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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a>‘s electric gospel sound was crucial in paving the way for rock and roll, and the late singer and guitarist is finally getting her day at the Rock & Roll Hall of Fame in Cleveland. She joins this a class of inductees that includes big-name rock bands like Bon Jovi, Dire Straits and The Cars.\u003c/p>\n\u003cp>Rosetta Tharpe was a huge star in her time. Born in a small town in Arkansas in 1915, she was raised in the Pentecostal church. Tharpe honed her musical talent at tent revivals and churches, but found fame after moving to New York City in the 1930s. Her electric sanctified sound was an overnight sensation in the city’s nightclubs, and secular audiences fell in love with her ecstatic guitar playing.\u003c/p>\n\u003cp>Her fame faded by the 1960s as a new generation of musicians began to expand upon her style. She found new audiences in Europe, but otherwise settled into a quiet life in Philadelphia. Tharpe died in 1973 at the age of 58. Although her name fell into the shadows of history for decades, her influence did not.\u003c/p>\n\u003cp>“She influenced \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/131002081/johnny-cash\">Johnny Cash\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/460345202/little-richard\">Little Richard\u003c/a>,” says Tharpe’s biographer Gayle Wald. “She influenced innumerable other people who we recognize as foundational figures in rock and roll.”\u003c/p>\n\u003cp>Sister Rosetta Tharpe is set to be posthumously inducted into the Rock & Roll Hall of fame on May 5. Gayle Wald says the musician would be tickled by the honor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When people would ask her about her music,” Wald says, “she would say, ‘Oh, these kids and rock and roll — this is just sped up rhythm and blues. I’ve been doing that forever.’ ”\u003c/p>\n\u003cp>Listen to World Cafe’s tribute to Sister Rosetta Tharpe, produced by Alex Lewis for \u003ca href=\"http://xpngospelroots.org/\">WXPN’s Gospel Roots of Rock and Soul project. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gospel Roots of Rock and Soul has been supported by \u003c/em>\u003ca href=\"https://www.pcah.us/\">\u003cem>The Pew Center for Arts & Heritage\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 XPN. To see more, visit \u003ca href=\"http://www.xpn.org/\">XPN\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sister+Rosetta+Tharpe+Gets+Her+Day+In+The+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a>‘s electric gospel sound was crucial in paving the way for rock and roll, and the late singer and guitarist is finally getting her day at the Rock & Roll Hall of Fame in Cleveland. She joins this a class of inductees that includes big-name rock bands like Bon Jovi, Dire Straits and The Cars.\u003c/p>\n\u003cp>Rosetta Tharpe was a huge star in her time. Born in a small town in Arkansas in 1915, she was raised in the Pentecostal church. Tharpe honed her musical talent at tent revivals and churches, but found fame after moving to New York City in the 1930s. Her electric sanctified sound was an overnight sensation in the city’s nightclubs, and secular audiences fell in love with her ecstatic guitar playing.\u003c/p>\n\u003cp>Her fame faded by the 1960s as a new generation of musicians began to expand upon her style. She found new audiences in Europe, but otherwise settled into a quiet life in Philadelphia. Tharpe died in 1973 at the age of 58. Although her name fell into the shadows of history for decades, her influence did not.\u003c/p>\n\u003cp>“She influenced \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/131002081/johnny-cash\">Johnny Cash\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/460345202/little-richard\">Little Richard\u003c/a>,” says Tharpe’s biographer Gayle Wald. “She influenced innumerable other people who we recognize as foundational figures in rock and roll.”\u003c/p>\n\u003cp>Sister Rosetta Tharpe is set to be posthumously inducted into the Rock & Roll Hall of fame on May 5. Gayle Wald says the musician would be tickled by the honor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jamedra Brown-Fleischman is back as my Do List co-host this week to talk about San Francisco Ballet’s big dance festival, \u003cem>Unbound\u003c/em>, and its 12 world premieres — and about another world premiere from San Francisco queer choreographer Sean Dorsey. Plus, we ask: What would possess seasoned Broadway show producers to mash up the Go-Go’s pop-punk with an Elizabethan melodrama?! The answers await in the podcast above and the story links below.\u003c/p>\n\u003cp>\u003cstrong>April 13\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829196/twin-voices-of-the-african-diaspora\" rel=\"noopener\" target=\"_blank\">The Ibeyi sisters make thrilling music of the African diaspora\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 19-21\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829213/sean-dorsey-worries-about-boys-in-trouble\" rel=\"noopener\" target=\"_blank\">Choreographer Sean Dorsey offers a transgender and queer take on how to be a better man\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 20-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829141/the-future-of-dance-on-pointe-at-sf-ballet\" rel=\"noopener\" target=\"_blank\">SF Ballet’s \u003cem>Unbound\u003c/em> looks to partially answer the question: Where is dance headed in the 21st century?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 13 & 20\u003c/strong>: \u003ca href=\"http://www.ratatet.com/new-events/\" target=\"_blank\" rel=\"noopener\">Allan Hall’s jazz band Ratatet makes exquisite chamber jazz in shows at Berkeley’s Jazz Conservatory and at San Jose’s Art Boutiki\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"http://www.studiograndoakland.org/calendar/2018/4/21/full-color-a-staged-reading\" target=\"_blank\" rel=\"noopener\">The Afro Urban Society and Studio Grand in Oakland present \u003cem>Full Color\u003c/em>, a short story written by Itoro Udofia that has been adapted for the stage in an event honoring Sexual Assault Awareness Month\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 10-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829147/elizabethan-melodrama-meets-the-go-gos-in-head-over-heels\" rel=\"noopener\" target=\"_blank\">Elizabethan melodrama meets the Go-Go’s pop-punk in the world premiere of the musical \u003cem>Head Over Heels\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"https://www.eventbrite.com/e/drunk-theatre-tickets-42516267300?aff=pfcal&_eboga=646760143.1523494195\" target=\"_blank\" rel=\"noopener\">Drunk Theatre puts actors to a test that no “method” can prepare them for\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 14\u003c/strong>: \u003ca href=\"http://www.slimspresents.com/event/wax-idols-gamh-w-pardoner-humid-sea-witch-presents/\" target=\"_blank\" rel=\"noopener\">The Oakland band Wax Idols has a new album and CD release concert that shows off their morbid sense of punk humor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ps0QOAiXY3M\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jamedra Brown-Fleischman is back as my Do List co-host this week to talk about San Francisco Ballet’s big dance festival, \u003cem>Unbound\u003c/em>, and its 12 world premieres — and about another world premiere from San Francisco queer choreographer Sean Dorsey. Plus, we ask: What would possess seasoned Broadway show producers to mash up the Go-Go’s pop-punk with an Elizabethan melodrama?! The answers await in the podcast above and the story links below.\u003c/p>\n\u003cp>\u003cstrong>April 13\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829196/twin-voices-of-the-african-diaspora\" rel=\"noopener\" target=\"_blank\">The Ibeyi sisters make thrilling music of the African diaspora\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 19-21\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829213/sean-dorsey-worries-about-boys-in-trouble\" rel=\"noopener\" target=\"_blank\">Choreographer Sean Dorsey offers a transgender and queer take on how to be a better man\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 20-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829141/the-future-of-dance-on-pointe-at-sf-ballet\" rel=\"noopener\" target=\"_blank\">SF Ballet’s \u003cem>Unbound\u003c/em> looks to partially answer the question: Where is dance headed in the 21st century?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 13 & 20\u003c/strong>: \u003ca href=\"http://www.ratatet.com/new-events/\" target=\"_blank\" rel=\"noopener\">Allan Hall’s jazz band Ratatet makes exquisite chamber jazz in shows at Berkeley’s Jazz Conservatory and at San Jose’s Art Boutiki\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"http://www.studiograndoakland.org/calendar/2018/4/21/full-color-a-staged-reading\" target=\"_blank\" rel=\"noopener\">The Afro Urban Society and Studio Grand in Oakland present \u003cem>Full Color\u003c/em>, a short story written by Itoro Udofia that has been adapted for the stage in an event honoring Sexual Assault Awareness Month\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 10-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829147/elizabethan-melodrama-meets-the-go-gos-in-head-over-heels\" rel=\"noopener\" target=\"_blank\">Elizabethan melodrama meets the Go-Go’s pop-punk in the world premiere of the musical \u003cem>Head Over Heels\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"https://www.eventbrite.com/e/drunk-theatre-tickets-42516267300?aff=pfcal&_eboga=646760143.1523494195\" target=\"_blank\" rel=\"noopener\">Drunk Theatre puts actors to a test that no “method” can prepare them for\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 14\u003c/strong>: \u003ca href=\"http://www.slimspresents.com/event/wax-idols-gamh-w-pardoner-humid-sea-witch-presents/\" target=\"_blank\" rel=\"noopener\">The Oakland band Wax Idols has a new album and CD release concert that shows off their morbid sense of punk humor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ps0QOAiXY3M'\n title='//www.youtube.com/embed/Ps0QOAiXY3M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Max Hollein has only been in the San Francisco Bay Area for two years, but in his short tenure as the head of the \u003ca href=\"http://www.famsf.org\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, he caught the eye of the Metropolitan Museum of Art in New York City, one of nation’s top museums.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://www.metmuseum.org\">The Met\u003c/a> officially poached Hollein as its new director.\u003c/p>\n\u003cp>“It’s something that you cannot turn down. It’s kind of a lifetime opportunity,” the 48 year-old from Austria told KQED.\u003c/p>\n\u003cp>The Met draws 7 million visitors annually across its three locations; Fine Arts’ annual attendance, between the de Young and the Legion of Honor, is close to 1.7 million. In San Francisco, Hollein manages an operating budget of $60 million and more than 500 employees; the Met has a budget of $305 million and a staff of 2,200.\u003c/p>\n\u003cp>Hollein’s move is well and good for the Met, but that leaves the agency that runs two of San Francisco’s top museums, the de Young and the Legion of Honor, in a bit of a lurch. Fine Arts has struggled with a revolving door of administrators over the last decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For his part, Hollein recommends the job he’s leaving.\u003c/p>\n\u003cp>“It’s an institution that’s on very stable ground. It’s fiscally responsible. The budget is balanced. It has great programming. The staff is energized. New top management. It’s a perfect situation for someone to enter into.”\u003c/p>\n\u003cp>Hollein leaves for New York in August, and says he’s game to help with the transition.\u003c/p>\n\u003cp>FAMSF trustees were told of Hollein’s appointment at their regular meeting Tuesday. Diane B. (Dede) Wilsey, president of the FAMSF board of trustees (and, full disclosure, a longtime donor to KQED Arts), says she’ll launch a committee similar in makeup to the one that conducted the 2015-16 search.\u003c/p>\n\u003cp>\u003cstrong>Hollein’s Tenure at FAMSF\u003c/strong>\u003c/p>\n\u003cp>Prior to coming to San Francisco, Hollein spent 15 years at several highly regarded arts institutions in Frankfurt: the \u003ca href=\"http://www.staedelmuseum.de/en\">Städel Museum\u003c/a>, the \u003ca href=\"http://www.schirn.de/en/\" target=\"_blank\" rel=\"noopener\">Schirn Kunsthalle\u003c/a>, and the \u003ca href=\"http://www.liebieghaus.de/en\" target=\"_blank\" rel=\"noopener\">Liebieghaus\u003c/a>.\u003c/p>\n\u003cp>The 48-year-old says he meant to stay in San Francisco longer. “I obviously came to San Francisco with the clear idea that I will be here for longer. On the other hand, the two years have been very fulfilling. We got a lot of things done.”\u003c/p>\n\u003cp>\u003cem>Watch Hollein’s first press conference at the de Young Museum, on the exhibition ‘Ed Ruscha and the Great American West,’ with curator Karin Breuer.\u003c/em>\u003cbr>\n[youtube https://www.youtube.com/watch?v=fxHsbkuXNOc]\u003c/p>\n\u003cp>Hollein may be best known for bridging the worlds of art and tech. Over the past two years, Hollein championed initiatives like \u003ca href=\"http://www.famsf.org/digital-stories\">Digital Stories\u003c/a>, multimedia build-outs online that provide a window into the museum’s exhibitions that viewers don’t have to pay for. The museum also created a Minecraft map of the pyramids in Teotihuacan, Mexico for its recent exhibition \u003ca href=\"https://deyoung.famsf.org/exhibitions/teotihuacan-city-water-city-fire\">\u003cem>Teotihuacan: City of Water, City of Fire\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The de Young, which specializes in American art, also \u003ca href=\"https://deyoung.famsf.org/press-room/fine-arts-museums-san-francisco-make-historic-acquisition-62-works-african-american-art\">acquired\u003c/a> 62 works by African-American artists last year from the \u003ca href=\"http://www.soulsgrowndeep.org\" target=\"_blank\" rel=\"noopener\">Souls Grown Deep Foundation\u003c/a> in Atlanta.\u003c/p>\n\u003cp>A replacement for Hollein has not yet been announced.\u003c/p>\n\u003cp>“This would be an opportunity for Fine Arts Museums to make a very bold and interesting choice about the future of the institution and who is in charge of it,” says KQED’s Visual Arts editor, Sarah Hotchkiss. Like others in the Bay Area art world, she suggests a woman and/or a person of color replace Hollein.\u003c/p>\n\u003cp>The de Young is a large enough institution that it could cast its net wide for recruits, as it did with Hollein, who came from Europe. But “it would be nice,” Hotchkiss adds, “to see someone who’s more familiar with the Bay Area.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Max Hollein has only been in the San Francisco Bay Area for two years, but in his short tenure as the head of the \u003ca href=\"http://www.famsf.org\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, he caught the eye of the Metropolitan Museum of Art in New York City, one of nation’s top museums.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://www.metmuseum.org\">The Met\u003c/a> officially poached Hollein as its new director.\u003c/p>\n\u003cp>“It’s something that you cannot turn down. It’s kind of a lifetime opportunity,” the 48 year-old from Austria told KQED.\u003c/p>\n\u003cp>The Met draws 7 million visitors annually across its three locations; Fine Arts’ annual attendance, between the de Young and the Legion of Honor, is close to 1.7 million. In San Francisco, Hollein manages an operating budget of $60 million and more than 500 employees; the Met has a budget of $305 million and a staff of 2,200.\u003c/p>\n\u003cp>Hollein’s move is well and good for the Met, but that leaves the agency that runs two of San Francisco’s top museums, the de Young and the Legion of Honor, in a bit of a lurch. Fine Arts has struggled with a revolving door of administrators over the last decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For his part, Hollein recommends the job he’s leaving.\u003c/p>\n\u003cp>“It’s an institution that’s on very stable ground. It’s fiscally responsible. The budget is balanced. It has great programming. The staff is energized. New top management. It’s a perfect situation for someone to enter into.”\u003c/p>\n\u003cp>Hollein leaves for New York in August, and says he’s game to help with the transition.\u003c/p>\n\u003cp>FAMSF trustees were told of Hollein’s appointment at their regular meeting Tuesday. Diane B. (Dede) Wilsey, president of the FAMSF board of trustees (and, full disclosure, a longtime donor to KQED Arts), says she’ll launch a committee similar in makeup to the one that conducted the 2015-16 search.\u003c/p>\n\u003cp>\u003cstrong>Hollein’s Tenure at FAMSF\u003c/strong>\u003c/p>\n\u003cp>Prior to coming to San Francisco, Hollein spent 15 years at several highly regarded arts institutions in Frankfurt: the \u003ca href=\"http://www.staedelmuseum.de/en\">Städel Museum\u003c/a>, the \u003ca href=\"http://www.schirn.de/en/\" target=\"_blank\" rel=\"noopener\">Schirn Kunsthalle\u003c/a>, and the \u003ca href=\"http://www.liebieghaus.de/en\" target=\"_blank\" rel=\"noopener\">Liebieghaus\u003c/a>.\u003c/p>\n\u003cp>The 48-year-old says he meant to stay in San Francisco longer. “I obviously came to San Francisco with the clear idea that I will be here for longer. On the other hand, the two years have been very fulfilling. We got a lot of things done.”\u003c/p>\n\u003cp>\u003cem>Watch Hollein’s first press conference at the de Young Museum, on the exhibition ‘Ed Ruscha and the Great American West,’ with curator Karin Breuer.\u003c/em>\u003cbr>\n\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/fxHsbkuXNOc'\n title='//www.youtube.com/embed/fxHsbkuXNOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Hollein may be best known for bridging the worlds of art and tech. Over the past two years, Hollein championed initiatives like \u003ca href=\"http://www.famsf.org/digital-stories\">Digital Stories\u003c/a>, multimedia build-outs online that provide a window into the museum’s exhibitions that viewers don’t have to pay for. The museum also created a Minecraft map of the pyramids in Teotihuacan, Mexico for its recent exhibition \u003ca href=\"https://deyoung.famsf.org/exhibitions/teotihuacan-city-water-city-fire\">\u003cem>Teotihuacan: City of Water, City of Fire\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The de Young, which specializes in American art, also \u003ca href=\"https://deyoung.famsf.org/press-room/fine-arts-museums-san-francisco-make-historic-acquisition-62-works-african-american-art\">acquired\u003c/a> 62 works by African-American artists last year from the \u003ca href=\"http://www.soulsgrowndeep.org\" target=\"_blank\" rel=\"noopener\">Souls Grown Deep Foundation\u003c/a> in Atlanta.\u003c/p>\n\u003cp>A replacement for Hollein has not yet been announced.\u003c/p>\n\u003cp>“This would be an opportunity for Fine Arts Museums to make a very bold and interesting choice about the future of the institution and who is in charge of it,” says KQED’s Visual Arts editor, Sarah Hotchkiss. Like others in the Bay Area art world, she suggests a woman and/or a person of color replace Hollein.\u003c/p>\n\u003cp>The de Young is a large enough institution that it could cast its net wide for recruits, as it did with Hollein, who came from Europe. But “it would be nice,” Hotchkiss adds, “to see someone who’s more familiar with the Bay Area.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The John Simon Guggenheim Memorial Foundation awarded fellowships to eleven Bay Area artists and scholars this week, which will fund a range of creative projects over the next year.\u003c/p>\n\u003cp>This year the foundation awarded 173 fellowships to a group of artists, scientists and academics, picked from over 3,000 applications. The amount of the fellowships vary project to project, but since its start in 1925, the program has paid out a total of $360 million. Past recipients include Nobel Prize and Pulitzer Prize winners.\u003c/p>\n\u003cp>Included in this year’s winners is David Maisel, who aerial photography was the subject of an episode of \u003ca href=\"https://ww2.kqed.org/spark/arts-social-issues/\" target=\"_blank\" rel=\"noopener\">KQED’s Spark\u003c/a>, as well as performance artist Dohee Lee, a vital connector of immigrant and refugee communities whom KQED Arts profiled in a \u003ca href=\"https://youtu.be/uWFaT4hQQrE\" target=\"_blank\" rel=\"noopener\">video\u003c/a> as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tXcdUs1_f0w\u003c/p>\n\u003cp>Below is a list of local 2018 Guggenheim Fellows, including their medium, their occupation and what they received their fellowship for:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Lukas Felzmann\u003c/strong>, Photographer, San Francisco, California; Lecturer in Art, Department of Art and Art History, Stanford University: Photography.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Andrew Sean Greer\u003c/strong>, Writer, San Francisco, California; Executive Director, The Santa Maddalena Foundation: Fiction.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Eugene Birman\u003c/strong>, Composer, Oakland, California; Research Assistant Professor, Hong Kong Baptist University: Music Composition.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Dohee Lee\u003c/strong>, Playwright, Oakland, California: Drama and Performance Art.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Rob Jackson\u003c/strong>, Ecologist and Earth Scientist, Stanford University, Organismic Biology and Ecology\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Thomas S. Mullaney\u003c/strong>, Associate Professor of Chinese History, Stanford University: Hot Metal Empire: Type Design, Script, and Colonialism in Asia, Africa, and the Middle East.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>David Maisel\u003c/strong>, Photographer, Sausalito, California: Photography.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Mika Pelo\u003c/strong>, Composer, Berkeley, California; Associate Professor of Music, University of California, Davis: Music Composition.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Meghann Riepenhoff\u003c/strong>, Photographer, Bainbridge Island, Washington: Photography. (Now San Francisco)\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Annabeth Rosen\u003c/strong>, Artist, Davis, California; Professor and Arneson Endowed Chair, Department of Art & Art History, University of California, Davis: Fine Arts.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Archana Venkatesan\u003c/strong>, Associate Professor of Comparative Literature and Religious Studies, University of California, Davis: Poetry Makes the World: The Festival of Recitation at Viṣṇu Temples in Tamil Nadu.\u003c/li>\n\u003c/ul>\n\u003cp>To learn more about the Guggenheim Fellowships, visit the \u003ca href=\"https://www.gf.org/\" target=\"_blank\" rel=\"noopener\">John Simon Guggenheim foundation’s website\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/uWFaT4hQQrE\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Correction:\u003c/b> The original version of this story did not list winner Rob Jackson. We apologize for the error.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The John Simon Guggenheim Memorial Foundation awarded fellowships to eleven Bay Area artists and scholars this week, which will fund a range of creative projects over the next year.\u003c/p>\n\u003cp>This year the foundation awarded 173 fellowships to a group of artists, scientists and academics, picked from over 3,000 applications. The amount of the fellowships vary project to project, but since its start in 1925, the program has paid out a total of $360 million. Past recipients include Nobel Prize and Pulitzer Prize winners.\u003c/p>\n\u003cp>Included in this year’s winners is David Maisel, who aerial photography was the subject of an episode of \u003ca href=\"https://ww2.kqed.org/spark/arts-social-issues/\" target=\"_blank\" rel=\"noopener\">KQED’s Spark\u003c/a>, as well as performance artist Dohee Lee, a vital connector of immigrant and refugee communities whom KQED Arts profiled in a \u003ca href=\"https://youtu.be/uWFaT4hQQrE\" target=\"_blank\" rel=\"noopener\">video\u003c/a> as well.\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/tXcdUs1_f0w'\n title='//www.youtube.com/embed/tXcdUs1_f0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Below is a list of local 2018 Guggenheim Fellows, including their medium, their occupation and what they received their fellowship for:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Lukas Felzmann\u003c/strong>, Photographer, San Francisco, California; Lecturer in Art, Department of Art and Art History, Stanford University: Photography.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Andrew Sean Greer\u003c/strong>, Writer, San Francisco, California; Executive Director, The Santa Maddalena Foundation: Fiction.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Eugene Birman\u003c/strong>, Composer, Oakland, California; Research Assistant Professor, Hong Kong Baptist University: Music Composition.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Dohee Lee\u003c/strong>, Playwright, Oakland, California: Drama and Performance Art.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Rob Jackson\u003c/strong>, Ecologist and Earth Scientist, Stanford University, Organismic Biology and Ecology\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Thomas S. Mullaney\u003c/strong>, Associate Professor of Chinese History, Stanford University: Hot Metal Empire: Type Design, Script, and Colonialism in Asia, Africa, and the Middle East.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>David Maisel\u003c/strong>, Photographer, Sausalito, California: Photography.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Mika Pelo\u003c/strong>, Composer, Berkeley, California; Associate Professor of Music, University of California, Davis: Music Composition.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Meghann Riepenhoff\u003c/strong>, Photographer, Bainbridge Island, Washington: Photography. (Now San Francisco)\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Annabeth Rosen\u003c/strong>, Artist, Davis, California; Professor and Arneson Endowed Chair, Department of Art & Art History, University of California, Davis: Fine Arts.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Archana Venkatesan\u003c/strong>, Associate Professor of Comparative Literature and Religious Studies, University of California, Davis: Poetry Makes the World: The Festival of Recitation at Viṣṇu Temples in Tamil Nadu.\u003c/li>\n\u003c/ul>\n\u003cp>To learn more about the Guggenheim Fellowships, visit the \u003ca href=\"https://www.gf.org/\" target=\"_blank\" rel=\"noopener\">John Simon Guggenheim foundation’s website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco has this thing called an affordable housing lottery. It allows low-income residents to rent or buy homes. The city selects winners at random from a pool of qualified applicants. Though the system is mostly online these days, some of the methods are still decidedly old school.\u003c/p>\n\u003cp>“They hand you a real lottery ticket, like the kind that you would take to get on a carousel or something,” says Jeremiah Barber. He and his partner Ingrid Rojas Contreras are both artists who have lost count of the number of times they’ve had to reapply for the lottery.\u003c/p>\n\u003cp>“Every time that we apply we have to clear it with the bank again and get a loan again and then submit the same documents to the apartment,” Contreras says. “It doesn’t make sense.”\u003c/p>\n\u003cp>Like many arts industry workers, the couple has no fixed income. So the process of reapplying each time is especially onerous.\u003c/p>\n\u003cp>“We have been making the amount that would clear us for a loan, but it just comes from different places one year, then the next year, it’s just a completely different array of places,” Contreras says. “The bank people say that doesn’t look good. They don’t want to give us a loan for that.”\u003c/p>\n\u003cfigure id=\"attachment_13828601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/tom-decaigny-800x600.jpg\" alt=\"San Francisco Director of Cultural Affairs Tom DeCaigny\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs, Tom DeCaigny \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many artists aren’t even in the financial position where they’re able to apply for a loan. Many can’t even make rent. Displacement of the creative class has become such a problem, the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> decided to take action – at least for the renters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Arts Commission is working on a provocative plan that would designate some affordable housing units specially for artists. “Units specifically earmarked for people who qualify as working artists or cultural workers,” says Tom DeCaigny, the city’s director of cultural affairs. “So it would increase their chances within the lottery.”\u003c/p>\n\u003cp>DeCaigny and his team at the Arts Commission are trying to make the case that artists should have the same access to affordable housing as other preferred classes, such as veterans and people with disabilities.\u003c/p>\n\u003cp>To get in, applicants would have to income qualify and prove they’re real, working artists. Because many artists have gigs on the side to pay the rent, like driving for a ride-sharing service or waiting tables, the designation has more to do with an applicant’s artistic resume than how much money he or she makes from an artistic practice.\u003c/p>\n\u003cp>“Do they have a track record of exhibiting or showcasing creative work as an artist?” DeCaigny says. “So for visual artists, that would mean exhibitions at a gallery or perhaps a stint in a residency or a teaching commitment.”\u003c/p>\n\u003cp>In 2016, teachers became the first professional class to earn a low cost housing preference in San Francisco. Now the city is developing its inaugural construction project of 100 to 130 rental units earmarked specifically for this group.\u003c/p>\n\u003cfigure id=\"attachment_13828600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-800x391.png\" alt=\"Part of the front page of the San Francisco Arts Commission’s online artists’ survey.\" width=\"800\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-800x391.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-768x375.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1020x498.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1920x938.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1180x576.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-960x469.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-240x117.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-375x183.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-520x254.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the front page of the San Francisco Arts Commission’s online artists’ survey. \u003ccite>(Photo: Courtesy San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a first step towards securing the same status for artists, DeCaigny says his team is spending the first half of this year undertaking a \u003ca href=\"http://www.sfartscommission.org/our-role-impact/press-room/press-release/take-our-survey\" target=\"_blank\" rel=\"noopener\">multilingual, demographic survey\u003c/a> of the local creative population to glean demographic information on race and ethnicity as well as income data for artists’ households.\u003c/p>\n\u003cp>The aim is to prove a preference to artists wouldn’t negatively impact protected classes. “What we want to do is show that the artist population is on par with the overall population of people who would qualify for affordable housing in San Francisco,” DeCaigny says.\u003c/p>\n\u003cp>So far, the Arts Commission has received more than 1750 responses to the survey, which is open through June. In addition to English, it is available in Chinese, Tagalog and Spanish.\u003c/p>\n\u003cp>The city is on track to create or rehabilitate \u003ca href=\"http://sfmohcd.org/affordable-housing-pipeline\" target=\"_blank\" rel=\"noopener\">more than four thousand affordable housing units by 2020\u003c/a>. Creating an artists’ housing preference is possible during this time. But Contreras fears the process might take too long.\u003c/p>\n\u003cp>“It’s just so slow moving, you know,” she says. “And we’ve already lost so many artists. How many artists are still going to be here hanging on?”\u003c/p>\n\u003cp>And even if the preference is approved, artists will still need to jump through multiple bureaucratic hoops to qualify.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has this thing called an affordable housing lottery. It allows low-income residents to rent or buy homes. The city selects winners at random from a pool of qualified applicants. Though the system is mostly online these days, some of the methods are still decidedly old school.\u003c/p>\n\u003cp>“They hand you a real lottery ticket, like the kind that you would take to get on a carousel or something,” says Jeremiah Barber. He and his partner Ingrid Rojas Contreras are both artists who have lost count of the number of times they’ve had to reapply for the lottery.\u003c/p>\n\u003cp>“Every time that we apply we have to clear it with the bank again and get a loan again and then submit the same documents to the apartment,” Contreras says. “It doesn’t make sense.”\u003c/p>\n\u003cp>Like many arts industry workers, the couple has no fixed income. So the process of reapplying each time is especially onerous.\u003c/p>\n\u003cp>“We have been making the amount that would clear us for a loan, but it just comes from different places one year, then the next year, it’s just a completely different array of places,” Contreras says. “The bank people say that doesn’t look good. They don’t want to give us a loan for that.”\u003c/p>\n\u003cfigure id=\"attachment_13828601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/tom-decaigny-800x600.jpg\" alt=\"San Francisco Director of Cultural Affairs Tom DeCaigny\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/tom-decaigny.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs, Tom DeCaigny \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many artists aren’t even in the financial position where they’re able to apply for a loan. Many can’t even make rent. Displacement of the creative class has become such a problem, the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> decided to take action – at least for the renters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Arts Commission is working on a provocative plan that would designate some affordable housing units specially for artists. “Units specifically earmarked for people who qualify as working artists or cultural workers,” says Tom DeCaigny, the city’s director of cultural affairs. “So it would increase their chances within the lottery.”\u003c/p>\n\u003cp>DeCaigny and his team at the Arts Commission are trying to make the case that artists should have the same access to affordable housing as other preferred classes, such as veterans and people with disabilities.\u003c/p>\n\u003cp>To get in, applicants would have to income qualify and prove they’re real, working artists. Because many artists have gigs on the side to pay the rent, like driving for a ride-sharing service or waiting tables, the designation has more to do with an applicant’s artistic resume than how much money he or she makes from an artistic practice.\u003c/p>\n\u003cp>“Do they have a track record of exhibiting or showcasing creative work as an artist?” DeCaigny says. “So for visual artists, that would mean exhibitions at a gallery or perhaps a stint in a residency or a teaching commitment.”\u003c/p>\n\u003cp>In 2016, teachers became the first professional class to earn a low cost housing preference in San Francisco. Now the city is developing its inaugural construction project of 100 to 130 rental units earmarked specifically for this group.\u003c/p>\n\u003cfigure id=\"attachment_13828600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-800x391.png\" alt=\"Part of the front page of the San Francisco Arts Commission’s online artists’ survey.\" width=\"800\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-800x391.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-768x375.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1020x498.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1920x938.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-1180x576.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-960x469.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-240x117.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-375x183.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49-520x254.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Screen-Shot-2018-04-03-at-15.54.49.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the front page of the San Francisco Arts Commission’s online artists’ survey. \u003ccite>(Photo: Courtesy San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a first step towards securing the same status for artists, DeCaigny says his team is spending the first half of this year undertaking a \u003ca href=\"http://www.sfartscommission.org/our-role-impact/press-room/press-release/take-our-survey\" target=\"_blank\" rel=\"noopener\">multilingual, demographic survey\u003c/a> of the local creative population to glean demographic information on race and ethnicity as well as income data for artists’ households.\u003c/p>\n\u003cp>The aim is to prove a preference to artists wouldn’t negatively impact protected classes. “What we want to do is show that the artist population is on par with the overall population of people who would qualify for affordable housing in San Francisco,” DeCaigny says.\u003c/p>\n\u003cp>So far, the Arts Commission has received more than 1750 responses to the survey, which is open through June. In addition to English, it is available in Chinese, Tagalog and Spanish.\u003c/p>\n\u003cp>The city is on track to create or rehabilitate \u003ca href=\"http://sfmohcd.org/affordable-housing-pipeline\" target=\"_blank\" rel=\"noopener\">more than four thousand affordable housing units by 2020\u003c/a>. Creating an artists’ housing preference is possible during this time. But Contreras fears the process might take too long.\u003c/p>\n\u003cp>“It’s just so slow moving, you know,” she says. “And we’ve already lost so many artists. How many artists are still going to be here hanging on?”\u003c/p>\n\u003cp>And even if the preference is approved, artists will still need to jump through multiple bureaucratic hoops to qualify.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "spotify-goes-public-valued-at-nearly-30-billion-but-its-future-isnt-guaranteed",
"title": "Spotify Goes Public Valued At Nearly $30 Billion – But Its Future Isn't Guaranteed",
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"headTitle": "Spotify Goes Public Valued At Nearly $30 Billion – But Its Future Isn’t Guaranteed | KQED",
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"content": "\u003cp>The world’s most popular music streaming service, Spotify, went public Tuesday. Shares were expected to start trading around $130 each, but ranges for the opening price went as high as $169, and at the time of this writing its stocks were trading at $155, making the company worth about $27.4 billion. (You could safely expect these figures to fluctuate widely over the coming hours, days, weeks and months.)\u003c/p>\n\u003cp>Spotify brings in almost $5 billion a year, but it pays out 79 percent of that to record labels, producers, songwriters and artists. David Pakman, a venture capitalist who has run several digital music companies including eMusic and Apple’s Music Group, says there’s just not enough left over to make a profit.\u003c/p>\n\u003cp>“It’s a business that’s never made money — and I think it’s unlikely to ever make money, which is a shame because it’s an incredible service,” Pakman tells NPR. He says the problem is that much of recorded music is controlled by just a handful of companies. “They are at the mercy of the record labels, who are really in control of Spotify’s long-term economic success.”\u003c/p>\n\u003cp>Last summer, Spotify renegotiated with the record labels in an effort to reduce what it pays in royalties. The labels agreed, provided they could keep certain albums behind paywalls and as long as Spotify met certain benchmarks.\u003c/p>\n\u003cp>The main point of contention with the recording industry, though, is how few Spotify users actually pay for the service. Nearly two-thirds of listeners use the free version, which is supported by ad revenue, but advertising only contributes 10 percent of Spotify’s revenue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richard Burgess, head of the American Association of Independent Music, says “when you look at the revenue from the ad-supported section of the service, it pales into insignificance compared to the subscription payments.”\u003c/p>\n\u003cp>In a public dispute, singer Taylor Swift pulled her music from Spotify because “music should not be free,” \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">she wrote\u003c/a>. Spotify CEO Daniel Ek \u003ca href=\"https://www.cbsnews.com/news/spotify-ceo-daniel-ek-taylor-swift-ending-feud/\">told CBS\u003c/a> that he went on a campaign to convince her to rejoin Spotify, which she eventually did.\u003c/p>\n\u003cp>This is the chicken-and-the-egg problem. Spotify can’t grow unless it offers a free version, but that doesn’t generate enough cash for the labels or Spotify. The record labels, on the other hand, don’t like to give away music, but very much need a music streaming service like Spotify to succeed.\u003c/p>\n\u003cp>Skeptics, like Pakman, call this “an unhealthy co-dependency.” But Burgess and others in the industry are optimistic Spotify can be profitable eventually.\u003c/p>\n\u003cp>“We need to find that sweet spot, between a price that still works for the labels but that doesn’t crush the streaming services and does encourage them to grow,” Burgess says.\u003c/p>\n\u003cp>For competing services like Apple Music or Amazon Music (36 million paid subscribers) or Amazon Music (\u003ca href=\"https://www.billboard.com/articles/business/8280570/amazon-music-subscriptions-doubled-past-six-months\">“tens of millions”\u003c/a> paid subscribers), not making profit on music is okay, because they have plenty of other profitable products. Spotify doesn’t. The company has tried to branch out into video and podcasts, but the real profit might lie somewhere else — like replacing the record labels.\u003c/p>\n\u003cp>“Record labels used to decide what we listened to. They would decide what songs ended up on the radio and the TV and got released when,” Mark Mulligan, an industry analysts for the investment research firm MIDiA, says. “All of that is changing. Spotify is dismembering the albums, if you like. Taking the best bits, cherry-picking the killer tracks, putting them onto playlists, deciding what goes where, using data to help inform those decisions. And that use of soft power is really terrifying for the record labels.”\u003c/p>\n\u003cp>Spotify has invested heavily in artificial intelligence. The company says almost a third of all listening is chosen not by users but by Spotify and its algorithms. It’s a significant change that undermines the role record labels have traditionally played. However, Mulligan says the new business model opens the doors for new investments into the industry. Those doors have been shut for the last twenty years since people first started pirating music on the internet.\u003c/p>\n\u003cp>“Now is the time when we find out whether the rest of the marketplace feels as confident of the music business as the music business does itself,” Mulligan says.\u003c/p>\n\u003cp>It will likely take at least a few months for Spotify’s stock price to stabilize. Once it does, the major record companies will have to decide how to position themselves — and what to do with the roughly 16 percent stake they took in Spotify in exchange for more favorable licensing terms. The companies have said they will share the windfall with the artists, but there’s nothing in the standard contracts that says how much, if at all. \u003ca href=\"https://www.billboard.com/articles/business/8282584/spotify-shares-nyse-record-labels-sell-stock?curator=MusicREDEF\">\u003cem>Billboard\u003c/em>\u003c/a> reports that the industry is wrestling with those questions now.\u003c/p>\n\u003cp>Songwriters and publishers are also wondering, what about them? They have sued Spotify over miscalculations in their royalty payments. Spotify has settled one suit, but more are pending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of this over a company that hasn’t yet made a profit. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spotify+Goes+Public+Valued+At+Nearly+%2430+Billion+%E2%80%93+But+Its+Future+Isn%27t+Guaranteed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The world’s most popular music streaming service, Spotify, went public Tuesday. Shares were expected to start trading around $130 each, but ranges for the opening price went as high as $169, and at the time of this writing its stocks were trading at $155, making the company worth about $27.4 billion. (You could safely expect these figures to fluctuate widely over the coming hours, days, weeks and months.)\u003c/p>\n\u003cp>Spotify brings in almost $5 billion a year, but it pays out 79 percent of that to record labels, producers, songwriters and artists. David Pakman, a venture capitalist who has run several digital music companies including eMusic and Apple’s Music Group, says there’s just not enough left over to make a profit.\u003c/p>\n\u003cp>“It’s a business that’s never made money — and I think it’s unlikely to ever make money, which is a shame because it’s an incredible service,” Pakman tells NPR. He says the problem is that much of recorded music is controlled by just a handful of companies. “They are at the mercy of the record labels, who are really in control of Spotify’s long-term economic success.”\u003c/p>\n\u003cp>Last summer, Spotify renegotiated with the record labels in an effort to reduce what it pays in royalties. The labels agreed, provided they could keep certain albums behind paywalls and as long as Spotify met certain benchmarks.\u003c/p>\n\u003cp>The main point of contention with the recording industry, though, is how few Spotify users actually pay for the service. Nearly two-thirds of listeners use the free version, which is supported by ad revenue, but advertising only contributes 10 percent of Spotify’s revenue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Richard Burgess, head of the American Association of Independent Music, says “when you look at the revenue from the ad-supported section of the service, it pales into insignificance compared to the subscription payments.”\u003c/p>\n\u003cp>In a public dispute, singer Taylor Swift pulled her music from Spotify because “music should not be free,” \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">she wrote\u003c/a>. Spotify CEO Daniel Ek \u003ca href=\"https://www.cbsnews.com/news/spotify-ceo-daniel-ek-taylor-swift-ending-feud/\">told CBS\u003c/a> that he went on a campaign to convince her to rejoin Spotify, which she eventually did.\u003c/p>\n\u003cp>This is the chicken-and-the-egg problem. Spotify can’t grow unless it offers a free version, but that doesn’t generate enough cash for the labels or Spotify. The record labels, on the other hand, don’t like to give away music, but very much need a music streaming service like Spotify to succeed.\u003c/p>\n\u003cp>Skeptics, like Pakman, call this “an unhealthy co-dependency.” But Burgess and others in the industry are optimistic Spotify can be profitable eventually.\u003c/p>\n\u003cp>“We need to find that sweet spot, between a price that still works for the labels but that doesn’t crush the streaming services and does encourage them to grow,” Burgess says.\u003c/p>\n\u003cp>For competing services like Apple Music or Amazon Music (36 million paid subscribers) or Amazon Music (\u003ca href=\"https://www.billboard.com/articles/business/8280570/amazon-music-subscriptions-doubled-past-six-months\">“tens of millions”\u003c/a> paid subscribers), not making profit on music is okay, because they have plenty of other profitable products. Spotify doesn’t. The company has tried to branch out into video and podcasts, but the real profit might lie somewhere else — like replacing the record labels.\u003c/p>\n\u003cp>“Record labels used to decide what we listened to. They would decide what songs ended up on the radio and the TV and got released when,” Mark Mulligan, an industry analysts for the investment research firm MIDiA, says. “All of that is changing. Spotify is dismembering the albums, if you like. Taking the best bits, cherry-picking the killer tracks, putting them onto playlists, deciding what goes where, using data to help inform those decisions. And that use of soft power is really terrifying for the record labels.”\u003c/p>\n\u003cp>Spotify has invested heavily in artificial intelligence. The company says almost a third of all listening is chosen not by users but by Spotify and its algorithms. It’s a significant change that undermines the role record labels have traditionally played. However, Mulligan says the new business model opens the doors for new investments into the industry. Those doors have been shut for the last twenty years since people first started pirating music on the internet.\u003c/p>\n\u003cp>“Now is the time when we find out whether the rest of the marketplace feels as confident of the music business as the music business does itself,” Mulligan says.\u003c/p>\n\u003cp>It will likely take at least a few months for Spotify’s stock price to stabilize. Once it does, the major record companies will have to decide how to position themselves — and what to do with the roughly 16 percent stake they took in Spotify in exchange for more favorable licensing terms. The companies have said they will share the windfall with the artists, but there’s nothing in the standard contracts that says how much, if at all. \u003ca href=\"https://www.billboard.com/articles/business/8282584/spotify-shares-nyse-record-labels-sell-stock?curator=MusicREDEF\">\u003cem>Billboard\u003c/em>\u003c/a> reports that the industry is wrestling with those questions now.\u003c/p>\n\u003cp>Songwriters and publishers are also wondering, what about them? They have sued Spotify over miscalculations in their royalty payments. Spotify has settled one suit, but more are pending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of this over a company that hasn’t yet made a profit. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spotify+Goes+Public+Valued+At+Nearly+%2430+Billion+%E2%80%93+But+Its+Future+Isn%27t+Guaranteed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, Kink.com is \u003ca href=\"https://www.kqed.org/arts/12677964/kink-com-to-stop-filming-in-san-francisco-next-month\" target=\"_blank\" rel=\"noopener\">moving out of the San Francisco Armory\u003c/a>. And because it can’t take everything, the company is holding a \u003ca href=\"https://theyesco.com/current-sale/\" target=\"_blank\" rel=\"noopener\">four-day auction\u003c/a>, April 6-9, with the kind of items one might expect from a fetish pornography site.\u003c/p>\n\u003cp>[contextly_sidebar id=”DZv0bcO8lPpt69rXoGV56im5aI7N4OJh”]\u003c/p>\n\u003cp>Though Kink.com’s move is still in progress as of Monday, the local auctioneer \u003ca href=\"https://theyesco.com/\" target=\"_blank\" rel=\"noopener\">The Yes Co.\u003c/a> posted some of its auction items on its website. There are a lot of everyday wares like lamps and Victorian-era furniture, but the sale also features stranger items like animal cages, a human-sized hamster wheel and even a rack — the \u003ca href=\"https://en.wikipedia.org/wiki/Rack_(torture)\" target=\"_blank\" rel=\"noopener\">ancient torture device\u003c/a>.\u003c/p>\n\u003cp>“For those times when your husband or wife has been misbehaving… or behaving, as it were,” Yes Co. owner Kevin Black said.\u003c/p>\n\u003cfigure id=\"attachment_13828505\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/armory_014.jpg\" alt=\"Kink.com's rack, up for auction\" width=\"700\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/armory_014.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/armory_014-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/armory_014-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/armory_014-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/armory_014-520x390.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Kink.com’s rack, up for auction \u003ccite>(Courtesy of the Yes Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kink.com moved into the Armory in 2006 after owner Peter Acworth bought the century-old building for $14.5 million. The building served as the website’s film studio for 11 years, until \u003ca href=\"https://www.kqed.org/arts/12677964/kink-com-to-stop-filming-in-san-francisco-next-month\" target=\"_blank\" rel=\"noopener\">the site saw profits dip\u003c/a> due to competition from free websites and a lengthy fight against \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/09/501405749/condom-mandate-for-porn-industry-falls-short-in-california\" target=\"_blank\" rel=\"noopener\">Proposition 60\u003c/a>, which would have mandated condom use on set had it passed in 2016. In February, Acworth \u003ca href=\"https://www.kqed.org/arts/13823865/report-the-armory-sold-for-65m-future-as-music-venue-uncertain\" target=\"_blank\" rel=\"noopener\">sold the Armory\u003c/a> to a Chicago-based developer for $65 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since Kink.com stopped filming there, the Armory has served as office space and a music venue, hosting concerts with performers like Erykah Badu and Tyler, the Creator. Longtime concert promotion company Goldenvoice is rumored to be taking over for veteran talent booker \u003ca href=\"https://www.kqed.org/arts/10917152/veteran-club-promoter-running-new-venue-in-kink-coms-armory\" target=\"_blank\" rel=\"noopener\">Audrey Joseph\u003c/a>, so don’t expect much musical equipment to be for sale.\u003c/p>\n\u003cp>Black says that a lot of what will be on sale is available for viewing at the Armory, but he expects even more items will be there after Wednesday, when Kink.com is expected to finish moving out of the building. To see what’s available, visit \u003ca href=\"https://theyesco.com/current-sale/\" target=\"_blank\" rel=\"noopener\">the Yes Co website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, Kink.com is \u003ca href=\"https://www.kqed.org/arts/12677964/kink-com-to-stop-filming-in-san-francisco-next-month\" target=\"_blank\" rel=\"noopener\">moving out of the San Francisco Armory\u003c/a>. And because it can’t take everything, the company is holding a \u003ca href=\"https://theyesco.com/current-sale/\" target=\"_blank\" rel=\"noopener\">four-day auction\u003c/a>, April 6-9, with the kind of items one might expect from a fetish pornography site.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though Kink.com’s move is still in progress as of Monday, the local auctioneer \u003ca href=\"https://theyesco.com/\" target=\"_blank\" rel=\"noopener\">The Yes Co.\u003c/a> posted some of its auction items on its website. There are a lot of everyday wares like lamps and Victorian-era furniture, but the sale also features stranger items like animal cages, a human-sized hamster wheel and even a rack — the \u003ca href=\"https://en.wikipedia.org/wiki/Rack_(torture)\" target=\"_blank\" rel=\"noopener\">ancient torture device\u003c/a>.\u003c/p>\n\u003cp>“For those times when your husband or wife has been misbehaving… or behaving, as it were,” Yes Co. owner Kevin Black said.\u003c/p>\n\u003cfigure id=\"attachment_13828505\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/armory_014.jpg\" alt=\"Kink.com's rack, up for auction\" width=\"700\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/armory_014.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/armory_014-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/armory_014-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/armory_014-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/armory_014-520x390.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Kink.com’s rack, up for auction \u003ccite>(Courtesy of the Yes Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kink.com moved into the Armory in 2006 after owner Peter Acworth bought the century-old building for $14.5 million. The building served as the website’s film studio for 11 years, until \u003ca href=\"https://www.kqed.org/arts/12677964/kink-com-to-stop-filming-in-san-francisco-next-month\" target=\"_blank\" rel=\"noopener\">the site saw profits dip\u003c/a> due to competition from free websites and a lengthy fight against \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/09/501405749/condom-mandate-for-porn-industry-falls-short-in-california\" target=\"_blank\" rel=\"noopener\">Proposition 60\u003c/a>, which would have mandated condom use on set had it passed in 2016. In February, Acworth \u003ca href=\"https://www.kqed.org/arts/13823865/report-the-armory-sold-for-65m-future-as-music-venue-uncertain\" target=\"_blank\" rel=\"noopener\">sold the Armory\u003c/a> to a Chicago-based developer for $65 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since Kink.com stopped filming there, the Armory has served as office space and a music venue, hosting concerts with performers like Erykah Badu and Tyler, the Creator. Longtime concert promotion company Goldenvoice is rumored to be taking over for veteran talent booker \u003ca href=\"https://www.kqed.org/arts/10917152/veteran-club-promoter-running-new-venue-in-kink-coms-armory\" target=\"_blank\" rel=\"noopener\">Audrey Joseph\u003c/a>, so don’t expect much musical equipment to be for sale.\u003c/p>\n\u003cp>Black says that a lot of what will be on sale is available for viewing at the Armory, but he expects even more items will be there after Wednesday, when Kink.com is expected to finish moving out of the building. To see what’s available, visit \u003ca href=\"https://theyesco.com/current-sale/\" target=\"_blank\" rel=\"noopener\">the Yes Co website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">Outside Lands hinted\u003c/a> that the festival was ending its ten-year streak of no female headliners by posting a photo of Janet Jackson on social media. And today, it’s confirmed that Jackson is indeed topping this year’s bill, along with indie rockers Florence and the Machine and R&B hitmaker the Weeknd. (A welcome departure from last year’s more nostalgic, male-dominated bill, which featured The Who, Metallica, and Gorillaz in the top spots.)\u003c/p>\n\u003cp>Bay Area festivals like Outside Lands, Treasure Island, and Noise Pop have traditionally been the domains of the indie rock scene, but all three fests have been featuring hip-hop and R&B more prominently in their booking the past few years.\u003c/p>\n\u003cp>This year’s edition of Outside Lands, taking place Aug. 10-12 at Golden Gate Park, is perhaps the most hip-hop-forward yet, with sets from chart-toppers Future and N.E.R.D.; local favorites \u003ca href=\"https://www.kqed.org/arts/13828024/what-happens-to-sob-x-rbe-now-that-yhung-t-o-has-an-interscope-deal\" target=\"_blank\" rel=\"noopener\">SOB x RBE\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13824564/rapper-caleborate-is-still-a-real-person-despite-his-success\" target=\"_blank\" rel=\"noopener\">Caleborate\u003c/a>; and rising stars GoldLink and \u003ca href=\"https://www.kqed.org/arts/13813433/a-force-for-female-empowerment\" target=\"_blank\" rel=\"noopener\">Lizzo\u003c/a>. Other sets to look forward to include electronic auteur James Blake; a solo performance by Jamie XX; indie favorites Mac Demarco and Chicano Batman; and cult pop icon Carly Rae Jepsen.\u003c/p>\n\u003cp>Check out the full lineup \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and in the flyer below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13828530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-1180x1180.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-960x960.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-520x520.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-150x150.jpeg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview.jpeg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">Outside Lands hinted\u003c/a> that the festival was ending its ten-year streak of no female headliners by posting a photo of Janet Jackson on social media. And today, it’s confirmed that Jackson is indeed topping this year’s bill, along with indie rockers Florence and the Machine and R&B hitmaker the Weeknd. (A welcome departure from last year’s more nostalgic, male-dominated bill, which featured The Who, Metallica, and Gorillaz in the top spots.)\u003c/p>\n\u003cp>Bay Area festivals like Outside Lands, Treasure Island, and Noise Pop have traditionally been the domains of the indie rock scene, but all three fests have been featuring hip-hop and R&B more prominently in their booking the past few years.\u003c/p>\n\u003cp>This year’s edition of Outside Lands, taking place Aug. 10-12 at Golden Gate Park, is perhaps the most hip-hop-forward yet, with sets from chart-toppers Future and N.E.R.D.; local favorites \u003ca href=\"https://www.kqed.org/arts/13828024/what-happens-to-sob-x-rbe-now-that-yhung-t-o-has-an-interscope-deal\" target=\"_blank\" rel=\"noopener\">SOB x RBE\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13824564/rapper-caleborate-is-still-a-real-person-despite-his-success\" target=\"_blank\" rel=\"noopener\">Caleborate\u003c/a>; and rising stars GoldLink and \u003ca href=\"https://www.kqed.org/arts/13813433/a-force-for-female-empowerment\" target=\"_blank\" rel=\"noopener\">Lizzo\u003c/a>. Other sets to look forward to include electronic auteur James Blake; a solo performance by Jamie XX; indie favorites Mac Demarco and Chicano Batman; and cult pop icon Carly Rae Jepsen.\u003c/p>\n\u003cp>Check out the full lineup \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and in the flyer below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13828530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-1180x1180.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-960x960.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-520x520.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-150x150.jpeg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview.jpeg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Kim Jong Un was \"Deeply Moved\" After K-Pop Performance",
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"content": "\u003cp>Just two years after K-pop was \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/13/462853390/responding-to-nuclear-test-s-korea-cranks-up-the-k-pop\" target=\"_blank\" rel=\"noopener\">deployed\u003c/a> as a soft weapon against his country, North Korean leader Kim Jong Un said he was “deeply moved” following a two-hour performance by South Korean artists, the North Korean state news agency \u003ca href=\"https://kcnawatch.co/newstream/1522666885-955577091/kim-jong-un-enjoys-performance-of-south-side-art-troupe/\" target=\"_blank\" rel=\"noopener\">KCNA reported Monday\u003c/a>.\u003c/p>\n\u003cp>South Korea’s 160-person delegation — which included the K-pop group Red Velvet and Cho Yong Pil, the last South Korean to have performed in the North, \u003ca href=\"https://www.npr.org/sections/parallels/2018/03/30/597872371/k-pop-stars-red-velvet-set-to-perform-in-pyongyang-this-weekend\">back in 2005\u003c/a> — were in the North Korean capital Pyongyang on Sunday to further stoke a warming of relations between the two countries, which have a summit planned for April 27.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WyiIGEHQP8o\u003c/p>\n\u003cp>Kim is the first North Korean leader to publicly attend a performance by South Korean artists in Pyongyang — Cho Yong Pil’s 2005 concert was broadcast on television in North Korea, but Kim Jong Un’s father Kim Jong Il reportedly \u003ca href=\"http://english.chosun.com/site/data/html_dir/2005/08/03/2005080361031.html\" target=\"_blank\" rel=\"noopener\">did not attend\u003c/a> — and was “particularly interested” in Red Velvet, a K-pop girl group, the publicly funded South Korean broadcaster \u003ca href=\"https://www.youtube.com/watch?v=CLoLxM0hd64\" target=\"_blank\" rel=\"noopener\">KBS reported\u003c/a>.\u003c/p>\n\u003cp>The performance was the latest public display in a diplomatic thaw between the two Koreas. In February, North Korea sent its own artistic olive branch to its southern neighbor, dispatching singers, dancers and an orchestra \u003ca href=\"https://www.nytimes.com/2018/02/08/world/asia/north-korea-orchestra-olympics.html\" target=\"_blank\" rel=\"noopener\">for a performance\u003c/a> celebrating the Winter Olympics in Pyeongchang.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>South Korea’s delegation arrived less than a week after Kim Jong Un was said to have left North Korea for the first time since assuming power in 2011, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/28/597507942/on-trip-to-china-north-koreas-leader-says-denuclearization-is-reachable\" target=\"_blank\" rel=\"noopener\">traveling to Beijing\u003c/a> for talks with President Xi Jinping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then there is the matter of the White House accepting an “invitation to talk, based on [North Korea] following through with concrete actions on the promises that they’ve made,” as White House Press Secretary Sarah Huckabee Sanders told reporters at \u003ca href=\"https://www.whitehouse.gov/briefings-statements/press-briefing-press-secretary-sarah-sanders-030918/\" target=\"_blank\" rel=\"noopener\">a briefing on March 9\u003c/a>. “This meeting [between President Trump and Kim Jong Un] won’t take place without concrete actions that match the promises that have been made by North Korea,” Sanders cautioned, citing the North’s promises around denuclearization. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kim+Jong+Un+Was+%27Deeply+Moved%27+After+K-Pop+Performance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just two years after K-pop was \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/13/462853390/responding-to-nuclear-test-s-korea-cranks-up-the-k-pop\" target=\"_blank\" rel=\"noopener\">deployed\u003c/a> as a soft weapon against his country, North Korean leader Kim Jong Un said he was “deeply moved” following a two-hour performance by South Korean artists, the North Korean state news agency \u003ca href=\"https://kcnawatch.co/newstream/1522666885-955577091/kim-jong-un-enjoys-performance-of-south-side-art-troupe/\" target=\"_blank\" rel=\"noopener\">KCNA reported Monday\u003c/a>.\u003c/p>\n\u003cp>South Korea’s 160-person delegation — which included the K-pop group Red Velvet and Cho Yong Pil, the last South Korean to have performed in the North, \u003ca href=\"https://www.npr.org/sections/parallels/2018/03/30/597872371/k-pop-stars-red-velvet-set-to-perform-in-pyongyang-this-weekend\">back in 2005\u003c/a> — were in the North Korean capital Pyongyang on Sunday to further stoke a warming of relations between the two countries, which have a summit planned for April 27.\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/WyiIGEHQP8o'\n title='//www.youtube.com/embed/WyiIGEHQP8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kim is the first North Korean leader to publicly attend a performance by South Korean artists in Pyongyang — Cho Yong Pil’s 2005 concert was broadcast on television in North Korea, but Kim Jong Un’s father Kim Jong Il reportedly \u003ca href=\"http://english.chosun.com/site/data/html_dir/2005/08/03/2005080361031.html\" target=\"_blank\" rel=\"noopener\">did not attend\u003c/a> — and was “particularly interested” in Red Velvet, a K-pop girl group, the publicly funded South Korean broadcaster \u003ca href=\"https://www.youtube.com/watch?v=CLoLxM0hd64\" target=\"_blank\" rel=\"noopener\">KBS reported\u003c/a>.\u003c/p>\n\u003cp>The performance was the latest public display in a diplomatic thaw between the two Koreas. In February, North Korea sent its own artistic olive branch to its southern neighbor, dispatching singers, dancers and an orchestra \u003ca href=\"https://www.nytimes.com/2018/02/08/world/asia/north-korea-orchestra-olympics.html\" target=\"_blank\" rel=\"noopener\">for a performance\u003c/a> celebrating the Winter Olympics in Pyeongchang.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>South Korea’s delegation arrived less than a week after Kim Jong Un was said to have left North Korea for the first time since assuming power in 2011, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/28/597507942/on-trip-to-china-north-koreas-leader-says-denuclearization-is-reachable\" target=\"_blank\" rel=\"noopener\">traveling to Beijing\u003c/a> for talks with President Xi Jinping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then there is the matter of the White House accepting an “invitation to talk, based on [North Korea] following through with concrete actions on the promises that they’ve made,” as White House Press Secretary Sarah Huckabee Sanders told reporters at \u003ca href=\"https://www.whitehouse.gov/briefings-statements/press-briefing-press-secretary-sarah-sanders-030918/\" target=\"_blank\" rel=\"noopener\">a briefing on March 9\u003c/a>. “This meeting [between President Trump and Kim Jong Un] won’t take place without concrete actions that match the promises that have been made by North Korea,” Sanders cautioned, citing the North’s promises around denuclearization. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kim+Jong+Un+Was+%27Deeply+Moved%27+After+K-Pop+Performance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Janet Jackson to Play Outside Lands, Ending 10-Year Run of No Female Headliners",
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"content": "\u003cp>Year after year, fans and \u003ca href=\"https://www.sfgate.com/entertainment/article/Why-aren-t-there-any-female-music-festival-7512529.php\" target=\"_blank\" rel=\"noopener\">critics alike have asked\u003c/a> the organizers of \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>: Where are the female headliners?\u003c/p>\n\u003cp>That question seemed to be answered today, with the festival’s \u003ca href=\"https://twitter.com/sfoutsidelands/status/979712370216927233\" rel=\"noopener\" target=\"_blank\">announcement on social media\u003c/a> that Janet Jackson will take the stage at this year’s Outside Lands, presumably in a headlining slot.\u003c/p>\n\u003cp>But booking Janet Jackson in 2018 is a case study in too little, too late: in the past 10 years, there have been no single female headliners at Outside Lands, an issue \u003ca href=\"http://noisepop.com/where-are-the-female-festival-headliners/\" rel=\"noopener\" target=\"_blank\">repeatedly raised in recent years by local music journalists\u003c/a>. (The full lineup announcement for this year’s fest, taking place Aug. 10-12 in Golden Gate Park, is coming April 3 at 10am.) \u003c/p>\n\u003cp>https://twitter.com/sfoutsidelands/status/979712370216927233\u003c/p>\n\u003cp>Allen Scott of Another Planet Entertainment, co-producers of Outside Lands, explained the lack of women headliners in a \u003ca href=\"https://consequenceofsound.net/2017/08/the-pride-of-san-francisco-outside-lands-turns-10/4/\" target=\"_blank\" rel=\"noopener\">2017 interview\u003c/a> with Consequence of Sound, promising that his staff had diligently pursued female headliners, but that the “stars just haven’t aligned yet.” But with Outside Lands’ ability to secure performances from in-demand male-fronted acts over the years — expensive acts like Radiohead, Kanye West, and Paul McCartney — it seems surprising that \u003cem>not a single woman\u003c/em> was available to take a top spot on the lineup over the past decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, with the ongoing #MeToo movement and a \u003ca href=\"http://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\" target=\"_blank\" rel=\"noopener\">jarring lack of female winners\u003c/a> at this year’s Grammy’s, pressure for more inclusive festival lineups has reached a fever pitch. Earlier this year, \u003ca href=\"http://keychange.eu/blog/45-international-music-festivals-conferences-pledge-tackle-gender-inequality/\" target=\"_blank\" rel=\"noopener\">45 international music festivals\u003c/a> pledged to have a 50/50 gender balance on their lineups by 2022. (Only two of the festivals that made the pledge are in the U.S.: A2IM Indie Week and NYC Winter Jazzfest.)\u003c/p>\n\u003cp>Janet Jackson might be the perfect person to usher in what will hopefully be a sea change at Outside Lands. After all, Jackson’s career \u003ca href=\"https://www.billboard.com/articles/news/super-bowl/8007041/janet-jackson-justin-timberlake-2004-super-bowl-what-happened\" target=\"_blank\" rel=\"noopener\">took a major hit\u003c/a> after the “wardrobe malfunction” during her performance with Justin Timberlake at the 2004 Super Bowl. Fans were outraged when Timberlake was invited to perform at the Super Bowl again this year, while Jackson \u003ca href=\"https://www.kqed.org/pop/20175\" rel=\"noopener\" target=\"_blank\">never recovered from the incident\u003c/a>.\u003c/p>\n\u003cp>No doubt her Outside Lands performance will help restore her cultural legacy — and hopefully catalyze a new, more inclusive chapter for the festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Year after year, fans and \u003ca href=\"https://www.sfgate.com/entertainment/article/Why-aren-t-there-any-female-music-festival-7512529.php\" target=\"_blank\" rel=\"noopener\">critics alike have asked\u003c/a> the organizers of \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>: Where are the female headliners?\u003c/p>\n\u003cp>That question seemed to be answered today, with the festival’s \u003ca href=\"https://twitter.com/sfoutsidelands/status/979712370216927233\" rel=\"noopener\" target=\"_blank\">announcement on social media\u003c/a> that Janet Jackson will take the stage at this year’s Outside Lands, presumably in a headlining slot.\u003c/p>\n\u003cp>But booking Janet Jackson in 2018 is a case study in too little, too late: in the past 10 years, there have been no single female headliners at Outside Lands, an issue \u003ca href=\"http://noisepop.com/where-are-the-female-festival-headliners/\" rel=\"noopener\" target=\"_blank\">repeatedly raised in recent years by local music journalists\u003c/a>. (The full lineup announcement for this year’s fest, taking place Aug. 10-12 in Golden Gate Park, is coming April 3 at 10am.) \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Allen Scott of Another Planet Entertainment, co-producers of Outside Lands, explained the lack of women headliners in a \u003ca href=\"https://consequenceofsound.net/2017/08/the-pride-of-san-francisco-outside-lands-turns-10/4/\" target=\"_blank\" rel=\"noopener\">2017 interview\u003c/a> with Consequence of Sound, promising that his staff had diligently pursued female headliners, but that the “stars just haven’t aligned yet.” But with Outside Lands’ ability to secure performances from in-demand male-fronted acts over the years — expensive acts like Radiohead, Kanye West, and Paul McCartney — it seems surprising that \u003cem>not a single woman\u003c/em> was available to take a top spot on the lineup over the past decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, with the ongoing #MeToo movement and a \u003ca href=\"http://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\" target=\"_blank\" rel=\"noopener\">jarring lack of female winners\u003c/a> at this year’s Grammy’s, pressure for more inclusive festival lineups has reached a fever pitch. Earlier this year, \u003ca href=\"http://keychange.eu/blog/45-international-music-festivals-conferences-pledge-tackle-gender-inequality/\" target=\"_blank\" rel=\"noopener\">45 international music festivals\u003c/a> pledged to have a 50/50 gender balance on their lineups by 2022. (Only two of the festivals that made the pledge are in the U.S.: A2IM Indie Week and NYC Winter Jazzfest.)\u003c/p>\n\u003cp>Janet Jackson might be the perfect person to usher in what will hopefully be a sea change at Outside Lands. After all, Jackson’s career \u003ca href=\"https://www.billboard.com/articles/news/super-bowl/8007041/janet-jackson-justin-timberlake-2004-super-bowl-what-happened\" target=\"_blank\" rel=\"noopener\">took a major hit\u003c/a> after the “wardrobe malfunction” during her performance with Justin Timberlake at the 2004 Super Bowl. Fans were outraged when Timberlake was invited to perform at the Super Bowl again this year, while Jackson \u003ca href=\"https://www.kqed.org/pop/20175\" rel=\"noopener\" target=\"_blank\">never recovered from the incident\u003c/a>.\u003c/p>\n\u003cp>No doubt her Outside Lands performance will help restore her cultural legacy — and hopefully catalyze a new, more inclusive chapter for the festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Serial' Subject Adnan Syed Deserves A New Trial, Appeals Court Rules",
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"content": "\u003cp>\u003cstrong>Updated at 8:16 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Maryland’s second-highest court has ruled that Adnan Syed, whose murder conviction served as a subject for the hit podcast \u003cem>Serial\u003c/em>, deserves a new trial. The \u003ca href=\"https://www.courts.state.md.us/data/opinions/cosa/2018/2519s13.pdf\" target=\"_blank\" rel=\"noopener\">decision issued Thursday\u003c/a> by the Court of Special Appeals upheld a lower-court ruling that Syed’s counsel in his original murder trial was deficient and ineffective.\u003c/p>\n\u003cp>[contextly_sidebar id=”5Df10Nh7Zg4hzHEyb2y2AYngt4yrDxkW”]\u003c/p>\n\u003cp>In its majority opinion Thursday, the three-judge panel affirmed that the defense team’s “deficient performance prejudiced Syed’s defense,” explaining that his counsel failed to contact a potential witness whose alibi could “have raised a reasonable doubt in the mind of at least one juror.”\u003c/p>\n\u003cp>The ruling upholds a previous decision to vacate Syed’s 2000 conviction for the murder of his former girlfriend Hae Min Lee and remands the case back to Maryland’s circuit court for retrial. But prosecutors still still have 30 days to appeal Thursday’s decision to Maryland’s highest court, the Court of Appeals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/CJBrownLaw/status/979402646078545920\u003c/p>\n\u003cp>For readers unfamiliar with \u003cem>Serial\u003c/em>, here is a summary \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/02/03/465406957/adnan-syed-of-serial-fame-appears-in-court-to-seek-new-trial\">we offered in 2016\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Each season of \u003cem>Serial \u003c/em>follows a single true story, told episode by episode.\u003c/p>\n\u003cp>“The first season investigated the case of Adnan Syed, who was convicted of murdering his former girlfriend more than 15 years ago. Host Sarah Koenig and her team uncovered inconsistencies in his case — including the fact that Asia McClain was an alibi witness. She said she’d seen Syed at the time Hae Min Lee’s murder occurred, but that testimony was never brought forth in court.\u003c/p>\n\u003cp>“The podcast became the most-downloaded of all time, fascinating more than a million listeners and inspiring \u003ca href=\"http://www.slate.com/topics/s/serial.html\" target=\"_blank\" rel=\"noopener\">passionate communities\u003c/a> of \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener\">amateur sleuths\u003c/a> and \u003ca href=\"https://itunes.apple.com/us/podcast/serially-obsessed/id942696749?mt=2\" target=\"_blank\" rel=\"noopener\">Adnan obsessives\u003c/a>.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After the ruling was released, Julie Snyder, an executive producer of \u003cem>Serial\u003c/em>, told NPR she felt that the podcast’s season showed that “the story that the state presented at trial could not have happened.”\u003c/p>\n\u003cp>“To me,” she added, “some sort of remedy seems appropriate.”\u003c/p>\n\u003cp>Since the original trial, Syed’s representatives have pointed to that failure to bring forth that alibi witness — as well as a failure to question the reliability of cellphone tower evidence used to place Syed at the scene of the crime — as proof Syed’s original attorney failed him.\u003c/p>\n\u003cp>Judge Martin Welch, who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/06/30/484225226/adnan-syed-subject-of-serial-podcast-will-get-a-new-trial\" target=\"_blank\" rel=\"noopener\">overturned the conviction in 2016\u003c/a> in Baltimore City Court, ultimately found that Syed’s first attorney “fell below the standard of reasonable professional judgment.”\u003c/p>\n\u003cp>Prosecutors appealed that decision, only to lose that appeal Thursday in a 2-1 ruling.\u003c/p>\n\u003cp>Prosecutors did not immediately announce whether they would appeal Thursday’s ruling. Maryland Attorney General Brian Frosh’s office said it is “currently reviewing today’s decision to determine next steps,” \u003ca href=\"http://www.baltimoresun.com/news/maryland/crime/bs-md-ci-adnan-syed-ruling-20171205-story.html\">according to The Baltimore Sun\u003c/a>.\u003c/p>\n\u003cp>In the meantime, Syed’s current attorney, C. Justin Brown, celebrated the decision at a news conference, expressing his eagerness to proceed to a new trial.\u003c/p>\n\u003cp>“Let’s take it to a jury in Baltimore City and let them decide whether or not Adnan Syed is guilty or innocent,” Brown told reporters. “You know, this process has taken so long already. It’s time to make some final resolution of it — and we hope that the state will see it the same way that we do.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.documentcloud.org/documents/4426220-2519s13.html#document/p1\" target=\"_blank\" rel=\"noopener\">Read the Court of Special Appeals ruling here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR intern Adrienne St. Clair contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Serial%27+Subject+Adnan+Syed+Deserves+A+New+Trial%2C+Appeals+Court+Rules&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:16 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Maryland’s second-highest court has ruled that Adnan Syed, whose murder conviction served as a subject for the hit podcast \u003cem>Serial\u003c/em>, deserves a new trial. The \u003ca href=\"https://www.courts.state.md.us/data/opinions/cosa/2018/2519s13.pdf\" target=\"_blank\" rel=\"noopener\">decision issued Thursday\u003c/a> by the Court of Special Appeals upheld a lower-court ruling that Syed’s counsel in his original murder trial was deficient and ineffective.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In its majority opinion Thursday, the three-judge panel affirmed that the defense team’s “deficient performance prejudiced Syed’s defense,” explaining that his counsel failed to contact a potential witness whose alibi could “have raised a reasonable doubt in the mind of at least one juror.”\u003c/p>\n\u003cp>The ruling upholds a previous decision to vacate Syed’s 2000 conviction for the murder of his former girlfriend Hae Min Lee and remands the case back to Maryland’s circuit court for retrial. But prosecutors still still have 30 days to appeal Thursday’s decision to Maryland’s highest court, the Court of Appeals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For readers unfamiliar with \u003cem>Serial\u003c/em>, here is a summary \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/02/03/465406957/adnan-syed-of-serial-fame-appears-in-court-to-seek-new-trial\">we offered in 2016\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Each season of \u003cem>Serial \u003c/em>follows a single true story, told episode by episode.\u003c/p>\n\u003cp>“The first season investigated the case of Adnan Syed, who was convicted of murdering his former girlfriend more than 15 years ago. Host Sarah Koenig and her team uncovered inconsistencies in his case — including the fact that Asia McClain was an alibi witness. She said she’d seen Syed at the time Hae Min Lee’s murder occurred, but that testimony was never brought forth in court.\u003c/p>\n\u003cp>“The podcast became the most-downloaded of all time, fascinating more than a million listeners and inspiring \u003ca href=\"http://www.slate.com/topics/s/serial.html\" target=\"_blank\" rel=\"noopener\">passionate communities\u003c/a> of \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener\">amateur sleuths\u003c/a> and \u003ca href=\"https://itunes.apple.com/us/podcast/serially-obsessed/id942696749?mt=2\" target=\"_blank\" rel=\"noopener\">Adnan obsessives\u003c/a>.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After the ruling was released, Julie Snyder, an executive producer of \u003cem>Serial\u003c/em>, told NPR she felt that the podcast’s season showed that “the story that the state presented at trial could not have happened.”\u003c/p>\n\u003cp>“To me,” she added, “some sort of remedy seems appropriate.”\u003c/p>\n\u003cp>Since the original trial, Syed’s representatives have pointed to that failure to bring forth that alibi witness — as well as a failure to question the reliability of cellphone tower evidence used to place Syed at the scene of the crime — as proof Syed’s original attorney failed him.\u003c/p>\n\u003cp>Judge Martin Welch, who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/06/30/484225226/adnan-syed-subject-of-serial-podcast-will-get-a-new-trial\" target=\"_blank\" rel=\"noopener\">overturned the conviction in 2016\u003c/a> in Baltimore City Court, ultimately found that Syed’s first attorney “fell below the standard of reasonable professional judgment.”\u003c/p>\n\u003cp>Prosecutors appealed that decision, only to lose that appeal Thursday in a 2-1 ruling.\u003c/p>\n\u003cp>Prosecutors did not immediately announce whether they would appeal Thursday’s ruling. Maryland Attorney General Brian Frosh’s office said it is “currently reviewing today’s decision to determine next steps,” \u003ca href=\"http://www.baltimoresun.com/news/maryland/crime/bs-md-ci-adnan-syed-ruling-20171205-story.html\">according to The Baltimore Sun\u003c/a>.\u003c/p>\n\u003cp>In the meantime, Syed’s current attorney, C. Justin Brown, celebrated the decision at a news conference, expressing his eagerness to proceed to a new trial.\u003c/p>\n\u003cp>“Let’s take it to a jury in Baltimore City and let them decide whether or not Adnan Syed is guilty or innocent,” Brown told reporters. “You know, this process has taken so long already. It’s time to make some final resolution of it — and we hope that the state will see it the same way that we do.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.documentcloud.org/documents/4426220-2519s13.html#document/p1\" target=\"_blank\" rel=\"noopener\">Read the Court of Special Appeals ruling here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR intern Adrienne St. Clair contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Serial%27+Subject+Adnan+Syed+Deserves+A+New+Trial%2C+Appeals+Court+Rules&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The judge in Bill Cosby’s retrial rejected demands Thursday from the comedian’s defense lawyers to step aside during a hearing in which they made clear they plan to attack his accuser as a greedy liar who falsely accused the comedian of sexually assaulting her to collect a payoff.\u003c/p>\n\u003cp>Judge Steven O’Neill shot down what amounted to a last-ditch effort to postpone the trial by defense lawyers who lost their bid to overturn his ruling allowing up to five additional accusers to testify against Cosby.\u003c/p>\n\u003cp>Lawyers argued he should remove himself because his wife is a social worker and advocate for assault victims, pointing to a $100 donation made in her name to an organization that gave money to a group planning a protest outside of the retrial.\u003c/p>\n\u003cp>O’Neill said that was made 13 months ago by the department where his wife works at the University of Pennsylvania and that he’s “not biased or prejudiced” by her work.\u003c/p>\n\u003cp>Jury selection is scheduled to begin Monday as the 80-year-old Cosby faces charges that he drugged and molested former Temple University athletics administrator Andrea Constand at his home in 2004.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While they sparred with him in court Thursday, Cosby’s lawyers are also counting on him to make critical rulings to bolster their defense that Constand is a money-grubbing liar.\u003c/p>\n\u003cp>They want O’Neill to let them call Marguerite Jackson, a woman who says Constand spoke of framing a celebrity before she went to police with allegations that Cosby drugged and molested her in 2004. They also want to let jurors know how much Cosby paid her in a 2006 civil settlement.\u003c/p>\n\u003cp>“Those are the bookends: I have a motive and I have a payoff,” lawyer Kathleen Bliss argued. “The jury should be allowed to view the full context of that.”\u003c/p>\n\u003cp>Assistant District Attorney Kristen Fedden said that they doubt the discussion with Jackson happened and Constand’s lawyer has said that Jackson is “not telling the truth.”\u003c/p>\n\u003cp>O’Neill blocked Jackson from testifying at the first trial because he said her testimony would be hearsay. Prosecutors want him to do the same for the retrial.\u003c/p>\n\u003cp>Prosecutors say the theory that Constand wanted to set up Cosby is undermined by the comedian’s testimony in a 2005 deposition that she only visited his home when invited and that he gave her pills without her asking for them.\u003c/p>\n\u003cp>Prosecutors also argued the settlement is irrelevant to the criminal case, but that if it is allowed in, jurors should also hear about negotiations that led to the settlement.\u003c/p>\n\u003cp>Assistant District Attorney Stewart Ryan contended that Cosby’s negotiators initially asked that he be released from any criminal liability and tried to bar Constand from cooperating with law enforcement. He said that amounts to obstruction of justice.\u003c/p>\n\u003cp>“Those things are inconsistent with a person who believes he’s innocent,” Ryan said.\u003c/p>\n\u003cp>Thursday’s hearing started with arguments over the judge’s wife, Deborah O’Neill, a psychotherapist at who coordinates a team that cares and advocates for student sexual assault victims.\u003c/p>\n\u003cp>O’Neill said that the donation cited by Cosby’s lawyers didn’t involve her money or their joint assets.\u003c/p>\n\u003cp>“How are my wife’s independent views of an independent woman connected to me?” O’Neill said. “She’s an independent woman and has the right to be involved in anything that she believes in.”\u003c/p>\n\u003cp>O’Neill said Thursday that Cosby’s old lawyers raised the prospect of having him step aside in December 2016, but never followed through. He added that he could’ve rejected the recusal request simply because Cosby’s lawyers waited too long to ask.\u003c/p>\n\u003cp>He said they were aware of Deborah O’Neill’s work as far back as December 2016, but that they waited until getting several adverse rulings just before retrial to raise it as an issue.\u003c/p>\n\u003cp>O’Neill spoke glowingly about his wife and said it was difficult to have her accomplishments “trivialized” in a legal motion. He said Cosby’s lawyers had presented an antiquated view of marriage where spouses must agree on everything.\u003c/p>\n\u003cp>Cosby’s lawyers could still appeal O’Neill’s decision to allow the other accusers to testify to the state’s Supreme Court.\u003c/p>\n\u003cp>The pretrial hearing will continue Friday, including for arguments over whether jurors can hear about a 2005 phone call in which Constand says she told her mother about the alleged assault for the first time.\u003c/p>\n\u003cp>O’Neill agreed Thursday that the trial won’t start until at least April 9 and that the jury chosen from suburban Montgomery County will be sequestered in a local hotel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The AP does not typically identify people who say they are victims of sexual assault unless they grant permission, which Constand has done.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While they sparred with him in court Thursday, Cosby’s lawyers are also counting on him to make critical rulings to bolster their defense that Constand is a money-grubbing liar.\u003c/p>\n\u003cp>They want O’Neill to let them call Marguerite Jackson, a woman who says Constand spoke of framing a celebrity before she went to police with allegations that Cosby drugged and molested her in 2004. They also want to let jurors know how much Cosby paid her in a 2006 civil settlement.\u003c/p>\n\u003cp>“Those are the bookends: I have a motive and I have a payoff,” lawyer Kathleen Bliss argued. “The jury should be allowed to view the full context of that.”\u003c/p>\n\u003cp>Assistant District Attorney Kristen Fedden said that they doubt the discussion with Jackson happened and Constand’s lawyer has said that Jackson is “not telling the truth.”\u003c/p>\n\u003cp>O’Neill blocked Jackson from testifying at the first trial because he said her testimony would be hearsay. Prosecutors want him to do the same for the retrial.\u003c/p>\n\u003cp>Prosecutors say the theory that Constand wanted to set up Cosby is undermined by the comedian’s testimony in a 2005 deposition that she only visited his home when invited and that he gave her pills without her asking for them.\u003c/p>\n\u003cp>Prosecutors also argued the settlement is irrelevant to the criminal case, but that if it is allowed in, jurors should also hear about negotiations that led to the settlement.\u003c/p>\n\u003cp>Assistant District Attorney Stewart Ryan contended that Cosby’s negotiators initially asked that he be released from any criminal liability and tried to bar Constand from cooperating with law enforcement. He said that amounts to obstruction of justice.\u003c/p>\n\u003cp>“Those things are inconsistent with a person who believes he’s innocent,” Ryan said.\u003c/p>\n\u003cp>Thursday’s hearing started with arguments over the judge’s wife, Deborah O’Neill, a psychotherapist at who coordinates a team that cares and advocates for student sexual assault victims.\u003c/p>\n\u003cp>O’Neill said that the donation cited by Cosby’s lawyers didn’t involve her money or their joint assets.\u003c/p>\n\u003cp>“How are my wife’s independent views of an independent woman connected to me?” O’Neill said. “She’s an independent woman and has the right to be involved in anything that she believes in.”\u003c/p>\n\u003cp>O’Neill said Thursday that Cosby’s old lawyers raised the prospect of having him step aside in December 2016, but never followed through. He added that he could’ve rejected the recusal request simply because Cosby’s lawyers waited too long to ask.\u003c/p>\n\u003cp>He said they were aware of Deborah O’Neill’s work as far back as December 2016, but that they waited until getting several adverse rulings just before retrial to raise it as an issue.\u003c/p>\n\u003cp>O’Neill spoke glowingly about his wife and said it was difficult to have her accomplishments “trivialized” in a legal motion. He said Cosby’s lawyers had presented an antiquated view of marriage where spouses must agree on everything.\u003c/p>\n\u003cp>Cosby’s lawyers could still appeal O’Neill’s decision to allow the other accusers to testify to the state’s Supreme Court.\u003c/p>\n\u003cp>The pretrial hearing will continue Friday, including for arguments over whether jurors can hear about a 2005 phone call in which Constand says she told her mother about the alleged assault for the first time.\u003c/p>\n\u003cp>O’Neill agreed Thursday that the trial won’t start until at least April 9 and that the jury chosen from suburban Montgomery County will be sequestered in a local hotel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The AP does not typically identify people who say they are victims of sexual assault unless they grant permission, which Constand has done.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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