank the General Assembly for its partnership in creating legal protection for our best-in-class artists and songwriters.” \u003c/p>\n\u003cp>Lawmakers have been struggling to keep up with the rapid acceleration of AI technology, as it continues to impact multiple industries. In the music industry, songwriters, singers, and producers have expressed concerns about the current lack of protections over things like copyrights and intellectual property.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last year, music fans responded with \u003ca href=\"https://www.npr.org/2023/04/21/1171032649/ai-music-heart-on-my-sleeve-drake-the-weeknd\">disbelief\u003c/a> after an anonymous TikTok user used AI to simulate the voices of artists Drake and The Weeknd to create the viral song “Heart on My Sleeve.” The artists’ label owner Universal Music Group invoked copyright violation to get the song removed from platforms including TikTok, Spotify and YouTube. \u003c/p>\n\u003cp>While largely viewed as a threat, producers have also been using the technology to make some impressive breakthroughs. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was AI tools that made it possible for The Beatles to release what they’ve referred to as their \u003ca href=\"https://www.npr.org/2023/11/07/1197955845/all-songs-considered-draft-11-07-2023\">final\u003c/a> song, “Now and Then,” which was published in November 2023. The artist Grimes has also \u003ca href=\"https://www.npr.org/2023/04/24/1171738670/grimes-ai-songs-voice\">encouraged\u003c/a> the use of AI in song making, going as far to encourage creators to use AI-generated versions of her voice to make new music, offering to split 50% royalties on any successful hits. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tennessee+becomes+the+first+state+to+protect+musicians+and+other+artists+against+AI&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé’s New Album Is Inspired by Backlash to Her Entering the Country Music Genre",
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"content": "\u003cp>The Queen Bey has entered the country music genre but make no mistake, this is no random sliding into the charts.\u003c/p>\n\u003cp>With less than 10 days left until the release of her eighth studio album \u003cem>Cowboy Carter\u003c/em>, Beyoncé is reflecting on making the upcoming album — as she explained to fans the inspiration behind it and how exactly the piece of art came to life.\u003c/p>\n\u003cp>[aside postid='arts_13940030']In an \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram post\u003c/a> on Tuesday, the singer-songwriter shared a new photo of herself wearing a red, white and blue outfit sitting on a horse while holding up an American flag.\u003c/p>\n\u003cp>“Thank you from the bottom of my heart to all of the supporters of TEXAS HOLD ‘EM and 16 CARRIAGES. I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” Beyoncé wrote.\u003c/p>\n\u003cp>“That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” she added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jj1T7uHdBcY\u003c/p>\n\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13953532']Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\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/Jj1T7uHdBcY'\n title='//www.youtube.com/embed/Jj1T7uHdBcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. Additionally, “16 Carriages,” debuted at No. 9 on the Hot Country Songs chart and No. 38 on the Hot 100 chart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cowboy Carter\u003c/em> is set to be released on (Good) Friday, March 29.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+new+album+is+inspired+by+backlash+to+her+entering+the+country+music+genre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Symphony Musicians Urge Leadership to Keep Esa-Pekka Salonen",
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"content": "\u003cp>The musicians of the San Francisco Symphony are calling for the Symphony’s board to retain Esa-Pekka Salonen as music director.\u003c/p>\n\u003cp>The Symphony announced on March 14 that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the upcoming 2024–25 season will be Salonen’s last as music director\u003c/a>, framing the departure as a simple contract expiration.\u003c/p>\n\u003cp>But in a statement shared with KQED, Salonen said, “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>Later that day, the orchestra delivered a bouquet of flowers onstage to Salonen. After a performance on Saturday, musicians stationed outside Davies Symphony Hall distributed flyers to patrons, asking them to email Symphony leadership and “urge them to do what it takes to retain our world-class Maestro.”\u003c/p>\n\u003cfigure id=\"attachment_13954507\" class=\"wp-caption aligncenter\" style=\"max-width: 688px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\" alt=\"\" width=\"688\" height=\"912\" class=\"size-full wp-image-13954507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg 688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_-160x212.jpg 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">A flyer distributed outside Davies Symphony Hall on Saturday, March 16, 2024, calling on patrons to urge the Symphony to keep Esa-Pekka Salonen as music director.\u003c/figcaption>\u003c/figure>\n\u003cp>The dispute is widely understood to be about cost-cutting measures. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the flyer and a press release distributed on Monday, orchestra musicians criticized the board’s decision to cancel the orchestra’s European tour and make cuts to its digital projects, educational initiatives and its nightclub-environment series, SoundBox. They added that the cancellations and cuts raise “serious questions about the future of the Symphony.”\u003c/p>\n\u003cp>Through a representative, Salonen declined comment to KQED. \u003c/p>\n\u003cp>[aside postID='arts_13954083']“Esa-Pekka is a force for innovation and experimentation in classical music, and that kind of innovation requires investment,” said Catherine Payne, the Symphony’s piccolo player and a representative from the musicians’ artistic and action committees. \u003c/p>\n\u003cp>Payne believes it’s still feasible for the Symphony board to reverse course and keep Salonen, who, at least to the orchestra, appears to want to stay, should certain conditions be met. According to the musicians’ flyer, Salonen had also personally argued for the Symphony to restore musicians’ salaries to pre-pandemic levels, like other major orchestras have done. \u003c/p>\n\u003cp>The Symphony provided no immediate comment for this story. \u003c/p>\n\u003cp>Musicians argue that the Symphony’s endowment — currently among the largest of American orchestras, at $324.5 million — should be utilized to pay for restoring programs, touring and Salonen’s salary. \u003c/p>\n\u003cp>According to publicly available records that the Symphony is required to file as a nonprofit, Salonen’s total compensation for the fiscal year ending in August of 2021 was $2,065,642, comparable to that of his predecessor, Michael Tilson Thomas. \u003c/p>\n\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large nonprofits are typically hesitant to dip into endowment funds to cover deficits. \u003c/p>\n\u003cp>“But what is the endowment for?” asked Payne. “Is it to fund the music director’s artistic vision, or is it to just sit there and be added to, and grown and grown? The money in the endowment is to fund programing and the kind of projects that the orchestra is known for.”\u003c/p>\n\u003cp>As \u003ca href=\"https://www.yahoo.com/entertainment/esa-pekka-salonens-resignation-san-180044875.html\">classical music critic Mark Swed of the \u003cem>Los Angeles Times\u003c/em> wrote\u003c/a>, “Boards tend to be composed of highly successful individuals who are not always in the habit of listening to others, especially others who want to risk their money.”\u003c/p>\n\u003cp>Matthew Spivey, the Symphony’s CEO, told other outlets last week that he understood Salonen’s decision to leave in the wake of the cuts to programming, and that the organization faced “significant financial pressures” that had become “impossible to ignore.”\u003c/p>\n\u003cp>[aside postID='arts_13953312']Salonen’s tenure began in 2020, during the pandemic, which worsened what Spivey characterized as already existing budget problems. Spivey announced the canceled European tour and other programming cuts to the orchestra in January of this year. \u003c/p>\n\u003cp>Payne said that the musicians have been “deeply troubled” by the board’s decisions, adding that Salonen, who had been attracted to the creative possibilities of the Bay Area’s technology sector, had plans for new digital projects with Apple and Google on the horizon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re really a flagship institution that constantly pushes the boundaries of classical music, and is doing cutting-edge things,” said Payne, who has been with the orchestra for nearly 30 years. “It’s so sad to see all the progress that we’ve made over the decades, and how quickly that is going away.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The musicians of the San Francisco Symphony are calling for the Symphony’s board to retain Esa-Pekka Salonen as music director.\u003c/p>\n\u003cp>The Symphony announced on March 14 that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the upcoming 2024–25 season will be Salonen’s last as music director\u003c/a>, framing the departure as a simple contract expiration.\u003c/p>\n\u003cp>But in a statement shared with KQED, Salonen said, “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>Later that day, the orchestra delivered a bouquet of flowers onstage to Salonen. After a performance on Saturday, musicians stationed outside Davies Symphony Hall distributed flyers to patrons, asking them to email Symphony leadership and “urge them to do what it takes to retain our world-class Maestro.”\u003c/p>\n\u003cfigure id=\"attachment_13954507\" class=\"wp-caption aligncenter\" style=\"max-width: 688px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\" alt=\"\" width=\"688\" height=\"912\" class=\"size-full wp-image-13954507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg 688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_-160x212.jpg 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">A flyer distributed outside Davies Symphony Hall on Saturday, March 16, 2024, calling on patrons to urge the Symphony to keep Esa-Pekka Salonen as music director.\u003c/figcaption>\u003c/figure>\n\u003cp>The dispute is widely understood to be about cost-cutting measures. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Esa-Pekka is a force for innovation and experimentation in classical music, and that kind of innovation requires investment,” said Catherine Payne, the Symphony’s piccolo player and a representative from the musicians’ artistic and action committees. \u003c/p>\n\u003cp>Payne believes it’s still feasible for the Symphony board to reverse course and keep Salonen, who, at least to the orchestra, appears to want to stay, should certain conditions be met. According to the musicians’ flyer, Salonen had also personally argued for the Symphony to restore musicians’ salaries to pre-pandemic levels, like other major orchestras have done. \u003c/p>\n\u003cp>The Symphony provided no immediate comment for this story. \u003c/p>\n\u003cp>Musicians argue that the Symphony’s endowment — currently among the largest of American orchestras, at $324.5 million — should be utilized to pay for restoring programs, touring and Salonen’s salary. \u003c/p>\n\u003cp>According to publicly available records that the Symphony is required to file as a nonprofit, Salonen’s total compensation for the fiscal year ending in August of 2021 was $2,065,642, comparable to that of his predecessor, Michael Tilson Thomas. \u003c/p>\n\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large nonprofits are typically hesitant to dip into endowment funds to cover deficits. \u003c/p>\n\u003cp>“But what is the endowment for?” asked Payne. “Is it to fund the music director’s artistic vision, or is it to just sit there and be added to, and grown and grown? The money in the endowment is to fund programing and the kind of projects that the orchestra is known for.”\u003c/p>\n\u003cp>As \u003ca href=\"https://www.yahoo.com/entertainment/esa-pekka-salonens-resignation-san-180044875.html\">classical music critic Mark Swed of the \u003cem>Los Angeles Times\u003c/em> wrote\u003c/a>, “Boards tend to be composed of highly successful individuals who are not always in the habit of listening to others, especially others who want to risk their money.”\u003c/p>\n\u003cp>Matthew Spivey, the Symphony’s CEO, told other outlets last week that he understood Salonen’s decision to leave in the wake of the cuts to programming, and that the organization faced “significant financial pressures” that had become “impossible to ignore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Salonen’s tenure began in 2020, during the pandemic, which worsened what Spivey characterized as already existing budget problems. Spivey announced the canceled European tour and other programming cuts to the orchestra in January of this year. \u003c/p>\n\u003cp>Payne said that the musicians have been “deeply troubled” by the board’s decisions, adding that Salonen, who had been attracted to the creative possibilities of the Bay Area’s technology sector, had plans for new digital projects with Apple and Google on the horizon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re really a flagship institution that constantly pushes the boundaries of classical music, and is doing cutting-edge things,” said Payne, who has been with the orchestra for nearly 30 years. “It’s so sad to see all the progress that we’ve made over the decades, and how quickly that is going away.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Scarface, One of Hip-Hop's Best Storytellers, Returns to the Bay Area",
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"content": "\u003cp>Public media loves “storytelling,” so when Houston rapper Scarface \u003ca href=\"https://www.youtube.com/watch?v=ajNYTJcF6rE\">was booked into NPR’s Tiny Desk\u003c/a> late last year, who could be surprised? Scarface, along with Nas and Slick Rick, is undeniably among hip-hop’s greatest and most vivid storytellers.\u003c/p>\n\u003cp>[aside postID='arts_13939056']Take the 1997 track “\u003ca href=\"https://www.youtube.com/watch?v=QXBSkipMFL8\">Southside\u003c/a>,” where in just one minute and 13 seconds, Scarface tells you everything you need to know. He’s broke, high and walking past his neighborhood high school, thinking about his probation that’s worried his mom and reactivated his father’s depression. Terrified by visions of the devil, Scarface thinks of his own inherited depressive tendencies, and the reality that Black men like him rarely talk about mental health, worsening their alienation: “Somebody help the lost souls find a savior,” he pleads.\u003c/p>\n\u003cp>One verse. That’s it, that’s the whole song. And that’s what Scarface does over and over again across a catalog that’s remarkably consistent: “Mind Playin’ Tricks on Me” and other early work with the Geto Boys, his 1994 masterpiece \u003cem>The Diary\u003c/em>, his renaissance album \u003cem>The Fix\u003c/em>, and every live show he’s played since, full touring band in tow.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ajNYTJcF6rE\u003c/p>\n\u003cp>Performing at Oakland jazz club Yoshi’s in 2019, Scarface let his band stretch out: whether in psychedelic fashion (he’s a huge fan of Pink Floyd), or replicating Houston legend DJ Screw’s chopped-and-screwed sound. “Smile” turned into a remembrance of Tupac Shakur; “Mind Playin’ Tricks on Me” was recited line-for-line by the well-dressed crowd, and “I Seen a Man Die” very nearly opened up the ceiling and touched the heavens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words: don’t miss Scarface when he returns to the Bay Area with his live band on Saturday, March 23, at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.theregencyballroom.com/events/detail/531644\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Take the 1997 track “\u003ca href=\"https://www.youtube.com/watch?v=QXBSkipMFL8\">Southside\u003c/a>,” where in just one minute and 13 seconds, Scarface tells you everything you need to know. He’s broke, high and walking past his neighborhood high school, thinking about his probation that’s worried his mom and reactivated his father’s depression. Terrified by visions of the devil, Scarface thinks of his own inherited depressive tendencies, and the reality that Black men like him rarely talk about mental health, worsening their alienation: “Somebody help the lost souls find a savior,” he pleads.\u003c/p>\n\u003cp>One verse. That’s it, that’s the whole song. And that’s what Scarface does over and over again across a catalog that’s remarkably consistent: “Mind Playin’ Tricks on Me” and other early work with the Geto Boys, his 1994 masterpiece \u003cem>The Diary\u003c/em>, his renaissance album \u003cem>The Fix\u003c/em>, and every live show he’s played since, full touring band in tow.\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/ajNYTJcF6rE'\n title='//www.youtube.com/embed/ajNYTJcF6rE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Performing at Oakland jazz club Yoshi’s in 2019, Scarface let his band stretch out: whether in psychedelic fashion (he’s a huge fan of Pink Floyd), or replicating Houston legend DJ Screw’s chopped-and-screwed sound. “Smile” turned into a remembrance of Tupac Shakur; “Mind Playin’ Tricks on Me” was recited line-for-line by the well-dressed crowd, and “I Seen a Man Die” very nearly opened up the ceiling and touched the heavens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words: don’t miss Scarface when he returns to the Bay Area with his live band on Saturday, March 23, at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.theregencyballroom.com/events/detail/531644\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Vulnerable Yet Strong, August Lee Stevens Envisions ‘Better Places’",
"headTitle": "Vulnerable Yet Strong, August Lee Stevens Envisions ‘Better Places’ | KQED",
"content": "\u003cfigure id=\"attachment_13954078\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954078 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg\" alt=\"A young Black woman pictured from above, laying in a field of grass and surrounded by flowers, photographed with a wide-angle lens.\" width=\"1047\" height=\"698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-768x512.jpg 768w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens’ new EP, ‘Better Places,’ drops April 5. ‘A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,’ she says. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When you listen to the song “Better Places” by August Lee Stevens, be ready. Light a candle, take a deep breath and maybe even grab a seat on the floor, and prepare to connect with the spirits of those no longer here in physical form.\u003c/p>\n\u003cp>During the six-minute, meditative track, Stevens uses her powerful voice and moving lyrics to create an ode to a fallen schooolmate and their family. Complete with a truly electrifying guitar solo by Jesús Rico, the song inspires a silent prayer; you’ll reflect on people you’ve lost as well.\u003c/p>\n\u003cp>Across the four songs on Stevens’ debut EP \u003cem>Better Places\u003c/em>, the multitalented 24-year-old musician from Hercules shows off her pen game as well as her musicianship. Recorded in collaboration with \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> during a residency last year, \u003cem>Better Places\u003c/em> drops April 5. She’ll perform songs from the project on March 21 at \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798?pl=newparish&REFID=clientsitewp&edpPlParam=%3Fpl%3Dnewparish\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a>, as Stevens will open for well-known singer and songwriter \u003ca href=\"https://linktr.ee/marahruby\" target=\"_blank\" rel=\"noopener\">Mara Hruby\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954079\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg\" alt=\"Singer and musician August Lee Stevens lays in a field of grass next to her full-sized keyboard.\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-768x512.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It marks Stevens’ first time at the New Parish as a main performer instead of a backup singer. “This is the first time I’m doing my own material, with my own band,” she says. “I’m really excited. It’s been my dream for a while.”\u003c/p>\n\u003cp>Stevens is a classically trained pianist who picked up singing during her senior year of high school and mastered the guitar during the pandemic. She began molding her creative talents just around the corner from the New Parish at Oakland School of The Arts, where she attended both middle and high school.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When asked what audience members should expect during the upcoming show, she replies immediately: “Lots of healing and lots of vulnerability.” It’s one thing she and Mara Hruby have in common, she says. “I gravitate towards her because of her gentleness and vulnerability, and that’s something she’s picked up in my music.”\u003c/p>\n\u003cp>In addition to moments where people might be moved to tears, Stevens leaves room for lighthearted jokes as well. “When I’m on stage,” Stevens tells me, “I can’t stop rambling between songs when there’s no music, and I’ll often say some bad puns.” Her band members might get mad at her for it, she says with a laugh, but she doesn’t mind — it’s how she lets her guard down. Sometimes, she’ll even make herself the butt of the joke.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wk8Wj_skMQc\u003c/p>\n\u003cp>But her music is far from comical.\u003c/p>\n\u003cp>Stevens wrote \u003cem>Better Places\u003c/em> over the span of a few years. Its single, “\u003ca href=\"https://augustleestevens.bandcamp.com/track/in-my-head\">In My Head\u003c/a>,” is built around a simple, soulful arrangement that starts slow and builds, allowing Stevens to show off her tonal range and long vocal riffs.\u003c/p>\n\u003cp>Over keys, a smooth drum pattern, a jazzy xylophone and a strong-sounding horn, Stevens sings: “I wish you could see all the beauty that’s left to be found, and what this could be / But we’re fighting with every doubt, so don’t let it be all in my head.” (Stevens says the track was initially inspired by her dog Clyde, a Rhodesian Ridgeback who comes to her shows. “I want him to be famous,” Stevens says.)\u003c/p>\n\u003cp>[aside postID='arts_13953970']The EP’s first track, “Sweet Thing,” is slow with church-like keys and a breathtaking horn. “Keep Trying,” the EP’s most uptempo song, has the vibe of a movie — it could easily soundtrack a transitional montage where the protagonist gets their life together and becomes who they’re born to be.\u003c/p>\n\u003cp>The final track, “Better Places,” is clearly the star of the show. Starting slow, it builds epically, filled with emotion and grief as Stevens sings, “’Cause if we’re moving on, we can’t be weighed down anymore / And we tried another way to find it, only breaking down what was left with our open hands and empty pockets, searching for what we know is there.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E-RTVfNf000\u003c/p>\n\u003cp>Her big vocals continue through the song’s hook of “Better places, better places, better places, we’re going to reach for those better places.” Although made in honor of a fallen former schoolmate, the song is an uplifting example of how beauty can be birthed out of tragedy.\u003c/p>\n\u003cp>She credits Women’s Audio Mission, specifically studio manager and engineer Arielle Flinkman, for providing an environment where she, other women and gender-expansive people can feel comfortable to create. She also worked with Spain-based producer Jake Lloyd to create the project.\u003c/p>\n\u003cp>Stevens, who’s played shows in San Francisco, Santa Cruz and Sacramento, and was recently featured in \u003ca href=\"https://www.instagram.com/p/C4arwrRskHE/\" target=\"_blank\" rel=\"noopener\">NPR’s Tiny Desk\u003c/a> submission roundup, is clear: this project is an opportunity to showcase who she is as an artist.\u003c/p>\n\u003cp>[aside postID='arts_13953475']“A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,” reflects Stevens. “I feel like I have trouble speaking in person, and so sometimes it gives me the chance to go back and reflect about it — to know what I wanted to say, or to know what I was actually feeling,” says Stevens.\u003c/p>\n\u003cp>A poet and prose writer on top of being a musician, Stevens says it’s never too late to express yourself.\u003c/p>\n\u003cp>“There’s power in speaking your truth when you deem it a good time, when it feels comfortable and safe for you,” says Stevens. “That’s the main message that I hope people get from the music, that knowing it’s not too late to talk about what’s going on. You should talk about it at some point, you should express it at some point. And,” adds Stevens, emphasizing the power of personal choice, “\u003cem>you\u003c/em> should determine when and how \u003cem>you\u003c/em> do that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>August Lee Stevens performs at the New Parish in Oakland on Thursday, March 21, at 9 p.m. \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954078\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954078 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg\" alt=\"A young Black woman pictured from above, laying in a field of grass and surrounded by flowers, photographed with a wide-angle lens.\" width=\"1047\" height=\"698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-768x512.jpg 768w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens’ new EP, ‘Better Places,’ drops April 5. ‘A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,’ she says. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When you listen to the song “Better Places” by August Lee Stevens, be ready. Light a candle, take a deep breath and maybe even grab a seat on the floor, and prepare to connect with the spirits of those no longer here in physical form.\u003c/p>\n\u003cp>During the six-minute, meditative track, Stevens uses her powerful voice and moving lyrics to create an ode to a fallen schooolmate and their family. Complete with a truly electrifying guitar solo by Jesús Rico, the song inspires a silent prayer; you’ll reflect on people you’ve lost as well.\u003c/p>\n\u003cp>Across the four songs on Stevens’ debut EP \u003cem>Better Places\u003c/em>, the multitalented 24-year-old musician from Hercules shows off her pen game as well as her musicianship. Recorded in collaboration with \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> during a residency last year, \u003cem>Better Places\u003c/em> drops April 5. She’ll perform songs from the project on March 21 at \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798?pl=newparish&REFID=clientsitewp&edpPlParam=%3Fpl%3Dnewparish\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a>, as Stevens will open for well-known singer and songwriter \u003ca href=\"https://linktr.ee/marahruby\" target=\"_blank\" rel=\"noopener\">Mara Hruby\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954079\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg\" alt=\"Singer and musician August Lee Stevens lays in a field of grass next to her full-sized keyboard.\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-768x512.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It marks Stevens’ first time at the New Parish as a main performer instead of a backup singer. “This is the first time I’m doing my own material, with my own band,” she says. “I’m really excited. It’s been my dream for a while.”\u003c/p>\n\u003cp>Stevens is a classically trained pianist who picked up singing during her senior year of high school and mastered the guitar during the pandemic. She began molding her creative talents just around the corner from the New Parish at Oakland School of The Arts, where she attended both middle and high school.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When asked what audience members should expect during the upcoming show, she replies immediately: “Lots of healing and lots of vulnerability.” It’s one thing she and Mara Hruby have in common, she says. “I gravitate towards her because of her gentleness and vulnerability, and that’s something she’s picked up in my music.”\u003c/p>\n\u003cp>In addition to moments where people might be moved to tears, Stevens leaves room for lighthearted jokes as well. “When I’m on stage,” Stevens tells me, “I can’t stop rambling between songs when there’s no music, and I’ll often say some bad puns.” Her band members might get mad at her for it, she says with a laugh, but she doesn’t mind — it’s how she lets her guard down. Sometimes, she’ll even make herself the butt of the joke.\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/Wk8Wj_skMQc'\n title='//www.youtube.com/embed/Wk8Wj_skMQc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But her music is far from comical.\u003c/p>\n\u003cp>Stevens wrote \u003cem>Better Places\u003c/em> over the span of a few years. Its single, “\u003ca href=\"https://augustleestevens.bandcamp.com/track/in-my-head\">In My Head\u003c/a>,” is built around a simple, soulful arrangement that starts slow and builds, allowing Stevens to show off her tonal range and long vocal riffs.\u003c/p>\n\u003cp>Over keys, a smooth drum pattern, a jazzy xylophone and a strong-sounding horn, Stevens sings: “I wish you could see all the beauty that’s left to be found, and what this could be / But we’re fighting with every doubt, so don’t let it be all in my head.” (Stevens says the track was initially inspired by her dog Clyde, a Rhodesian Ridgeback who comes to her shows. “I want him to be famous,” Stevens says.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The EP’s first track, “Sweet Thing,” is slow with church-like keys and a breathtaking horn. “Keep Trying,” the EP’s most uptempo song, has the vibe of a movie — it could easily soundtrack a transitional montage where the protagonist gets their life together and becomes who they’re born to be.\u003c/p>\n\u003cp>The final track, “Better Places,” is clearly the star of the show. Starting slow, it builds epically, filled with emotion and grief as Stevens sings, “’Cause if we’re moving on, we can’t be weighed down anymore / And we tried another way to find it, only breaking down what was left with our open hands and empty pockets, searching for what we know is there.”\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/E-RTVfNf000'\n title='//www.youtube.com/embed/E-RTVfNf000'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her big vocals continue through the song’s hook of “Better places, better places, better places, we’re going to reach for those better places.” Although made in honor of a fallen former schoolmate, the song is an uplifting example of how beauty can be birthed out of tragedy.\u003c/p>\n\u003cp>She credits Women’s Audio Mission, specifically studio manager and engineer Arielle Flinkman, for providing an environment where she, other women and gender-expansive people can feel comfortable to create. She also worked with Spain-based producer Jake Lloyd to create the project.\u003c/p>\n\u003cp>Stevens, who’s played shows in San Francisco, Santa Cruz and Sacramento, and was recently featured in \u003ca href=\"https://www.instagram.com/p/C4arwrRskHE/\" target=\"_blank\" rel=\"noopener\">NPR’s Tiny Desk\u003c/a> submission roundup, is clear: this project is an opportunity to showcase who she is as an artist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,” reflects Stevens. “I feel like I have trouble speaking in person, and so sometimes it gives me the chance to go back and reflect about it — to know what I wanted to say, or to know what I was actually feeling,” says Stevens.\u003c/p>\n\u003cp>A poet and prose writer on top of being a musician, Stevens says it’s never too late to express yourself.\u003c/p>\n\u003cp>“There’s power in speaking your truth when you deem it a good time, when it feels comfortable and safe for you,” says Stevens. “That’s the main message that I hope people get from the music, that knowing it’s not too late to talk about what’s going on. You should talk about it at some point, you should express it at some point. And,” adds Stevens, emphasizing the power of personal choice, “\u003cem>you\u003c/em> should determine when and how \u003cem>you\u003c/em> do that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>August Lee Stevens performs at the New Parish in Oakland on Thursday, March 21, at 9 p.m. \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco",
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"content": "\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>[aside postID='arts_13954083']Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025",
"headTitle": "Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025 | KQED",
"content": "\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esa-Pekka Salonen will step down as the San Francisco Symphony’s music director in June of 2025, at the end of his five-year contract, the symphony announced today.\u003c/p>\n\u003cp>Salonen, a major figure in the classical music world, surprised many when he joined the symphony in 2020. After 17 years as Music Director of the Los Angeles Philharmonic, he had repeatedly said he was uninterested in leading another major orchestra.\u003c/p>\n\u003cp>But Salonen’s creative vision and tech-friendly approach made a fit for San Francisco, where he presented innovative programs at Davies Symphony Hall and assembled an eight-member “brain trust” of younger artists to steer the orchestra into the future.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfchronicle.com/entertainment/article/esa-pekka-salonen-sf-symphony-18941145.php\">statement\u003c/a> to KQED, Salonen explained that he was leaving the symphony because “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>“I am sincerely looking forward to the many exciting programs we have planned for my final season as Music Director,” Salonen continued, “and am proud to continue working with the world-class musicians of the San Francisco Symphony.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The symphony has not yet named a replacement. \u003c/p>\n\u003cfigure id=\"attachment_13846588\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13846588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement, San Francisco Symphony CEO Matthew Spivey praised Salonen’s creative vision and hard work to address the challenges of the pandemic in the fall of 2020, when his tenure began. \u003c/p>\n\u003cp>“Over his time as Music Director, Esa-Pekka has brought with him a palpable spirit of collaboration and adventure to the San Francisco Symphony that has inspired our musicians, staff, board, and audiences to think more expansively about the possibilities of the orchestral experience,” Spivey said.\u003c/p>\n\u003cp>[aside postID='arts_13953312']Salonen, who was part of a 2014 iPad campaign for Apple, notably engaged with the tech sector following his appointment; a \u003cem>New York Times\u003c/em> headline called him a “disrupter” in the classical world. An \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-CAROL-REILEY\">upcoming SoundBox program\u003c/a> at the symphony in April curated by Carol Reiley, a roboticist and member of Salonen’s creative partner team, will feature music made with the help of robots and AI.\u003c/p>\n\u003cp>Earlier this month, Salonen conducted Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em> \u003ca href=\"https://www.kqed.org/arts/13953312/scriabin-prometheus-san-francisco-symphony-review\">augmented by colorful lights, smoke cannons and piped-in scents\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet Salonen has kept one foot in classical music’s traditions. In his final concert as Music Director next June, he will conduct Gustav Mahler, a favorite composer of Salonen’s predecessor Michael Tilson-Thomas and of Thomas’ mentor Leonard Bernstein.\u003c/p>\n\u003cp>“Esa-Pekka’s time as Music Director has been artistically rewarding and exciting for our whole organization, and though this moment is bittersweet, I’m looking forward to experiencing his creativity and artistry through his final programs in this role during the 2024–25 season,” said San Francisco Symphony Board Chair Priscilla Geeslin in a statement.\u003c/p>\n\u003cp>The news of Salonen’s exit, made public Thursday, coincided with \u003ca href=\"https://www.kqed.org/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony\">the symphony’s 2024–25 season announcement\u003c/a>. In his final season, Salonen will conduct 12 programs, starting with Verdi’s Requiem in September. He will also conduct several world premieres, by Gabriella Smith, Nico Muhly and Xavier Muzik, as well as his own cello concerto.\u003c/p>\n\u003cp>The season includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts, along with classic repertoire from Beethoven, Brahms, Debussy, Sibelius and Strauss.\u003c/p>\n\u003cfigure id=\"attachment_13849049\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"2048\" height=\"1366\" class=\"size-full wp-image-13849049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen leading the San Francisco Symphony on Jan. 18, 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen’s tenure in San Francisco has been marked, perhaps more than anything else, by a sense of wonder. At a party announcing his appointment in 2018, he addressed the crowd about the task of leading an orchestra. \u003c/p>\n\u003cp>“I’ve been doing this for a long time, and I still don’t understand how it works,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salonen is expected to continue collaborating with the symphony as a guest conductor after his tenure ends. His final season as music director commences in September, and concludes with a program of Mahler’s Symphony No. 2 on June 12–14, 2025.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esa-Pekka Salonen will step down as the San Francisco Symphony’s music director in June of 2025, at the end of his five-year contract, the symphony announced today.\u003c/p>\n\u003cp>Salonen, a major figure in the classical music world, surprised many when he joined the symphony in 2020. After 17 years as Music Director of the Los Angeles Philharmonic, he had repeatedly said he was uninterested in leading another major orchestra.\u003c/p>\n\u003cp>But Salonen’s creative vision and tech-friendly approach made a fit for San Francisco, where he presented innovative programs at Davies Symphony Hall and assembled an eight-member “brain trust” of younger artists to steer the orchestra into the future.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfchronicle.com/entertainment/article/esa-pekka-salonen-sf-symphony-18941145.php\">statement\u003c/a> to KQED, Salonen explained that he was leaving the symphony because “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>“I am sincerely looking forward to the many exciting programs we have planned for my final season as Music Director,” Salonen continued, “and am proud to continue working with the world-class musicians of the San Francisco Symphony.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The symphony has not yet named a replacement. \u003c/p>\n\u003cfigure id=\"attachment_13846588\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13846588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement, San Francisco Symphony CEO Matthew Spivey praised Salonen’s creative vision and hard work to address the challenges of the pandemic in the fall of 2020, when his tenure began. \u003c/p>\n\u003cp>“Over his time as Music Director, Esa-Pekka has brought with him a palpable spirit of collaboration and adventure to the San Francisco Symphony that has inspired our musicians, staff, board, and audiences to think more expansively about the possibilities of the orchestral experience,” Spivey said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Salonen, who was part of a 2014 iPad campaign for Apple, notably engaged with the tech sector following his appointment; a \u003cem>New York Times\u003c/em> headline called him a “disrupter” in the classical world. An \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-CAROL-REILEY\">upcoming SoundBox program\u003c/a> at the symphony in April curated by Carol Reiley, a roboticist and member of Salonen’s creative partner team, will feature music made with the help of robots and AI.\u003c/p>\n\u003cp>Earlier this month, Salonen conducted Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em> \u003ca href=\"https://www.kqed.org/arts/13953312/scriabin-prometheus-san-francisco-symphony-review\">augmented by colorful lights, smoke cannons and piped-in scents\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet Salonen has kept one foot in classical music’s traditions. In his final concert as Music Director next June, he will conduct Gustav Mahler, a favorite composer of Salonen’s predecessor Michael Tilson-Thomas and of Thomas’ mentor Leonard Bernstein.\u003c/p>\n\u003cp>“Esa-Pekka’s time as Music Director has been artistically rewarding and exciting for our whole organization, and though this moment is bittersweet, I’m looking forward to experiencing his creativity and artistry through his final programs in this role during the 2024–25 season,” said San Francisco Symphony Board Chair Priscilla Geeslin in a statement.\u003c/p>\n\u003cp>The news of Salonen’s exit, made public Thursday, coincided with \u003ca href=\"https://www.kqed.org/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony\">the symphony’s 2024–25 season announcement\u003c/a>. In his final season, Salonen will conduct 12 programs, starting with Verdi’s Requiem in September. He will also conduct several world premieres, by Gabriella Smith, Nico Muhly and Xavier Muzik, as well as his own cello concerto.\u003c/p>\n\u003cp>The season includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts, along with classic repertoire from Beethoven, Brahms, Debussy, Sibelius and Strauss.\u003c/p>\n\u003cfigure id=\"attachment_13849049\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"2048\" height=\"1366\" class=\"size-full wp-image-13849049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen leading the San Francisco Symphony on Jan. 18, 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen’s tenure in San Francisco has been marked, perhaps more than anything else, by a sense of wonder. At a party announcing his appointment in 2018, he addressed the crowd about the task of leading an orchestra. \u003c/p>\n\u003cp>“I’ve been doing this for a long time, and I still don’t understand how it works,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salonen is expected to continue collaborating with the symphony as a guest conductor after his tenure ends. His final season as music director commences in September, and concludes with a program of Mahler’s Symphony No. 2 on June 12–14, 2025.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re a fan of acts like Japanese pop-funk band \u003ca href=\"https://www.youtube.com/watch?v=vQ4r1Wf75Jk\">CHAI\u003c/a>, Amsterdam Turkish psych rockers \u003ca href=\"https://www.youtube.com/watch?v=uLayWDyFrAo\">Altin Gün\u003c/a> or Colombian electro-pop band \u003ca href=\"https://www.youtube.com/watch?v=qU50MDtbkEk\">Bomba Estéreo\u003c/a>, there’s a chance that you’ve heard \u003ca href=\"https://www.kexp.org/\">KEXP\u003c/a>. The Seattle public radio station has 3.2 million subscribers on YouTube, where its in-studio concerts regularly garner tens of thousands of views. In fact, a large portion KEXP’s fanbase resides in the Bay Area — making the region well suited for KEXP’s expansion, which hits local airwaves March 19 on 92.7 FM.\u003c/p>\n\u003cp>[aside postID='arts_13926316']“We hope that we can add value to the local ecosystem. And in that, one of our focuses has been to connect with and to build relationships with the other stations out there, both terrestrial and online,” said Chief Programming Officer Chris Kellogg in a recent interview.\u003c/p>\n\u003cp>Those other like-minded stations include San Francisco’s KALW, which features DJs active in the Bay Area’s live music and nightlife scenes, UC Berkeley’s KALX and BFF.FM, which streams an eclectic array of DIY programing out of San Francisco’s Mission District.\u003c/p>\n\u003cp>“We really think that there is space for all of us and that we can and look forward to opportunities for us to uplift each other,” Kellogg added.\u003c/p>\n\u003cp>KEXP emerged out of University of Washington in 1972, and established itself as a tastemaker in the late 1980s, when Nirvana and Soundgarden put the spotlight on Seattle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Its Bay Area expansion materialized in October 2023, when it won an auction to purchase KREV 92.7 FM Alameda/San Francisco, which most recently operated as a hip-hop station. KEXP sources about half its budget from listener pledges, and funded the acquisition thanks to a $10 million bequest in a donor’s will, which the station has strategically invested.\u003c/p>\n\u003cp>Programming on KEXP Bay Area will mirror the DJ-driven, genre-less array of shows on KEXP Seattle, and the station will soon begin recruiting a host for a Bay Area music show it plans to launch, tentatively, in August. Already, KEXP Seattle boasts the longest running local music show in the Northwest, \u003ca href=\"https://www.kexp.org/shows/Audioasis/\">\u003cem>Audioasis\u003c/em>\u003c/a>. [aside postid='arts_13953497']\u003c/p>\n\u003cp>“My hope — and what success will look like — is that over time, we’re able to develop that same sort of trust that we have with a lot of local folks here [in Seattle], as a destination to tap into what’s happening currently in the Bay Area musically across many, many genres,” Kellogg said. “When you tune in to 92.7 FM on Saturday nights when we launch the local music show, you’re going to likely hear something that you haven’t heard before, and you’re going to hear it alongside something that you do know, and that’s going to be exciting.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, KEXP’s CEO Ethan Raup is \u003ca href=\"https://www.kexp.org/about/kexp-bay-area-radio/\">soliciting feedback\u003c/a> from Bay Area music lovers and artists.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a fan of acts like Japanese pop-funk band \u003ca href=\"https://www.youtube.com/watch?v=vQ4r1Wf75Jk\">CHAI\u003c/a>, Amsterdam Turkish psych rockers \u003ca href=\"https://www.youtube.com/watch?v=uLayWDyFrAo\">Altin Gün\u003c/a> or Colombian electro-pop band \u003ca href=\"https://www.youtube.com/watch?v=qU50MDtbkEk\">Bomba Estéreo\u003c/a>, there’s a chance that you’ve heard \u003ca href=\"https://www.kexp.org/\">KEXP\u003c/a>. The Seattle public radio station has 3.2 million subscribers on YouTube, where its in-studio concerts regularly garner tens of thousands of views. In fact, a large portion KEXP’s fanbase resides in the Bay Area — making the region well suited for KEXP’s expansion, which hits local airwaves March 19 on 92.7 FM.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We hope that we can add value to the local ecosystem. And in that, one of our focuses has been to connect with and to build relationships with the other stations out there, both terrestrial and online,” said Chief Programming Officer Chris Kellogg in a recent interview.\u003c/p>\n\u003cp>Those other like-minded stations include San Francisco’s KALW, which features DJs active in the Bay Area’s live music and nightlife scenes, UC Berkeley’s KALX and BFF.FM, which streams an eclectic array of DIY programing out of San Francisco’s Mission District.\u003c/p>\n\u003cp>“We really think that there is space for all of us and that we can and look forward to opportunities for us to uplift each other,” Kellogg added.\u003c/p>\n\u003cp>KEXP emerged out of University of Washington in 1972, and established itself as a tastemaker in the late 1980s, when Nirvana and Soundgarden put the spotlight on Seattle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Its Bay Area expansion materialized in October 2023, when it won an auction to purchase KREV 92.7 FM Alameda/San Francisco, which most recently operated as a hip-hop station. KEXP sources about half its budget from listener pledges, and funded the acquisition thanks to a $10 million bequest in a donor’s will, which the station has strategically invested.\u003c/p>\n\u003cp>Programming on KEXP Bay Area will mirror the DJ-driven, genre-less array of shows on KEXP Seattle, and the station will soon begin recruiting a host for a Bay Area music show it plans to launch, tentatively, in August. Already, KEXP Seattle boasts the longest running local music show in the Northwest, \u003ca href=\"https://www.kexp.org/shows/Audioasis/\">\u003cem>Audioasis\u003c/em>\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My hope — and what success will look like — is that over time, we’re able to develop that same sort of trust that we have with a lot of local folks here [in Seattle], as a destination to tap into what’s happening currently in the Bay Area musically across many, many genres,” Kellogg said. “When you tune in to 92.7 FM on Saturday nights when we launch the local music show, you’re going to likely hear something that you haven’t heard before, and you’re going to hear it alongside something that you do know, and that’s going to be exciting.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, KEXP’s CEO Ethan Raup is \u003ca href=\"https://www.kexp.org/about/kexp-bay-area-radio/\">soliciting feedback\u003c/a> from Bay Area music lovers and artists.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Out The Way on J: An Artist Pipeline From Sac to the Bay",
"headTitle": "Out The Way on J: An Artist Pipeline From Sac to the Bay | KQED",
"content": "\u003cp>Above the bustling one-way traffic on J Street, a main thoroughfare in Sacramento’s midtown, sits a second-story hair salon named \u003ca href=\"https://www.mahoganyandrose.com/\">Mahogany and Rose\u003c/a> that doubles as a live performance venue once a month. On every third Saturday, dim lights, big plants and sultry incense smoke welcome attendees at the event series known as \u003ca href=\"https://www.mahoganyandrose.com/events\">Out The Way on J\u003c/a>.\u003c/p>\n\u003cp>On a typical night, live musicians play as poets, singers and rappers take the stage in front of an intimate yet energetic crowd of roughly 40 to 50 people. Many of the attendees and artists hail from Sacramento and its surrounding cities, while others drive up Interstate 80 from Richmond, Oakland and the greater Bay Area. That’s what makes Out The Way on J unique: it’s representative of the entire region.\u003c/p>\n\u003cfigure id=\"attachment_13953978\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10.jpg\" alt=\"Purple mood lighting sets the tone as a live band plays during an Out The Way on J event.\" width=\"1234\" height=\"1645\" class=\"size-full wp-image-13953978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10.jpg 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-1152x1536.jpg 1152w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">A typical Out The Way on J event features live musicians, rappers, singers and poetry. \u003ccite>(Camille Janae)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Sacramento metro area and the Bay Area have their differences — namely the weather and the cost of living — the connections are undeniable. \u003c/p>\n\u003cp>There’s been a longstanding exchange between the two regions, both in population and culture. Many Bay Areans, like Mac Dre and Raphael Saadiq, have called the state capital home. The inverse has happened too, with folks like Sacramento-raised Hall of Famer and former San Francisco Giants skipper Dusty Baker, renowned \u003cem>Chronicle\u003c/em> columnist Herb Caen, and musician-slash-model Saweetie.\u003c/p>\n\u003cp>The connections are also shown through organizations, like the Black Panther Party for Self-Defense, which originated in Oakland and once had an office in Sacramento’s Oak Park. Or how about by geology, as the Sacramento River is one of the main tributaries of freshwater flowing into the San Francisco Bay? Or even by American history: when settlers came in search of gold during the 1800s, many of them entered Northern California through the Bay before making their way into the Sacramento foothills. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even the phone dial once connected the regions. “We all shared the same area code once upon a time,”says Andreas “Dre-T” Tilman Jr., co-founder of Out The Way on J. “\u003ca href=\"https://www.lincmad.com/map1947.html\">It was all 415\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13953974\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6.jpg\" alt=\"The spotlight shows Andreas Tillman Jr. holding the mic with his eyes closed as he stands on the stage at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Andreas Tillman Jr., onstage at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tillman Jr. is a true product of the region himself. His mother was raised in San Francisco, his father grew up in Sacramento’s Oak Park neighborhood and his grandmother was a founding member of San Mateo’s concert series \u003ca href=\"https://collegeofsanmateo.edu/jazzonthehill/\">Jazz on the Hill\u003c/a>. Now, Tillman Jr. is continuing that legacy of connecting the region and presenting live music. \u003c/p>\n\u003cp>“We’re greater than we could even imagine when that music gets to playing,” says Tillman Jr., who is also an MC and producer. “That’s why I think it’s important to bring the region together through music, because so many other movements branch from it.”\u003c/p>\n\u003cp>[aside postID='arts_13953471']Out The Way on J has one full season under its belt, during which it’s played host to over 20 artists, including the likes of Sacramento-area based poet \u003ca href=\"https://www.instagram.com/natachi.life/\" target=\"_blank\" rel=\"noopener\">Natachi Mez\u003c/a> and multitalented musician \u003ca href=\"https://www.instagram.com/thephilharmonik/?img_index=1\" target=\"_blank\" rel=\"noopener\">The Philharmonik\u003c/a>, as well as Richmond poet and author \u003ca href=\"https://www.instagram.com/donblak/\" target=\"_blank\" rel=\"noopener\">Donté Clark\u003c/a> and Bay Area-raised vocalist \u003ca href=\"https://www.instagram.com/lizzyparismusic/\" target=\"_blank\" rel=\"noopener\">Lizzy Paris\u003c/a>. This coming Saturday’s show is headlined by East Oakland MC \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a> and Stockton Poet Laureate \u003ca href=\"https://www.instagram.com/elderjazz/?img_index=1\" target=\"_blank\" rel=\"noopener\">Jazmarie LaTour.\u003c/a>\u003c/p>\n\u003cp>“We have no sponsors, we’re doing this all independently, funded by the people,” says Tillman Jr., noting that they’ve compensated over $3,500 to independent artists so far. “We want to be able to give them more,” Tillman Jr. says. “We look at these artists the same way the masses look at the million-stream type of artists.” \u003c/p>\n\u003cfigure id=\"attachment_13953975\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7.jpg\" alt=\"A slice of light catches the face of Camille Janae, owner of Mahogany & Rose Hair Studio, as she graces the stage during a set at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Camille Janae, owner of Mahogany & Rose Hair Studio, onstage during a set at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A big part of it was us wanting to showcase the talent in Sacramento,” says \u003ca href=\"https://www.instagram.com/mscamillejanae/\" target=\"_blank\" rel=\"noopener\">Camille Janae\u003c/a>, salon owner of Mahogany and Rose and co-lead of the event series. A secondary part of their effort, she adds, is about “showing that there is a space in Sacramento to showcase that talent in a way that will bring in artists from the Bay Area as well.”\u003c/p>\n\u003cp>Janae and Tillman Jr. were on the same page: people from Sacramento always drive to the Bay Area for shows, so they wanted to create a venue where folks from the Bay Area would be encouraged to drive to Sacramento. “We’re just trying to bridge that gap,” says Janae, adding that they intentionally invite community that’s local and folks who are “willing to make a little drive.” \u003c/p>\n\u003cp>Janae, a hair stylist and spoken-word artist who grew up in Sacramento and attended the University of San Francisco, has owned Mahogany and Rose since 2018. She moved the business into its current spot in October of 2022. \u003c/p>\n\u003cfigure id=\"attachment_13953976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9.jpg\" alt=\"A moody black and white photo of Out The Way on J attendees shows a few silhouettes of folks sitting in the front row of a recent show.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Audience members watch that evening’s performance at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a space during the day where we specialize in curly hair and locs,” Janae tells me. “It’s a space that I wanted specifically Black women to feel wanted and celebrated.” \u003c/p>\n\u003cp>Sacramento’s midtown is an area well-known for arts and culture, but not very well-known for being home to Black owned businesses, and Janae wanted their presence felt. “So it’s kind of cool to use the space beyond doing hair,” says Janae. \u003c/p>\n\u003cp>Tillman Jr. explains that the Out The Way series has been making noise even before it moved to its current space. \u003c/p>\n\u003cp>[aside postID='arts_13952672']The event was born out of underground sessions Tillman Jr. held at venues around Sacramento, like the \u003ca href=\"https://www.instagram.com/cmb.neighborprogram/\" target=\"_blank\" rel=\"noopener\">Neighbor Program’s Shakur Center\u003c/a> and \u003ca href=\"https://www.instagram.com/estate_farms/\" target=\"_blank\" rel=\"noopener\">Estate Farms\u003c/a>. He’d invite artists to come and cipher, and show off their skills. Instead of going into a studio, he’d hook up the speakers and mics as if they were doing a live show. And then he’d record it.\u003c/p>\n\u003cp>“I started to see how much of a community we were building,” says Tillman Jr., adding that several artists who’ve performed at the current incarnation of Out the Way on J are from connections forged during earlier iterations. \u003c/p>\n\u003cp>“All I wanted,” says Tillman Jr., “was to see everyone who has something to offer work together.” \u003c/p>\n\u003cfigure id=\"attachment_13953977\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13.jpg\" alt=\"The light shines on the face of Elk Grove-based poet, Natachi Mez, during a performance at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The light shines on the face of Elk Grove-based poet, Natachi Mez, during a performance at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tillman Jr. and Janae initially met in 2013 at an open mic called the Mahogany Urban Poetry Series. “This goes back to why maintaining this ecosystem within the region is so important,” Tillman Jr. tells me. The poetry series “was one of the longest running open mics in our region,” says Tillman Jr., noting that it exposed him to creatives like the Bay Area’s Grammy-nominated poetry duo \u003ca href=\"https://www.instagram.com/prenticepowell1906/\" target=\"_blank\" rel=\"noopener\">Prentice Powell\u003c/a> and \u003ca href=\"https://www.instagram.com/iamshawnwilliam/\" target=\"_blank\" rel=\"noopener\">Shawn William\u003c/a>.\u003c/p>\n\u003cp>To those looking to get a dose of Out The Way on J, Janae says to come with an open mind, and be ready to receive whichever art form is showcased. Her hope is that people will leave “feeling like they’re a part of something bigger than themselves.”\u003c/p>\n\u003cp>Maybe even something as big as Northern California itself. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The next iteration of Out The Way on J gets underway on Saturday, March 16, at Mahogany & Rose in Sacramento from 6:30 p.m. to 9 p.m. \u003ca href=\"https://www.mahoganyandrose.com/event-details/out-the-way-on-j-march-16th\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Above the bustling one-way traffic on J Street, a main thoroughfare in Sacramento’s midtown, sits a second-story hair salon named \u003ca href=\"https://www.mahoganyandrose.com/\">Mahogany and Rose\u003c/a> that doubles as a live performance venue once a month. On every third Saturday, dim lights, big plants and sultry incense smoke welcome attendees at the event series known as \u003ca href=\"https://www.mahoganyandrose.com/events\">Out The Way on J\u003c/a>.\u003c/p>\n\u003cp>On a typical night, live musicians play as poets, singers and rappers take the stage in front of an intimate yet energetic crowd of roughly 40 to 50 people. Many of the attendees and artists hail from Sacramento and its surrounding cities, while others drive up Interstate 80 from Richmond, Oakland and the greater Bay Area. That’s what makes Out The Way on J unique: it’s representative of the entire region.\u003c/p>\n\u003cfigure id=\"attachment_13953978\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10.jpg\" alt=\"Purple mood lighting sets the tone as a live band plays during an Out The Way on J event.\" width=\"1234\" height=\"1645\" class=\"size-full wp-image-13953978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10.jpg 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-1152x1536.jpg 1152w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">A typical Out The Way on J event features live musicians, rappers, singers and poetry. \u003ccite>(Camille Janae)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Sacramento metro area and the Bay Area have their differences — namely the weather and the cost of living — the connections are undeniable. \u003c/p>\n\u003cp>There’s been a longstanding exchange between the two regions, both in population and culture. Many Bay Areans, like Mac Dre and Raphael Saadiq, have called the state capital home. The inverse has happened too, with folks like Sacramento-raised Hall of Famer and former San Francisco Giants skipper Dusty Baker, renowned \u003cem>Chronicle\u003c/em> columnist Herb Caen, and musician-slash-model Saweetie.\u003c/p>\n\u003cp>The connections are also shown through organizations, like the Black Panther Party for Self-Defense, which originated in Oakland and once had an office in Sacramento’s Oak Park. Or how about by geology, as the Sacramento River is one of the main tributaries of freshwater flowing into the San Francisco Bay? Or even by American history: when settlers came in search of gold during the 1800s, many of them entered Northern California through the Bay before making their way into the Sacramento foothills. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even the phone dial once connected the regions. “We all shared the same area code once upon a time,”says Andreas “Dre-T” Tilman Jr., co-founder of Out The Way on J. “\u003ca href=\"https://www.lincmad.com/map1947.html\">It was all 415\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13953974\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6.jpg\" alt=\"The spotlight shows Andreas Tillman Jr. holding the mic with his eyes closed as he stands on the stage at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Andreas Tillman Jr., onstage at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tillman Jr. is a true product of the region himself. His mother was raised in San Francisco, his father grew up in Sacramento’s Oak Park neighborhood and his grandmother was a founding member of San Mateo’s concert series \u003ca href=\"https://collegeofsanmateo.edu/jazzonthehill/\">Jazz on the Hill\u003c/a>. Now, Tillman Jr. is continuing that legacy of connecting the region and presenting live music. \u003c/p>\n\u003cp>“We’re greater than we could even imagine when that music gets to playing,” says Tillman Jr., who is also an MC and producer. “That’s why I think it’s important to bring the region together through music, because so many other movements branch from it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Out The Way on J has one full season under its belt, during which it’s played host to over 20 artists, including the likes of Sacramento-area based poet \u003ca href=\"https://www.instagram.com/natachi.life/\" target=\"_blank\" rel=\"noopener\">Natachi Mez\u003c/a> and multitalented musician \u003ca href=\"https://www.instagram.com/thephilharmonik/?img_index=1\" target=\"_blank\" rel=\"noopener\">The Philharmonik\u003c/a>, as well as Richmond poet and author \u003ca href=\"https://www.instagram.com/donblak/\" target=\"_blank\" rel=\"noopener\">Donté Clark\u003c/a> and Bay Area-raised vocalist \u003ca href=\"https://www.instagram.com/lizzyparismusic/\" target=\"_blank\" rel=\"noopener\">Lizzy Paris\u003c/a>. This coming Saturday’s show is headlined by East Oakland MC \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a> and Stockton Poet Laureate \u003ca href=\"https://www.instagram.com/elderjazz/?img_index=1\" target=\"_blank\" rel=\"noopener\">Jazmarie LaTour.\u003c/a>\u003c/p>\n\u003cp>“We have no sponsors, we’re doing this all independently, funded by the people,” says Tillman Jr., noting that they’ve compensated over $3,500 to independent artists so far. “We want to be able to give them more,” Tillman Jr. says. “We look at these artists the same way the masses look at the million-stream type of artists.” \u003c/p>\n\u003cfigure id=\"attachment_13953975\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7.jpg\" alt=\"A slice of light catches the face of Camille Janae, owner of Mahogany & Rose Hair Studio, as she graces the stage during a set at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Camille Janae, owner of Mahogany & Rose Hair Studio, onstage during a set at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A big part of it was us wanting to showcase the talent in Sacramento,” says \u003ca href=\"https://www.instagram.com/mscamillejanae/\" target=\"_blank\" rel=\"noopener\">Camille Janae\u003c/a>, salon owner of Mahogany and Rose and co-lead of the event series. A secondary part of their effort, she adds, is about “showing that there is a space in Sacramento to showcase that talent in a way that will bring in artists from the Bay Area as well.”\u003c/p>\n\u003cp>Janae and Tillman Jr. were on the same page: people from Sacramento always drive to the Bay Area for shows, so they wanted to create a venue where folks from the Bay Area would be encouraged to drive to Sacramento. “We’re just trying to bridge that gap,” says Janae, adding that they intentionally invite community that’s local and folks who are “willing to make a little drive.” \u003c/p>\n\u003cp>Janae, a hair stylist and spoken-word artist who grew up in Sacramento and attended the University of San Francisco, has owned Mahogany and Rose since 2018. She moved the business into its current spot in October of 2022. \u003c/p>\n\u003cfigure id=\"attachment_13953976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9.jpg\" alt=\"A moody black and white photo of Out The Way on J attendees shows a few silhouettes of folks sitting in the front row of a recent show.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Audience members watch that evening’s performance at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a space during the day where we specialize in curly hair and locs,” Janae tells me. “It’s a space that I wanted specifically Black women to feel wanted and celebrated.” \u003c/p>\n\u003cp>Sacramento’s midtown is an area well-known for arts and culture, but not very well-known for being home to Black owned businesses, and Janae wanted their presence felt. “So it’s kind of cool to use the space beyond doing hair,” says Janae. \u003c/p>\n\u003cp>Tillman Jr. explains that the Out The Way series has been making noise even before it moved to its current space. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The event was born out of underground sessions Tillman Jr. held at venues around Sacramento, like the \u003ca href=\"https://www.instagram.com/cmb.neighborprogram/\" target=\"_blank\" rel=\"noopener\">Neighbor Program’s Shakur Center\u003c/a> and \u003ca href=\"https://www.instagram.com/estate_farms/\" target=\"_blank\" rel=\"noopener\">Estate Farms\u003c/a>. He’d invite artists to come and cipher, and show off their skills. Instead of going into a studio, he’d hook up the speakers and mics as if they were doing a live show. And then he’d record it.\u003c/p>\n\u003cp>“I started to see how much of a community we were building,” says Tillman Jr., adding that several artists who’ve performed at the current incarnation of Out the Way on J are from connections forged during earlier iterations. \u003c/p>\n\u003cp>“All I wanted,” says Tillman Jr., “was to see everyone who has something to offer work together.” \u003c/p>\n\u003cfigure id=\"attachment_13953977\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13.jpg\" alt=\"The light shines on the face of Elk Grove-based poet, Natachi Mez, during a performance at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The light shines on the face of Elk Grove-based poet, Natachi Mez, during a performance at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tillman Jr. and Janae initially met in 2013 at an open mic called the Mahogany Urban Poetry Series. “This goes back to why maintaining this ecosystem within the region is so important,” Tillman Jr. tells me. The poetry series “was one of the longest running open mics in our region,” says Tillman Jr., noting that it exposed him to creatives like the Bay Area’s Grammy-nominated poetry duo \u003ca href=\"https://www.instagram.com/prenticepowell1906/\" target=\"_blank\" rel=\"noopener\">Prentice Powell\u003c/a> and \u003ca href=\"https://www.instagram.com/iamshawnwilliam/\" target=\"_blank\" rel=\"noopener\">Shawn William\u003c/a>.\u003c/p>\n\u003cp>To those looking to get a dose of Out The Way on J, Janae says to come with an open mind, and be ready to receive whichever art form is showcased. Her hope is that people will leave “feeling like they’re a part of something bigger than themselves.”\u003c/p>\n\u003cp>Maybe even something as big as Northern California itself. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The next iteration of Out The Way on J gets underway on Saturday, March 16, at Mahogany & Rose in Sacramento from 6:30 p.m. to 9 p.m. \u003ca href=\"https://www.mahoganyandrose.com/event-details/out-the-way-on-j-march-16th\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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