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"content": "\u003cp>Opera Parallèle, the little San Francisco company, is presenting the world premiere of a new opera inspired by the life of abolitionist Harriet Tubman.\u003c/p>\n\u003cp>It’s an opera for kids, just 45 minutes long, created with eighth-grade students from San Francisco’s Rooftop Alternative School. But adults might find the music and talented cast equally compelling.\u003c/p>\n\u003cp>\u003cem>Harriet’s Spirit\u003c/em> is about a modern-day middle schooler who learns to stand up to bullies with guidance from the ghost of Tubman. The music is by San Francisco composer, bassist and bandleader Marcus Shelby, with jazz (and now opera) singer Tiffany Austin playing the part of Tubman, and the full-voiced 23-year-old Christabel Nunoo as eighth grader Modesty.\u003c/p>\n\u003cfigure id=\"attachment_13818878\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg\" alt=\"Jazz bassist Marcus Shelby wrote the score for 'Harriet's Spirit,' a new opera for kids and adults\" width=\"630\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-520x301.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Jazz bassist Marcus Shelby wrote the score for ‘Harriet’s Spirit,’ a new opera for kids and adults. \u003ccite>(Photo: Courtesy of Marcus Shelby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a break at a recent rehearsal, I asked Austin how she approaches playing the iconic pre-Civil War abolitionist and Union spy. “I think about my grandmother,” she said. “My grandmother came up in rural Louisiana. She suffered a lot going through segregation and the violence and discrimination that was happening there. But when my grandmother had her children, and her grandchildren, she had to balance pushing them along with being soft. So that’s the spirit I try to invoke when I deliver these songs. There’s a weight, but also a gentleness to it.”\u003c/p>\n\u003cp>As for the music, “I make sure there’s a grit and some darkness in there with the light,” Austin said.\u003c/p>\n\u003cfigure id=\"attachment_13818876\" class=\"wp-caption aligncenter\" style=\"max-width: 567px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg\" alt=\"Director Erin Neff works with 8th graders from Rooftop Alternative School on a scene from the new opera 'Harriet's Spirit'\" width=\"567\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg 567w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-520x319.jpg 520w\" sizes=\"(max-width: 567px) 100vw, 567px\">\u003cfigcaption class=\"wp-caption-text\">Director Erin Neff works with 8th graders from Rooftop Alternative School work on a scene from the new opera ‘Harriet’s Spirit.’ \u003ccite>(Photo: Courtesy of Opera Parallèle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The libretto is by Roma Olvera, Opera Parallèle’s education director, who said that in writing for Tubman’s voice, she tried to capture her courage — noting how after Tubman escaped to freedom, she returned to the south to free many others. “She said ‘I was free and they should be free,’ Olvera said, quoting Tubman. “So it’s up to us,” Olvera said, “and our inner spirit to free ourselves, and seek people who can help us do that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are only three performances of the opera this time around, on Jan. 18 and 20, but Olvera said the company hopes to expand and re-stage it again. Details \u003ca href=\"https://operaparallele.org/harriets-spirit/\" target=\"_blank\" rel=\"noopener\">here.\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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"excerpt": "A new opera conjures Harriet Tubman's spirit as a guide for a bullied middle schooler.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera Parallèle, the little San Francisco company, is presenting the world premiere of a new opera inspired by the life of abolitionist Harriet Tubman.\u003c/p>\n\u003cp>It’s an opera for kids, just 45 minutes long, created with eighth-grade students from San Francisco’s Rooftop Alternative School. But adults might find the music and talented cast equally compelling.\u003c/p>\n\u003cp>\u003cem>Harriet’s Spirit\u003c/em> is about a modern-day middle schooler who learns to stand up to bullies with guidance from the ghost of Tubman. The music is by San Francisco composer, bassist and bandleader Marcus Shelby, with jazz (and now opera) singer Tiffany Austin playing the part of Tubman, and the full-voiced 23-year-old Christabel Nunoo as eighth grader Modesty.\u003c/p>\n\u003cfigure id=\"attachment_13818878\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg\" alt=\"Jazz bassist Marcus Shelby wrote the score for 'Harriet's Spirit,' a new opera for kids and adults\" width=\"630\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Jazz-bassist-Marcus-Shelby-wrote-the-score-for-Harriets-Spirit-a-new-opera-for-kids-and-adults-520x301.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Jazz bassist Marcus Shelby wrote the score for ‘Harriet’s Spirit,’ a new opera for kids and adults. \u003ccite>(Photo: Courtesy of Marcus Shelby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a break at a recent rehearsal, I asked Austin how she approaches playing the iconic pre-Civil War abolitionist and Union spy. “I think about my grandmother,” she said. “My grandmother came up in rural Louisiana. She suffered a lot going through segregation and the violence and discrimination that was happening there. But when my grandmother had her children, and her grandchildren, she had to balance pushing them along with being soft. So that’s the spirit I try to invoke when I deliver these songs. There’s a weight, but also a gentleness to it.”\u003c/p>\n\u003cp>As for the music, “I make sure there’s a grit and some darkness in there with the light,” Austin said.\u003c/p>\n\u003cfigure id=\"attachment_13818876\" class=\"wp-caption aligncenter\" style=\"max-width: 567px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg\" alt=\"Director Erin Neff works with 8th graders from Rooftop Alternative School on a scene from the new opera 'Harriet's Spirit'\" width=\"567\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337.jpg 567w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Director-Erin-Neff-works-with-8th-graders-from-Rooftop-Alternative-School-on-a-scene-from-the-new-opera-Harriets-Spirit-e1515636669337-520x319.jpg 520w\" sizes=\"(max-width: 567px) 100vw, 567px\">\u003cfigcaption class=\"wp-caption-text\">Director Erin Neff works with 8th graders from Rooftop Alternative School work on a scene from the new opera ‘Harriet’s Spirit.’ \u003ccite>(Photo: Courtesy of Opera Parallèle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The libretto is by Roma Olvera, Opera Parallèle’s education director, who said that in writing for Tubman’s voice, she tried to capture her courage — noting how after Tubman escaped to freedom, she returned to the south to free many others. “She said ‘I was free and they should be free,’ Olvera said, quoting Tubman. “So it’s up to us,” Olvera said, “and our inner spirit to free ourselves, and seek people who can help us do that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are only three performances of the opera this time around, on Jan. 18 and 20, but Olvera said the company hopes to expand and re-stage it again. Details \u003ca href=\"https://operaparallele.org/harriets-spirit/\" target=\"_blank\" rel=\"noopener\">here.\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>This week, we welcome back co-host and playwright A-lan Holt to begin a new year of The Do List — and we’re championing some smaller arts organizations doing exciting work. They include the Oakland Symphony with a killer program of songs, Opera Parallèle with a production for kids and adults, and Marin’s Alter Theater with two new plays.\u003c/p>\n\u003cp>Thanks so much to our South Bay Arts Reporter Rachael Myrow for filling in for me last week, as I finished a much-needed break. Enjoy the show!\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/a-playlist-to-entice-new-listeners-to-the-oakland-symphony/\" target=\"_blank\" rel=\"noopener\">The Oakland Symphony invites W. Kamau Bell to curate a concert mixing jazz, rock and classical\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12-15\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-colorful-world-of-comic-books-discovers-the-power-of-black/\" target=\"_blank\" rel=\"noopener\">The Black Comix Arts Festival opens just as buzz builds for the Black Panther movie. \u003cem>KAPOW\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>\u003cstrong>Jan. 18 & 20\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/11/an-opera-about-bullying-draws-advice-from-harriet-tubmans-spirit/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle offers a world premiere about Harriet Tubman’s spirit, with music by the Bay Area’s Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\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, we welcome back co-host and playwright A-lan Holt to begin a new year of The Do List — and we’re championing some smaller arts organizations doing exciting work. They include the Oakland Symphony with a killer program of songs, Opera Parallèle with a production for kids and adults, and Marin’s Alter Theater with two new plays.\u003c/p>\n\u003cp>Thanks so much to our South Bay Arts Reporter Rachael Myrow for filling in for me last week, as I finished a much-needed break. Enjoy the show!\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/a-playlist-to-entice-new-listeners-to-the-oakland-symphony/\" target=\"_blank\" rel=\"noopener\">The Oakland Symphony invites W. Kamau Bell to curate a concert mixing jazz, rock and classical\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12-15\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-colorful-world-of-comic-books-discovers-the-power-of-black/\" target=\"_blank\" rel=\"noopener\">The Black Comix Arts Festival opens just as buzz builds for the Black Panther movie. \u003cem>KAPOW\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>\u003cstrong>Jan. 18 & 20\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/11/an-opera-about-bullying-draws-advice-from-harriet-tubmans-spirit/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle offers a world premiere about Harriet Tubman’s spirit, with music by the Bay Area’s Marcus Shelby\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>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>Conductor Michael Morgan is always looking for ways to bring new audiences out to hear the Oakland Symphony, and in this first concert of the new year, he’s got what we think is a winner — comedian and social activist W. Kamau Bell curating the Jan. 19 program.\u003c/p>\n\u003cp>For his “playlist,” Bell has chosen songs by Nina Simone, Prince, Jimi Hendrix, and even a segment from John Coltrane’s “A Love Supreme.” Arrangements for this very big band are handled by the Jazz Mafia’s Adam Theis, and some of the Bay Area’s best singers and players will be on hand to perform, including singers Tossie Long and Zakiya Harris as well as the Jazz Mafia horns. Details \u003ca href=\"https://www.oaklandsymphony.org/event/w-kamau-bells-playlist/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11494411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11494411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-800x488.jpg\" alt=\"W. Kamau Bell describes his new CNN series, United Shades of America, as a travel show that will take him places he is afraid to go.\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927.jpg 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell describes his new CNN series, United Shades of America, as a travel show that will take him places he is afraid to go. \u003ccite>(Photo: Courtesy of CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On his own, Kamau Bell does a standup gig at the Punchline in San Francisco Jan. 29 and 30. Details \u003ca href=\"http://www.punchlinecomedyclub.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conductor Michael Morgan is always looking for ways to bring new audiences out to hear the Oakland Symphony, and in this first concert of the new year, he’s got what we think is a winner — comedian and social activist W. Kamau Bell curating the Jan. 19 program.\u003c/p>\n\u003cp>For his “playlist,” Bell has chosen songs by Nina Simone, Prince, Jimi Hendrix, and even a segment from John Coltrane’s “A Love Supreme.” Arrangements for this very big band are handled by the Jazz Mafia’s Adam Theis, and some of the Bay Area’s best singers and players will be on hand to perform, including singers Tossie Long and Zakiya Harris as well as the Jazz Mafia horns. Details \u003ca href=\"https://www.oaklandsymphony.org/event/w-kamau-bells-playlist/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11494411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11494411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-800x488.jpg\" alt=\"W. Kamau Bell describes his new CNN series, United Shades of America, as a travel show that will take him places he is afraid to go.\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927.jpg 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell describes his new CNN series, United Shades of America, as a travel show that will take him places he is afraid to go. \u003ccite>(Photo: Courtesy of CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On his own, Kamau Bell does a standup gig at the Punchline in San Francisco Jan. 29 and 30. Details \u003ca href=\"http://www.punchlinecomedyclub.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "on-the-air-cy-rachael-gabe-and-sarahs-do-list-picks-for-dec-22-2017",
"title": "On the Air: Cy, Rachael, Gabe and Sarah's Do List Picks for Dec. 22, 2017",
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"content": "\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\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, 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"excerpt": "The Do List looks to the shows we're most excited about in 2018, including an Ingmar Bergman retrospective, a series on California design, a hip-hop exhibit and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\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>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\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>Oakland singer-songwriter Meklit has belted out funk with James Brown’s saxophonist, covered indie rock hits with sweet \u003ca href=\"https://www.youtube.com/watch?v=wot63F4rFQ0\">soulman Quinn DeVeaux\u003c/a>, and collaborated with musicians from across Northeast Africa for \u003ca href=\"http://nileproject.org\">the Nile Project\u003c/a>, a visionary NGO she co-founded. Her translucent voice finds a cozy home in every far-flung setting, but she’s never sounded as free and grounded as on \u003cem>When the People Move the Music Moves Too\u003c/em>, which was released this past June on Six Degrees Records.\u003c/p>\n\u003cp>https://youtu.be/MwDrcvGTODs\u003c/p>\n\u003cp>A creative breakthrough born out of bandstand experimentation, the album weaves together Meklit’s Ethiopian roots with a propulsive menagerie of African-diaspora grooves. As the album’s title suggests, Meklit captures the way culture and beats evolve as people move across regions and continents. Her lyrics evoke the love and ache for worlds left behind, but tracks like the soaring opener “This Was Made Here” also speak to the ecstatic power of self-reinvention.\u003c/p>\n\u003cp>Recorded in Addis Ababa, Los Angeles, New Orleans, and San Francisco, the album is a collaboration with Grammy Award-winning LA songwriter and \u003ca href=\"https://danwilsonmusic.com/about/official-bio/\">producer Dan Wilson\u003c/a>, renowned for his work with Adele, the Dixie Chicks, and Taylor Swift. Rather than trying to fit the uncategorizable Meklit into a neat, pop niche, he expands her textural palette with guest artists Andrew Bird (on violin and whistling), the Preservation Hall Jazz Band, and top-shelf session players from LA.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1405085050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seminal Ethiopian vibraphonist-composer Mulatu Astatke once \u003ca href=\"http://www.sfgate.com/music/article/Meklit-s-music-takes-off-on-an-odyssey-from-7521764.php\" target=\"_blank\" rel=\"noopener\">instructed Meklit\u003c/a> to find her own voice beyond Ethio-jazz. With \u003cem>When the People Move\u003c/em>, she’s clearly risen to the challenge, building her new sound on a jazz-steeped rhythm section featuring drummer Colin Douglas, percussionist Marco Peris Coppola (on Balkan frame drum), and bassist-arranger Sam Bevan. She accompanies her lilting vocals with guitar and the six-string \u003cem>krar\u003c/em>, an Ethiopian lyre. \u003ca href=\"https://www.facebook.com/extranappy/\">Howard Wiley\u003c/a>’s churning lines on tenor and baritone saxophones provide the band with a big, thumping bottom.\u003c/p>\n\u003cp>Though Meklit laces the album with Ethiopian cadences, it’s striking when an unexpected sound moves to the foreground, as on the thrumming, bittersweet ballad “Yesterday is a Tizita,” which flows from Meklit’s \u003cem>krar\u003c/em> to Tassew Wondem’s ethereal wooden flute (\u003cem>washint\u003c/em>). Whether you call it Ethio-East Bay funk, Bay-Amharic boogie, or NoLa Addis-soul, \u003cem>When the People Move\u003c/em> is a deeply satisfying project that also suggests half a dozen new directions Meklit might travel in the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seminal Ethiopian vibraphonist-composer Mulatu Astatke once \u003ca href=\"http://www.sfgate.com/music/article/Meklit-s-music-takes-off-on-an-odyssey-from-7521764.php\" target=\"_blank\" rel=\"noopener\">instructed Meklit\u003c/a> to find her own voice beyond Ethio-jazz. With \u003cem>When the People Move\u003c/em>, she’s clearly risen to the challenge, building her new sound on a jazz-steeped rhythm section featuring drummer Colin Douglas, percussionist Marco Peris Coppola (on Balkan frame drum), and bassist-arranger Sam Bevan. She accompanies her lilting vocals with guitar and the six-string \u003cem>krar\u003c/em>, an Ethiopian lyre. \u003ca href=\"https://www.facebook.com/extranappy/\">Howard Wiley\u003c/a>’s churning lines on tenor and baritone saxophones provide the band with a big, thumping bottom.\u003c/p>\n\u003cp>Though Meklit laces the album with Ethiopian cadences, it’s striking when an unexpected sound moves to the foreground, as on the thrumming, bittersweet ballad “Yesterday is a Tizita,” which flows from Meklit’s \u003cem>krar\u003c/em> to Tassew Wondem’s ethereal wooden flute (\u003cem>washint\u003c/em>). Whether you call it Ethio-East Bay funk, Bay-Amharic boogie, or NoLa Addis-soul, \u003cem>When the People Move\u003c/em> is a deeply satisfying project that also suggests half a dozen new directions Meklit might travel in the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yissy Garcia and her band Bandancha make hyphenated music that tests the limits of hyphens. It’s jazz-rock-hip-hop-fusion, with a hint of smooth jazz. She crowdfunded her new album — no small task in Cuba, with its intermittent internet connections — to avoid letting the Cuban government own the work. But what a shame that you won’t find the album on iTunes or Amazon music, though it is on Spotify. Despite the challenges, Garcia is part of an international jazz scene. She even collaborated with Joshua Bell and Dave Matthews one evening in New York. We’re just glad she’s coming to Cafe Stritch in San Jose and Ashkenaz in Berkeley. \u003ca href=\"http://yissygarcia.com/index.php/en/shows/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4A0NbEnbsto\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Mel Martin, a multi-instrumentalist and composer who dedicated his life to the Bay Area jazz scene, died last week at the age of 75.\u003c/p>\n\u003cp>Martin died of a heart attack on Friday, Nov. 17, according to his daughter Sara Breindel. Her announcement of his passing on \u003ca href=\"https://www.facebook.com/Melissma7/posts/10213567892683980?pnref=story\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> inspired in an outpouring of condolences on social media.\u003c/p>\n\u003cp>“I am in mourning, shocked, and saddened beyond words. Jazz Saxophone Giant, Mel Martin has just passed,” jazz guitarist Steve Homan \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1892492484399408&id=100009160245792\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>. “It is so hard to even share this news. Your beautiful music, and the times we shared the stage, playing music together, will be with me always.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r_VIYkpt_vU\u003c/p>\n\u003cp>Martin played with many legendary artists over his 60-year career in music, backing up jazz greats like Dizzy Gillespie and Ella Fitzgerald and playing alongside stars in others genres like Frank Sinatra, James Brown and Tom Waits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Sacramento, Martin fell in love with jazz at the age of 12. Though Martin’s parents loved music and played piano at home, they hoped that their only son would take over the family real estate business. But Martin never showed any interest; instead, he spent much of his time at jazz clubs watching legends like Benny Goodman, Duke Ellington, Woody Herman and Cannonball Adderly.\u003c/p>\n\u003cp>“He discovered jazz and there was no stopping him,” Breindel said.\u003c/p>\n\u003cp>Originally a clarinet player, Martin began playing saxophone and flute as teenager in the music program at Sacramento High School. It was around then that he landed his first big gig playing with legendary jazz guitarist Wes Montgomery. According to Martin’s \u003ca href=\"http://www.melmartin.com/html_pages/bios.html\" target=\"_blank\" rel=\"noopener\">bio\u003c/a> on his website, by then, the Montgomery brothers (Wes, Monk and Buddy) were living in Sacramento and playing shows around town. Martin was already confident enough in his abilities to jam with other working musicians, so he got the nerve to ask the brothers if he could join them on flute.\u003c/p>\n\u003cp>“All of a sudden I was up there and I noticed I’d never sounded so good in my life. When you play with great musicians, you tend to up your game,” Martin wrote on his website. “At another gig Wes wrote out the changes to ‘West Cost Blues’ on a napkin that I still have.”\u003c/p>\n\u003cfigure id=\"attachment_13815535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg\" alt=\"Mel Martin with Dizzy Gillespie\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin with Dizzy Gillespie \u003ccite>(Courtesy of the Martin family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After high school, Martin moved to San Francisco to attend San Francisco State University (SFSU), where he majored in music. He didn’t stay long, as he found the school “disappointing” compared to the excellent program at his high school.\u003c/p>\n\u003cp>“The streets, however, were another story,” Martin said in a \u003ca href=\"http://www.bestsaxophonewebsiteever.com/what-makes-saxophone-stalwart-mel-martin-tick/\" target=\"_blank\" rel=\"noopener\">2011 interview\u003c/a>.\u003c/p>\n\u003cp>Martin then began playing with fellow SFSU student \u003ca href=\"http://www.johnhandy.com/\" target=\"_blank\" rel=\"noopener\">John Handy\u003c/a> in his Freedom Band — an experience Martin would later describe as his first time “working within a real jazz situation.” He spent the rest of the ’60s living the jazz life: Gigging at jazz clubs around the Bay Area, like Bop City and the Jazz Workshop, and staying up until the early morning hanging out with fellow jazz players.\u003c/p>\n\u003cp>In the ’70s, Martin began making a name for himself in the emerging jazz fusion scene. Among the groups he played and recorded with were \u003ca href=\"https://www.youtube.com/watch?v=ANSzlPKdLII\" target=\"_blank\" rel=\"noopener\">Azteca\u003c/a>, the Latin-fusion group led by legendary percussionists Coke Escovedo and Pete Escovedo; and \u003ca href=\"https://www.discogs.com/Sir-Douglas-Quintet-2-Honkey-Blues/release/2982700\" target=\"_blank\" rel=\"noopener\">Doug Sahm’s Honkey Blues Band\u003c/a>, the influential Texan musician’s short-lived band in San Francisco. He also played on recordings by Boz Scaggs, Chuck Berry and Dr. John, among many others.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ISc5AUZ81IA\u003c/p>\n\u003cp>In 1977, Martin started \u003ca href=\"https://www.discogs.com/artist/569851-Listen\" target=\"_blank\" rel=\"noopener\">Listen\u003c/a>, his jazz fusion group whose first two albums — 1977’s \u003ci>Featuring Mel Martin\u003c/i> and 1978’s \u003ci>Growing\u003c/i> — brought him real acclaim, including the Musician Of The Year award from the San Francisco chapter of National Academy of Recording Arts & Sciences (NARAS), the same organization that hosts the GRAMMY Awards. The first Listen record also won the BAMMY for Best Jazz Album that same year.\u003c/p>\n\u003cfigure id=\"attachment_13815552\" class=\"wp-caption alignright\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815552\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg\" alt=\"Mel Martin at Keystone Korner in the '70s. Martin was a regular at the legendary jazz club\" width=\"496\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-240x331.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-375x517.jpg 375w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin at Keystone Korner in the ’70s. Martin was a regular at the legendary jazz club \u003ccite>(Brian McMillen/Courtesy of Todd Barkan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin was also a working composer and studio musician, writing and recording parts for a wide variety of projects, including commercials and even animated shorts on \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=fhd8bcl7cdo\" target=\"_blank\" rel=\"noopener\">Sesame Street\u003c/a>\u003c/i>. He contributed music for the TV show \u003cem>t\u003c/em>\u003ci>he Twilight Zone,\u003c/i> and movies like the \u003cem>t\u003c/em>\u003ci>he Warriors,\u003c/i> \u003cem>Rumblefish\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em>.\u003c/p>\n\u003cp>Martin was a member of the musicians’ union and always had some kind of recording studio set up at his house. Even during periods when he was often playing live, he was still working on new music.\u003c/p>\n\u003cp>“His first love was definitely jazz but he played TV shows, commercials — whatever they would hire him for,” Breindel said. “I grew up with music around me 24 hours a day, in recording studios and concert halls and night clubs. There were always musicians in our house.”\u003c/p>\n\u003cp>After years of looking to the future of music, Martin began looking back at the legacy of jazz in the ’80s and ’90s. He started projects like the Mel Martin All-Star Big Band and the bebop tribute group Bebop & Beyond, who recorded albums of music by Thelonious Monk and Dizzy Gillespie — artists Martin backed on multiple occasions in his later years. Martin later started a tribute band dedicated to one of his heroes, Benny Carter. He received five grants from the National Endowment for the Arts for his tribute and preservation work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JbicfHwS21M\u003c/p>\n\u003cp>In his later years, Martin dedicated much of his time to teaching and mentoring younger musicians. After an 11-year stint teaching at the Stanford Jazz Workshop, he went on to tutor students at his home in Novato and at schools around Marin County. He also spent numerous hours on the internet discussing music, most notably on his popular Facebook group \u003ca href=\"https://www.facebook.com/groups/MMJazzSaxophone/\" target=\"_blank\" rel=\"noopener\">MEL MARTIN’S JAZZ SAXOPHONE FORUM\u003c/a>, which currently has over 2,000 members. Breindel says her father was on his computer, reaching out to his musician friends on social media when he died.\u003c/p>\n\u003cp>“He did not isolate himself at all. His thing was to share the music and really connect with people on that level,” she said.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10155048314177452&set=p.10155048314177452\u003c/p>\n\u003cp>Breindel is a college-educated classical musician herself. “I wanted to rebel against my father and have all the notes written down for me,” she said, adding that there will probably be a musical celebration for her father at some point. But she feels that the big band concert Martin organized for his 75th birthday at Filoli Gardens, which included a lot of his old musician friends, was a perfect sendoff for him as he was able to play and enjoy it.\u003c/p>\n\u003cp>“It really felt like an honor and a tribute to my father’s life,” Breindel said. “I’m so glad he did that because now that I look back, I can see it was a bit of a farewell.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>Mel Martin, a multi-instrumentalist and composer who dedicated his life to the Bay Area jazz scene, died last week at the age of 75.\u003c/p>\n\u003cp>Martin died of a heart attack on Friday, Nov. 17, according to his daughter Sara Breindel. Her announcement of his passing on \u003ca href=\"https://www.facebook.com/Melissma7/posts/10213567892683980?pnref=story\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> inspired in an outpouring of condolences on social media.\u003c/p>\n\u003cp>“I am in mourning, shocked, and saddened beyond words. Jazz Saxophone Giant, Mel Martin has just passed,” jazz guitarist Steve Homan \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1892492484399408&id=100009160245792\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>. “It is so hard to even share this news. Your beautiful music, and the times we shared the stage, playing music together, will be with me always.”\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/r_VIYkpt_vU'\n title='//www.youtube.com/embed/r_VIYkpt_vU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Martin played with many legendary artists over his 60-year career in music, backing up jazz greats like Dizzy Gillespie and Ella Fitzgerald and playing alongside stars in others genres like Frank Sinatra, James Brown and Tom Waits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Sacramento, Martin fell in love with jazz at the age of 12. Though Martin’s parents loved music and played piano at home, they hoped that their only son would take over the family real estate business. But Martin never showed any interest; instead, he spent much of his time at jazz clubs watching legends like Benny Goodman, Duke Ellington, Woody Herman and Cannonball Adderly.\u003c/p>\n\u003cp>“He discovered jazz and there was no stopping him,” Breindel said.\u003c/p>\n\u003cp>Originally a clarinet player, Martin began playing saxophone and flute as teenager in the music program at Sacramento High School. It was around then that he landed his first big gig playing with legendary jazz guitarist Wes Montgomery. According to Martin’s \u003ca href=\"http://www.melmartin.com/html_pages/bios.html\" target=\"_blank\" rel=\"noopener\">bio\u003c/a> on his website, by then, the Montgomery brothers (Wes, Monk and Buddy) were living in Sacramento and playing shows around town. Martin was already confident enough in his abilities to jam with other working musicians, so he got the nerve to ask the brothers if he could join them on flute.\u003c/p>\n\u003cp>“All of a sudden I was up there and I noticed I’d never sounded so good in my life. When you play with great musicians, you tend to up your game,” Martin wrote on his website. “At another gig Wes wrote out the changes to ‘West Cost Blues’ on a napkin that I still have.”\u003c/p>\n\u003cfigure id=\"attachment_13815535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg\" alt=\"Mel Martin with Dizzy Gillespie\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin with Dizzy Gillespie \u003ccite>(Courtesy of the Martin family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After high school, Martin moved to San Francisco to attend San Francisco State University (SFSU), where he majored in music. He didn’t stay long, as he found the school “disappointing” compared to the excellent program at his high school.\u003c/p>\n\u003cp>“The streets, however, were another story,” Martin said in a \u003ca href=\"http://www.bestsaxophonewebsiteever.com/what-makes-saxophone-stalwart-mel-martin-tick/\" target=\"_blank\" rel=\"noopener\">2011 interview\u003c/a>.\u003c/p>\n\u003cp>Martin then began playing with fellow SFSU student \u003ca href=\"http://www.johnhandy.com/\" target=\"_blank\" rel=\"noopener\">John Handy\u003c/a> in his Freedom Band — an experience Martin would later describe as his first time “working within a real jazz situation.” He spent the rest of the ’60s living the jazz life: Gigging at jazz clubs around the Bay Area, like Bop City and the Jazz Workshop, and staying up until the early morning hanging out with fellow jazz players.\u003c/p>\n\u003cp>In the ’70s, Martin began making a name for himself in the emerging jazz fusion scene. Among the groups he played and recorded with were \u003ca href=\"https://www.youtube.com/watch?v=ANSzlPKdLII\" target=\"_blank\" rel=\"noopener\">Azteca\u003c/a>, the Latin-fusion group led by legendary percussionists Coke Escovedo and Pete Escovedo; and \u003ca href=\"https://www.discogs.com/Sir-Douglas-Quintet-2-Honkey-Blues/release/2982700\" target=\"_blank\" rel=\"noopener\">Doug Sahm’s Honkey Blues Band\u003c/a>, the influential Texan musician’s short-lived band in San Francisco. He also played on recordings by Boz Scaggs, Chuck Berry and Dr. John, among many others.\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/ISc5AUZ81IA'\n title='//www.youtube.com/embed/ISc5AUZ81IA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1977, Martin started \u003ca href=\"https://www.discogs.com/artist/569851-Listen\" target=\"_blank\" rel=\"noopener\">Listen\u003c/a>, his jazz fusion group whose first two albums — 1977’s \u003ci>Featuring Mel Martin\u003c/i> and 1978’s \u003ci>Growing\u003c/i> — brought him real acclaim, including the Musician Of The Year award from the San Francisco chapter of National Academy of Recording Arts & Sciences (NARAS), the same organization that hosts the GRAMMY Awards. The first Listen record also won the BAMMY for Best Jazz Album that same year.\u003c/p>\n\u003cfigure id=\"attachment_13815552\" class=\"wp-caption alignright\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815552\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg\" alt=\"Mel Martin at Keystone Korner in the '70s. Martin was a regular at the legendary jazz club\" width=\"496\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-240x331.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-375x517.jpg 375w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin at Keystone Korner in the ’70s. Martin was a regular at the legendary jazz club \u003ccite>(Brian McMillen/Courtesy of Todd Barkan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin was also a working composer and studio musician, writing and recording parts for a wide variety of projects, including commercials and even animated shorts on \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=fhd8bcl7cdo\" target=\"_blank\" rel=\"noopener\">Sesame Street\u003c/a>\u003c/i>. He contributed music for the TV show \u003cem>t\u003c/em>\u003ci>he Twilight Zone,\u003c/i> and movies like the \u003cem>t\u003c/em>\u003ci>he Warriors,\u003c/i> \u003cem>Rumblefish\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em>.\u003c/p>\n\u003cp>Martin was a member of the musicians’ union and always had some kind of recording studio set up at his house. Even during periods when he was often playing live, he was still working on new music.\u003c/p>\n\u003cp>“His first love was definitely jazz but he played TV shows, commercials — whatever they would hire him for,” Breindel said. “I grew up with music around me 24 hours a day, in recording studios and concert halls and night clubs. There were always musicians in our house.”\u003c/p>\n\u003cp>After years of looking to the future of music, Martin began looking back at the legacy of jazz in the ’80s and ’90s. He started projects like the Mel Martin All-Star Big Band and the bebop tribute group Bebop & Beyond, who recorded albums of music by Thelonious Monk and Dizzy Gillespie — artists Martin backed on multiple occasions in his later years. Martin later started a tribute band dedicated to one of his heroes, Benny Carter. He received five grants from the National Endowment for the Arts for his tribute and preservation work.\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/JbicfHwS21M'\n title='//www.youtube.com/embed/JbicfHwS21M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his later years, Martin dedicated much of his time to teaching and mentoring younger musicians. After an 11-year stint teaching at the Stanford Jazz Workshop, he went on to tutor students at his home in Novato and at schools around Marin County. He also spent numerous hours on the internet discussing music, most notably on his popular Facebook group \u003ca href=\"https://www.facebook.com/groups/MMJazzSaxophone/\" target=\"_blank\" rel=\"noopener\">MEL MARTIN’S JAZZ SAXOPHONE FORUM\u003c/a>, which currently has over 2,000 members. Breindel says her father was on his computer, reaching out to his musician friends on social media when he died.\u003c/p>\n\u003cp>“He did not isolate himself at all. His thing was to share the music and really connect with people on that level,” she said.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10155048314177452&set=p.10155048314177452\u003c/p>\n\u003cp>Breindel is a college-educated classical musician herself. “I wanted to rebel against my father and have all the notes written down for me,” she said, adding that there will probably be a musical celebration for her father at some point. But she feels that the big band concert Martin organized for his 75th birthday at Filoli Gardens, which included a lot of his old musician friends, was a perfect sendoff for him as he was able to play and enjoy it.\u003c/p>\n\u003cp>“It really felt like an honor and a tribute to my father’s life,” Breindel said. “I’m so glad he did that because now that I look back, I can see it was a bit of a farewell.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We welcome back as our co-host Jamedra Brown Fleischman, also a co-host on KQED’s The Cooler podcast. She and I indulged our love for circus, and she located some of the skating rinks popping up around the Bay Area for the holidays. Plus we debate the merits of \u003cem>Aladdin the Musical\u003c/em> and the revisionist gold rush opera \u003cem>Girls of the Golden West\u003c/em>. Strap on your skates, it’s going to be a smooth ride.\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXVy\" target=\"_blank\" rel=\"noopener\">\u003cem>Sunday Skool\u003c/em> mixes burlesque, circus and terrific music\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Continuing through Dec. 17:\u003ca href=\"https://wp.me/p4oi3Y-VXVE\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXVE\" target=\"_blank\" rel=\"noopener\">Kinetic Arts circus school in West Oakland mounts another homemade holiday show with world class acrobatics.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 17-19\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VXVQ\" target=\"_blank\" rel=\"noopener\">The San Francisco International Hip Hop DanceFest returns.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VXW5\">\u003cem>Aladdin\u003c/em> surprises Jamedra with its humor and glitz\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 21-Dec. 10: \u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXWi\" target=\"_blank\" rel=\"noopener\">A people’s history of the gold rush at San Francisco Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18-19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/15/songs-of-longing-from-kishi-bashi/\" target=\"_blank\" rel=\"noopener\">Kishi Bashi sings songs full of a longing for connection\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 17\u003c/strong>:\u003ca href=\"http://piedmontpiano.com/concerts/171117queenesthermarrow.html\" target=\"_blank\" rel=\"noopener\"> Gospel great Queen Esther Marrow visits Piedmont Piano\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18: \u003c/strong>\u003ca href=\"https://www.berkeleypubliclibrary.org/events/hamilton-sing-along-claremont\" target=\"_blank\" rel=\"noopener\">Hamiltunes singalong at Berkeley Library’s Claremont Branch\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19: \u003c/strong>\u003ca href=\"https://www.berkeleypubliclibrary.org/events/hamilton-sing-along-thps\" target=\"_blank\" rel=\"noopener\">Hamiltunes singalong at the Berkeley Library’s Tarea Hall Pittman branch \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We welcome back as our co-host Jamedra Brown Fleischman, also a co-host on KQED’s The Cooler podcast. She and I indulged our love for circus, and she located some of the skating rinks popping up around the Bay Area for the holidays. Plus we debate the merits of \u003cem>Aladdin the Musical\u003c/em> and the revisionist gold rush opera \u003cem>Girls of the Golden West\u003c/em>. Strap on your skates, it’s going to be a smooth ride.\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXVy\" target=\"_blank\" rel=\"noopener\">\u003cem>Sunday Skool\u003c/em> mixes burlesque, circus and terrific music\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Continuing through Dec. 17:\u003ca href=\"https://wp.me/p4oi3Y-VXVE\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXVE\" target=\"_blank\" rel=\"noopener\">Kinetic Arts circus school in West Oakland mounts another homemade holiday show with world class acrobatics.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 17-19\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VXVQ\" target=\"_blank\" rel=\"noopener\">The San Francisco International Hip Hop DanceFest returns.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VXW5\">\u003cem>Aladdin\u003c/em> surprises Jamedra with its humor and glitz\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sunday Skool is the newest collaboration between the Vau de Vire Society and trombonist Adam Theis’s Jazz Mafia. The Vau de Vire Society provides thrilling circus acts with an edge of burlesque, and Theis provides the soundtrack. Together they’ve been staging shows for years, but finding suitable spaces for a circus show, cocktail bar and dance club hasn’t been easy. The performers recently reached a deal with The Great Northern in San Francisco for an occasional Sunday night circus series, with a bar and an afterparty with performances by Gift of Gab and Lateef from Blackalicious backed by the Jazz Mafia, followed by DJ Platurn into the wee hours. You’ll get an idea of what to expect from the video below. The next circus is Nov. 19; \u003ca href=\"https://www.facebook.com/events/126937174630950/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Xn8HIk0UII0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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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"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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"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/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"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",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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/",
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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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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"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"
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},
"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/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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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",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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