A Brazilian Music Invasion in the Bay Area
2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help
A Master of Ethiopian Jazz
On the Air: Cy and Kevin's Do List Picks for Oct. 13, 2017
Fantastic Negrito Makes Music About Our Times and Troubles
A Giant of Ethiopian Jazz Meets A Local Musical Ambassador
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He is available for weddings and bar and bat mitzvahs. #jazzscribe","avatar":"https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","contributor"]},{"site":"news","roles":["author"]}],"headData":{"title":"Andrew Gilbert | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/agilbert"},"gmeline":{"type":"authors","id":"185","meta":{"index":"authors_1591205172","id":"185","found":true},"name":"Gabe Meline","firstName":"Gabe","lastName":"Meline","slug":"gmeline","email":"gmeline@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Senior Editor, KQED Arts & Culture","bio":"Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.","avatar":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twitter":"gmeline","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"artschool","roles":["editor"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"liveblog","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Gabe Meline | KQED","description":"Senior Editor, KQED Arts & Culture","ogImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/gmeline"},"nvoynovskaya":{"type":"authors","id":"11387","meta":{"index":"authors_1591205172","id":"11387","found":true},"name":"Nastia Voynovskaya","firstName":"Nastia","lastName":"Voynovskaya","slug":"nvoynovskaya","email":"nvoynovskaya@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Associate Editor","bio":"Nastia Voynovskaya is a Russian-born journalist raised in the Bay Area and Tampa, Florida. She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13929406":{"type":"posts","id":"arts_13929406","meta":{"index":"posts_1591205157","site":"arts","id":"13929406","score":null,"sort":[1684872016000]},"guestAuthors":[],"slug":"a-brazilian-music-invasion-in-the-bay-area","title":"A Brazilian Music Invasion in the Bay Area","publishDate":1684872016,"format":"standard","headTitle":"A Brazilian Music Invasion in the Bay Area | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>As a vast continental nation with a culture foundationally shaped by the unresolved legacy of chattel slavery, Brazil often feels like a Southern hemispheric mirror image of the United States. At times, it’s a distorted funhouse reflection (though it’s hard to choose, between Trump or Bolsonaro, which country’s former president casts a more grotesque figure).\u003c/p>\n\u003cp>But when it comes to music, Brazil shines with a kaleidoscopic intensity that should be making a deeper impression in North America. The sheer profusion of styles, rhythms and regionally based idioms from Brazil would take an entire lifetime to explore. Care for a starter’s course? With a pandemic-induced backlog breaking open on the touring circuit, four definitive Brazilian acts perform in the Bay Area over the next two weeks.\u003c/p>\n\u003cp>\u003cstrong>Hermeto Pascoal\u003c/strong>, a figure so deep and prodigious that Miles Davis himself hailed him as “the most complete musician I’ve ever met,” makes an all-too-rare visit to the region next month. Under the auspices of the Los Angeles label and production house Jazz Is Dead, the 86-year-old composer and multi-instrumentalist brings his longtime band to Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/hermeto-pascoal-grupo/\">Kuumbwa Jazz Center on June 2\u003c/a> and Berkeley’s \u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-hermeto-pasqual/detail\">UC Theatre on June 4\u003c/a>, fresh off of accepting an \u003ca href=\"https://www.juilliard.edu/news/162526/juilliard-school-celebrates-classes-2023-commencement-ceremonies-may-19-and-20\">honorary doctorate from Juilliard\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UP8_ZTtgxYs\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A famously fecund ensemble that’s shaped major composers and improvisers for decades, Pascoal’s group has been anchored since 1977 by bassist Itiberê Zwarg (a formidable bandleader and composer himself). As much a family as a band, the sextet includes Hermeto’s son, the percussionist, soprano saxophonist and producer Fabio Pascoal, who came on board in 1987, and drummer Ajurinã Zwarg, the son of bassist Itiberê. Pianist André Marques was 18 when he jumped into the Pascoal pool two decades ago, and saxophonist and flutist Jota P. has been in the group for more than a decade.\u003c/p>\n\u003cp>“I look for musicians that are very highly trained, very skillful, with fast fingers and a lot of education,” Pascoal said on a recent video call, speaking in Portuguese, and emphasizing the importance he places on spontaneity. “They need a base before, but when you join, you can be very loose. Whoever walks a fixed line is a train. It’s universal music. My music is like the wind. It comes, passes through you, and causes a sensation and won’t come again. The next time it’s going to be different.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uAHlq2vkobc\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Known with reverence and affection in Brazil as “O Bruxo” (The Sorcerer), Pascoal was a revolutionary figure in Brazilian instrumental music in the mid-1960s, profoundly shaping the post-bossa nova landscape via recordings with rising stars Elis Regina, Edu Lobo, and Cesar Camargo Mariano. His influence expanded via a series of groups with percussionist Airto Moreira, and he became a sensation in 1970 when Airto brought him into Miles Davis’s volatile electric band, a relationship documented on the album \u003cem>Live-Evil\u003c/em>, which includes Pascoal’s tunes “Nem um Talvez” (Not Even A Maybe) and “Igrejinha” (Little Church).\u003c/p>\n\u003cp>Back in Brazil, Pascoal cultivated a verdantly rich musical world combining jazz, rock and contemporary classical music with Brazilian styles like frevo and samba, xaxado and forró. His closest associate in the Bay Area is Rio de Janeiro-born vocalist, pianist, composer and percussionist \u003cstrong>Claudia Villela\u003c/strong>, who’s been based in the Santa Cruz area since the mid-1980s. The last time Pascoal performed in California, he brought Villela on stage at the SFJAZZ Center and hailed her as a fellow sonic adventurer. She performs with her group at \u003ca href=\"https://www.kuumbwajazz.org/calendar/claudia-villela/\">Kuumbwa June 26\u003c/a>.\u003c/p>\n\u003cp>“I shortened my trip coming back because I want to catch him at Kuumbwa,” Villela said recently via video call from Rio, where she was performing with the great composer and guitarist Guinga. “I wouldn’t do for anybody else. Hermeto embodies the whole gestalt. An amalgam of everything Brazilian and beyond, every sound starting to make sense and connecting.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XUqDnKKHdM0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>If Pascoal embodies the experimental ethos in Brazilian jazz, then \u003cstrong>Zeca Pagodinho\u003c/strong> is the people’s choice — a samba superstar with a four-decade career making hits that speak to the lives of struggling and aspiring Brazilians. On his only Bay Area date, he plays the \u003ca href=\"https://theuctheatre.org/events/buy-tickets/zeca-pagodinho/detail\">UC Theatre on June 3\u003c/a>, one of only six U.S. shows on his schedule. As a songwriter, he’s the patriarch of pagode, a propulsive style of samba that emerged in early ’80s Rio characterized by the sharp sound of four-string banjo. He’s been turning out popular albums ever since.\u003c/p>\n\u003cp>“He came from a very violent area of Rio and never forgot his origins,” said Villela in explaining Pagodinho’s intense bond with the Brazilian people. “He still translates the existence of workers. His humor is a little sarcastic. His ‘paintings’ of the favelas are very artistic. He’s another face of Brazil, and speaks to a great majority. Even people who love a little bit more sophisticated music, who identify with Hermeto, they love Zeca too. He’s integral, very Carioca.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HHNkleVOms0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>In a similar way, guitarist \u003cstrong>Lulu Santos\u003c/strong> represents progressive Brazilian rock. A prolific and popular figure since the early 1980s, he ends a rare U.S. tour \u003ca href=\"https://theuctheatre.org/events/buy-tickets/lulu-santos/detail\">May 28 at the UC Theatre\u003c/a>. Working closely with lyricist Nelson Motta, he recorded a series of hits “combining pop aesthetics and philosophy, talking about surfers and Buddhism,” Villela said. He broke new ground when he came out, managing to maintain his pop star status with a gay identity. “It was a big deal, because Brazil is such a macho country,” Villela said. “He was very candid. He’s still very loved, the same as Zeca, reaching across all strata.”\u003c/p>\n\u003cp>No Brazilian band is more inextricably linked to a particular moment than \u003cstrong>Os Mutantes\u003c/strong>, who emerged from São Paulo as teenagers in 1966 to spearhead the hugely influential but short-lived art movement known as Tropicalia (along with fellow Paulista Tom Zé and Gilberto Gil, Caetano Veloso, and Gal Costa, all from Salvador de Bahia). Created by Rita Lee and the brothers \u003ca href=\"http://en.wikipedia.org/wiki/Arnaldo_Baptista\">Arnaldo Baptista\u003c/a> and \u003ca href=\"http://en.wikipedia.org/w/index.php?title=S%C3%A9rgio_Dias&action=edit\">Sérgio Dias\u003c/a>, the band created a sound steeped in psychedelia and acid rock, combining a gleefully absurdist sense of humor, outrageous costumes and cagey use of musical pastiche. After decades of dormancy, the group reunited in the mid-aughts, and the incarnation playing at \u003ca href=\"https://thechapelsf.com/event/os-mutantes/\">The Chapel on May 27\u003c/a> features only one original member, \u003ca href=\"http://en.wikipedia.org/w/index.php?title=S%C3%A9rgio_Dias&action=edit\">Sérgio Dias\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gfs9DC4GNr0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The group’s legacy received a burst of attention with the death on May 8 of Lee, who was thrown out of Mutantes in 1972 and went on to became Brazil’s biggest female rock star. A proud leftist, she hailed from an American family that fled the confederacy after the Civil War looking for a country that permitted slavery. (Brazil became the last country in the Americas to end de jure slavery, in 1888.) In Mutantes and as a solo artist, Lee was a champion of freedom, facing off against the military government.\u003c/p>\n\u003cp>“Mutantes were very important, with that pantomime and circus, the new aesthetics, some Brazilian rhythm and a little Beatles,” Villela said. “The hook of the whole thing was Rita Lee. Her ability to get right to the heart of the matter with her lyrics. In the ’60s, she sang with a bridal dress, pregnant, totally against the grain. They were a big piece of the kaleidoscope.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n","blocks":[],"excerpt":"Legends such as Hermeto Pascoal, Zeca Pagodinho, Lulu Santos and Os Mutantes perform over a two-week span.","status":"publish","parent":0,"modified":1705005464,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1344},"headData":{"title":"A Brazilian Music Invasion in the Bay Area | KQED","description":"Legends such as Hermeto Pascoal, Zeca Pagodinho, Lulu Santos and Os Mutantes perform over a two-week span.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Brazilian Music Invasion in the Bay Area","datePublished":"2023-05-23T20:00:16.000Z","dateModified":"2024-01-11T20:37:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929406/a-brazilian-music-invasion-in-the-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a vast continental nation with a culture foundationally shaped by the unresolved legacy of chattel slavery, Brazil often feels like a Southern hemispheric mirror image of the United States. At times, it’s a distorted funhouse reflection (though it’s hard to choose, between Trump or Bolsonaro, which country’s former president casts a more grotesque figure).\u003c/p>\n\u003cp>But when it comes to music, Brazil shines with a kaleidoscopic intensity that should be making a deeper impression in North America. The sheer profusion of styles, rhythms and regionally based idioms from Brazil would take an entire lifetime to explore. Care for a starter’s course? With a pandemic-induced backlog breaking open on the touring circuit, four definitive Brazilian acts perform in the Bay Area over the next two weeks.\u003c/p>\n\u003cp>\u003cstrong>Hermeto Pascoal\u003c/strong>, a figure so deep and prodigious that Miles Davis himself hailed him as “the most complete musician I’ve ever met,” makes an all-too-rare visit to the region next month. Under the auspices of the Los Angeles label and production house Jazz Is Dead, the 86-year-old composer and multi-instrumentalist brings his longtime band to Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/hermeto-pascoal-grupo/\">Kuumbwa Jazz Center on June 2\u003c/a> and Berkeley’s \u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-hermeto-pasqual/detail\">UC Theatre on June 4\u003c/a>, fresh off of accepting an \u003ca href=\"https://www.juilliard.edu/news/162526/juilliard-school-celebrates-classes-2023-commencement-ceremonies-may-19-and-20\">honorary doctorate from Juilliard\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UP8_ZTtgxYs'\n title='//www.youtube.com/embed/UP8_ZTtgxYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A famously fecund ensemble that’s shaped major composers and improvisers for decades, Pascoal’s group has been anchored since 1977 by bassist Itiberê Zwarg (a formidable bandleader and composer himself). As much a family as a band, the sextet includes Hermeto’s son, the percussionist, soprano saxophonist and producer Fabio Pascoal, who came on board in 1987, and drummer Ajurinã Zwarg, the son of bassist Itiberê. Pianist André Marques was 18 when he jumped into the Pascoal pool two decades ago, and saxophonist and flutist Jota P. has been in the group for more than a decade.\u003c/p>\n\u003cp>“I look for musicians that are very highly trained, very skillful, with fast fingers and a lot of education,” Pascoal said on a recent video call, speaking in Portuguese, and emphasizing the importance he places on spontaneity. “They need a base before, but when you join, you can be very loose. Whoever walks a fixed line is a train. It’s universal music. My music is like the wind. It comes, passes through you, and causes a sensation and won’t come again. The next time it’s going to be different.”\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/uAHlq2vkobc'\n title='//www.youtube.com/embed/uAHlq2vkobc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Known with reverence and affection in Brazil as “O Bruxo” (The Sorcerer), Pascoal was a revolutionary figure in Brazilian instrumental music in the mid-1960s, profoundly shaping the post-bossa nova landscape via recordings with rising stars Elis Regina, Edu Lobo, and Cesar Camargo Mariano. His influence expanded via a series of groups with percussionist Airto Moreira, and he became a sensation in 1970 when Airto brought him into Miles Davis’s volatile electric band, a relationship documented on the album \u003cem>Live-Evil\u003c/em>, which includes Pascoal’s tunes “Nem um Talvez” (Not Even A Maybe) and “Igrejinha” (Little Church).\u003c/p>\n\u003cp>Back in Brazil, Pascoal cultivated a verdantly rich musical world combining jazz, rock and contemporary classical music with Brazilian styles like frevo and samba, xaxado and forró. His closest associate in the Bay Area is Rio de Janeiro-born vocalist, pianist, composer and percussionist \u003cstrong>Claudia Villela\u003c/strong>, who’s been based in the Santa Cruz area since the mid-1980s. The last time Pascoal performed in California, he brought Villela on stage at the SFJAZZ Center and hailed her as a fellow sonic adventurer. She performs with her group at \u003ca href=\"https://www.kuumbwajazz.org/calendar/claudia-villela/\">Kuumbwa June 26\u003c/a>.\u003c/p>\n\u003cp>“I shortened my trip coming back because I want to catch him at Kuumbwa,” Villela said recently via video call from Rio, where she was performing with the great composer and guitarist Guinga. “I wouldn’t do for anybody else. Hermeto embodies the whole gestalt. An amalgam of everything Brazilian and beyond, every sound starting to make sense and connecting.”\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/XUqDnKKHdM0'\n title='//www.youtube.com/embed/XUqDnKKHdM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>If Pascoal embodies the experimental ethos in Brazilian jazz, then \u003cstrong>Zeca Pagodinho\u003c/strong> is the people’s choice — a samba superstar with a four-decade career making hits that speak to the lives of struggling and aspiring Brazilians. On his only Bay Area date, he plays the \u003ca href=\"https://theuctheatre.org/events/buy-tickets/zeca-pagodinho/detail\">UC Theatre on June 3\u003c/a>, one of only six U.S. shows on his schedule. As a songwriter, he’s the patriarch of pagode, a propulsive style of samba that emerged in early ’80s Rio characterized by the sharp sound of four-string banjo. He’s been turning out popular albums ever since.\u003c/p>\n\u003cp>“He came from a very violent area of Rio and never forgot his origins,” said Villela in explaining Pagodinho’s intense bond with the Brazilian people. “He still translates the existence of workers. His humor is a little sarcastic. His ‘paintings’ of the favelas are very artistic. He’s another face of Brazil, and speaks to a great majority. Even people who love a little bit more sophisticated music, who identify with Hermeto, they love Zeca too. He’s integral, very Carioca.”\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/HHNkleVOms0'\n title='//www.youtube.com/embed/HHNkleVOms0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>In a similar way, guitarist \u003cstrong>Lulu Santos\u003c/strong> represents progressive Brazilian rock. A prolific and popular figure since the early 1980s, he ends a rare U.S. tour \u003ca href=\"https://theuctheatre.org/events/buy-tickets/lulu-santos/detail\">May 28 at the UC Theatre\u003c/a>. Working closely with lyricist Nelson Motta, he recorded a series of hits “combining pop aesthetics and philosophy, talking about surfers and Buddhism,” Villela said. He broke new ground when he came out, managing to maintain his pop star status with a gay identity. “It was a big deal, because Brazil is such a macho country,” Villela said. “He was very candid. He’s still very loved, the same as Zeca, reaching across all strata.”\u003c/p>\n\u003cp>No Brazilian band is more inextricably linked to a particular moment than \u003cstrong>Os Mutantes\u003c/strong>, who emerged from São Paulo as teenagers in 1966 to spearhead the hugely influential but short-lived art movement known as Tropicalia (along with fellow Paulista Tom Zé and Gilberto Gil, Caetano Veloso, and Gal Costa, all from Salvador de Bahia). Created by Rita Lee and the brothers \u003ca href=\"http://en.wikipedia.org/wiki/Arnaldo_Baptista\">Arnaldo Baptista\u003c/a> and \u003ca href=\"http://en.wikipedia.org/w/index.php?title=S%C3%A9rgio_Dias&action=edit\">Sérgio Dias\u003c/a>, the band created a sound steeped in psychedelia and acid rock, combining a gleefully absurdist sense of humor, outrageous costumes and cagey use of musical pastiche. After decades of dormancy, the group reunited in the mid-aughts, and the incarnation playing at \u003ca href=\"https://thechapelsf.com/event/os-mutantes/\">The Chapel on May 27\u003c/a> features only one original member, \u003ca href=\"http://en.wikipedia.org/w/index.php?title=S%C3%A9rgio_Dias&action=edit\">Sérgio Dias\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gfs9DC4GNr0'\n title='//www.youtube.com/embed/gfs9DC4GNr0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>The group’s legacy received a burst of attention with the death on May 8 of Lee, who was thrown out of Mutantes in 1972 and went on to became Brazil’s biggest female rock star. A proud leftist, she hailed from an American family that fled the confederacy after the Civil War looking for a country that permitted slavery. (Brazil became the last country in the Americas to end de jure slavery, in 1888.) In Mutantes and as a solo artist, Lee was a champion of freedom, facing off against the military government.\u003c/p>\n\u003cp>“Mutantes were very important, with that pantomime and circus, the new aesthetics, some Brazilian rhythm and a little Beatles,” Villela said. “The hook of the whole thing was Rita Lee. Her ability to get right to the heart of the matter with her lyrics. In the ’60s, she sang with a bridal dress, pregnant, totally against the grain. They were a big piece of the kaleidoscope.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929406/a-brazilian-music-invasion-in-the-bay-area","authors":["86"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1420","arts_585","arts_2093"],"featImg":"arts_13929520","label":"arts_140"},"arts_13890093":{"type":"posts","id":"arts_13890093","meta":{"index":"posts_1591205157","site":"arts","id":"13890093","score":null,"sort":[1607643940000]},"guestAuthors":[],"slug":"2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help","title":"2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help","publishDate":1607643940,"format":"standard","headTitle":"2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>[pullquote size='large']Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.[/pullquote]\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. [aside postid='arts_13890048']\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That won’t happen until the vaccine is widely available—which means that venues will continue to bleed money, and go out of business, until the federal stimulus arrives.\u003c/p>\n\n","blocks":[],"excerpt":"Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ","status":"publish","parent":0,"modified":1705019753,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":41,"wordCount":2883},"headData":{"title":"2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED","description":"Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help","datePublished":"2020-12-10T23:45:40.000Z","dateModified":"2024-01-12T00:35:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2020 in Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.","name":"pullquote","attributes":{"named":{"size":"large","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890048","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That won’t happen until the vaccine is widely available—which means that venues will continue to bleed money, and go out of business, until the federal stimulus arrives.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_12958","arts_6192","arts_10126","arts_10127","arts_10342","arts_10278","arts_10422","arts_6387","arts_11031","arts_2093"],"featImg":"arts_13852059","label":"source_arts_13890093"},"arts_13874999":{"type":"posts","id":"arts_13874999","meta":{"index":"posts_1591205157","site":"arts","id":"13874999","score":null,"sort":[1581712951000]},"guestAuthors":[],"slug":"a-master-of-ethiopian-jazz","title":"A Master of Ethiopian Jazz","publishDate":1581712951,"format":"standard","headTitle":"A Master of Ethiopian Jazz | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There is no sound on Earth quite like the music of Mulatu Astatke. Though Ethiopia is his home, every six years or so a new group of music listeners in the United States discovers his signature sound—based on a five-tone pentatonic scale, with all sorts of wonderful melodies and tonality swirling around. In 1972, Astatke toured extensively with Duke Ellington. And 15 years ago, the film director Jim Jarmusch used Astatke’s songs to great effect in the movie \u003cem>Broken Flowers\u003c/em>, prompting a revival of interest in his music. Luckily for us, at 76 years old, Astatke is still touring, conducting and playing behind the vibraphones. Mulatu Astatke brings his group to town for two nights, Feb. 28 and 29, at the UC Theatre in Berkeley. \u003ca href=\"https://www.theuctheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Mulatu Astatke, coming to Berkeley Feb. 28 and 29, creates a sound like no other on Earth.","status":"publish","parent":0,"modified":1705021285,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":137},"headData":{"title":"A Master of Ethiopian Jazz | KQED","description":"Mulatu Astatke, coming to Berkeley Feb. 28 and 29, creates a sound like no other on Earth.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Master of Ethiopian Jazz","datePublished":"2020-02-14T20:42:31.000Z","dateModified":"2024-01-12T01:01:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1582948800,"endTime":1583049600,"startTimeString":"Feb. 28 and 29, 2020","venueName":"The UC Theatre","venueAddress":"2036 University Ave., Berkeley","eventLink":"https://www.theuctheatre.org/","path":"/arts/13874999/a-master-of-ethiopian-jazz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is no sound on Earth quite like the music of Mulatu Astatke. Though Ethiopia is his home, every six years or so a new group of music listeners in the United States discovers his signature sound—based on a five-tone pentatonic scale, with all sorts of wonderful melodies and tonality swirling around. In 1972, Astatke toured extensively with Duke Ellington. And 15 years ago, the film director Jim Jarmusch used Astatke’s songs to great effect in the movie \u003cem>Broken Flowers\u003c/em>, prompting a revival of interest in his music. Luckily for us, at 76 years old, Astatke is still touring, conducting and playing behind the vibraphones. Mulatu Astatke brings his group to town for two nights, Feb. 28 and 29, at the UC Theatre in Berkeley. \u003ca href=\"https://www.theuctheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874999/a-master-of-ethiopian-jazz","authors":["185"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_1270","arts_1420","arts_2093"],"featImg":"arts_13875000","label":"arts_140"},"arts_13811185":{"type":"posts","id":"arts_13811185","meta":{"index":"posts_1591205157","site":"arts","id":"13811185","score":null,"sort":[1507766747000]},"guestAuthors":[],"slug":"on-the-air-cy-and-kevins-do-list-picks-for-oct-13-2017","title":"On the Air: Cy and Kevin's Do List Picks for Oct. 13, 2017","publishDate":1507766747,"format":"audio","headTitle":"On the Air: Cy and Kevin’s Do List Picks for Oct. 13, 2017 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s a heartbreaking week for artists and venues in the North Bay, with the fires still raging in Sonoma, Napa and Mendocino. Electronic music pioneer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires/\" target=\"_blank\" rel=\"noopener\">Bernie Krause lost his home\u003c/a>, all his equipment and his two cats. The \u003ca href=\"https://www.facebook.com/pg/lutherburbankcenter/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center in Santa Rosa suffered some damage\u003c/a>, and along with the \u003ca href=\"https://www.facebook.com/search/str/Green+music+Center/keywords_blended_featured_posts?esd=eyJlc2lkIjoiUzpfSTEzOTcwNzI4Mjc0ODk0ODpWSzo1MjQzNjc2MTEyMzEwNDgiLCJwc2lkIjp7IjEzOTcwNzI4Mjc0ODk0ODo1MjQzNjc2MTEyMzEwNDgiOiJVenBmU1RFek9UY3dOekk0TWpjME9EazBPRHBXU3pvMU1qUXpOamMyTVRFeU16RXdORGc9In0sImNyY3QiOiJ0ZXh0IiwiY3NpZCI6IjA2NjE0OTVlZmM1N2Q1NmJiY2VhY2YzYzg0YjA0ZWNiIn0%3D\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> and other venues, remains closed indefinitely. Same for the di Rosa in Napa, the Napa Museum, and the Napa Valley Performing Arts Center. The \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> opened its doors as a shelter, but resumes programming on Friday (Oct. 13).\u003c/p>\n\u003cp>The\u003ca href=\"https://www.facebook.com/pg/hopmonksebastopol/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\"> Hop Monk Taverns\u003c/a> in Sonoma and Sebastopol are canceling weekend music shows, but owner Dean Biersch says they’re still hoping to do a Sunday show with John Doe of the band X at their Novato venue, depending on air quality. \u003ca href=\"https://www.facebook.com/winecountryspokenwordfestival/\" target=\"_blank\" rel=\"noopener\">The Inaugural Wine Country Spoken Word Festival\u003c/a> is offering a special rate of five dollars for tickets to their Ghost Stories event at \u003ca href=\"http://brewstersbeergarden.com/\" target=\"_blank\" rel=\"noopener\">Brewsters Beer Garden\u003c/a> in Petaluma (Oct. 13), and for their shows on Saturday (Oct. 14), with half the proceeds to be donated to fire victims and their families. Our thoughts are with you all you.\u003c/p>\n\u003cp>Meanwhile here’s our show, a refuge against stress, of joy through art, in the midst of tragedy, with my colleague, Interactive Producer Kevin Jones, as co-host.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/soul-music-that-drifts-through-space/\" target=\"_blank\" rel=\"noopener\">Nick Hakim plays trippy soul music that seems to drift through space at a pair of gigs in San Francisco and Oakland.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 12-22: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-play-about-syrian-refugees-told-through-the-language-of-food/\" target=\"_blank\" rel=\"noopener\">The play \u003cem>My Sweet Land\u003c/em> presents its tale of Syrian refugees in home and community kitchens through the cooking of a batch of kibbeh.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 14\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-celebration-of-culture-that-unites-the-two-koreas/\" target=\"_blank\" rel=\"noopener\">Concerts and seminars at U.C. Santa Cruz and U.C. Berkeley present music from a united Korean culture from before the country divided.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 7-Jan. 21, 2018\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/an-inflatable-sculpture-designed-to-fight-existential-dread/\" target=\"_blank\" rel=\"noopener\">An inflatable sculpture at the Oakland Museum of California battles existential dread.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/fantastic-negrito-makes-music-about-our-times-and-troubles/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito makes music to inspire and unite.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19: \u003c/strong>MacArthur Fellow and writer Viet Thanh Nguyen (\u003cem>The Sympathizer\u003c/em>) speaks at \u003ca href=\"http://www.litart.org/viet-thanh-nguyen/\" target=\"_blank\" rel=\"noopener\">San Jose State Oct. 18 \u003c/a>and at \u003ca href=\"https://lwcal.scu.edu/index.php#!event_id/37896/view/event/date/20171019\" target=\"_blank\" rel=\"noopener\">Santa Clara University Oct. 19.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct 13, 14: \u003c/strong>\u003ca href=\"https://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=316725~983c845f-a11a-4407-a254-d45cc3fdaab3&epguid=a1ad63af-e5ba-48a3-940d-9a52532417fb&\" target=\"_blank\" rel=\"noopener\">The documentary \u003cem>On the Sly: In Search of the Family Stone \u003c/em>plays at the Mill Valley Film Festival \u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"The Do List's picks this week include joyful sculpture at OMCA, neo-soul artist Nick Hakim, Oakland's Fantastic Negrito and more.","status":"publish","parent":0,"modified":1705029357,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":391},"headData":{"title":"On the Air: Cy and Kevin's Do List Picks for Oct. 13, 2017 | KQED","description":"The Do List's picks this week include joyful sculpture at OMCA, neo-soul artist Nick Hakim, Oakland's Fantastic Negrito and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy and Kevin's Do List Picks for Oct. 13, 2017","datePublished":"2017-10-12T00:05:47.000Z","dateModified":"2024-01-12T03:15:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2017/10/TheDoListPodcastforOct132017.mp3","sticky":false,"path":"/arts/13811185/on-the-air-cy-and-kevins-do-list-picks-for-oct-13-2017","audioDuration":546000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a heartbreaking week for artists and venues in the North Bay, with the fires still raging in Sonoma, Napa and Mendocino. Electronic music pioneer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires/\" target=\"_blank\" rel=\"noopener\">Bernie Krause lost his home\u003c/a>, all his equipment and his two cats. The \u003ca href=\"https://www.facebook.com/pg/lutherburbankcenter/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center in Santa Rosa suffered some damage\u003c/a>, and along with the \u003ca href=\"https://www.facebook.com/search/str/Green+music+Center/keywords_blended_featured_posts?esd=eyJlc2lkIjoiUzpfSTEzOTcwNzI4Mjc0ODk0ODpWSzo1MjQzNjc2MTEyMzEwNDgiLCJwc2lkIjp7IjEzOTcwNzI4Mjc0ODk0ODo1MjQzNjc2MTEyMzEwNDgiOiJVenBmU1RFek9UY3dOekk0TWpjME9EazBPRHBXU3pvMU1qUXpOamMyTVRFeU16RXdORGc9In0sImNyY3QiOiJ0ZXh0IiwiY3NpZCI6IjA2NjE0OTVlZmM1N2Q1NmJiY2VhY2YzYzg0YjA0ZWNiIn0%3D\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> and other venues, remains closed indefinitely. Same for the di Rosa in Napa, the Napa Museum, and the Napa Valley Performing Arts Center. The \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> opened its doors as a shelter, but resumes programming on Friday (Oct. 13).\u003c/p>\n\u003cp>The\u003ca href=\"https://www.facebook.com/pg/hopmonksebastopol/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\"> Hop Monk Taverns\u003c/a> in Sonoma and Sebastopol are canceling weekend music shows, but owner Dean Biersch says they’re still hoping to do a Sunday show with John Doe of the band X at their Novato venue, depending on air quality. \u003ca href=\"https://www.facebook.com/winecountryspokenwordfestival/\" target=\"_blank\" rel=\"noopener\">The Inaugural Wine Country Spoken Word Festival\u003c/a> is offering a special rate of five dollars for tickets to their Ghost Stories event at \u003ca href=\"http://brewstersbeergarden.com/\" target=\"_blank\" rel=\"noopener\">Brewsters Beer Garden\u003c/a> in Petaluma (Oct. 13), and for their shows on Saturday (Oct. 14), with half the proceeds to be donated to fire victims and their families. Our thoughts are with you all you.\u003c/p>\n\u003cp>Meanwhile here’s our show, a refuge against stress, of joy through art, in the midst of tragedy, with my colleague, Interactive Producer Kevin Jones, as co-host.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/soul-music-that-drifts-through-space/\" target=\"_blank\" rel=\"noopener\">Nick Hakim plays trippy soul music that seems to drift through space at a pair of gigs in San Francisco and Oakland.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 12-22: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-play-about-syrian-refugees-told-through-the-language-of-food/\" target=\"_blank\" rel=\"noopener\">The play \u003cem>My Sweet Land\u003c/em> presents its tale of Syrian refugees in home and community kitchens through the cooking of a batch of kibbeh.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-celebration-of-culture-that-unites-the-two-koreas/\" target=\"_blank\" rel=\"noopener\">Concerts and seminars at U.C. Santa Cruz and U.C. Berkeley present music from a united Korean culture from before the country divided.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 7-Jan. 21, 2018\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/an-inflatable-sculpture-designed-to-fight-existential-dread/\" target=\"_blank\" rel=\"noopener\">An inflatable sculpture at the Oakland Museum of California battles existential dread.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/fantastic-negrito-makes-music-about-our-times-and-troubles/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito makes music to inspire and unite.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19: \u003c/strong>MacArthur Fellow and writer Viet Thanh Nguyen (\u003cem>The Sympathizer\u003c/em>) speaks at \u003ca href=\"http://www.litart.org/viet-thanh-nguyen/\" target=\"_blank\" rel=\"noopener\">San Jose State Oct. 18 \u003c/a>and at \u003ca href=\"https://lwcal.scu.edu/index.php#!event_id/37896/view/event/date/20171019\" target=\"_blank\" rel=\"noopener\">Santa Clara University Oct. 19.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct 13, 14: \u003c/strong>\u003ca href=\"https://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=316725~983c845f-a11a-4407-a254-d45cc3fdaab3&epguid=a1ad63af-e5ba-48a3-940d-9a52532417fb&\" target=\"_blank\" rel=\"noopener\">The documentary \u003cem>On the Sly: In Search of the Family Stone \u003c/em>plays at the Mill Valley Film Festival \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13811185/on-the-air-cy-and-kevins-do-list-picks-for-oct-13-2017","authors":["32"],"categories":["arts_73","arts_835","arts_71","arts_74","arts_69","arts_235","arts_75","arts_967"],"tags":["arts_2435","arts_1588","arts_1118","arts_2750","arts_2520","arts_1006","arts_2352","arts_1988","arts_6387","arts_2763","arts_2753","arts_2743","arts_1143","arts_2755","arts_2752","arts_626","arts_1072","arts_2741","arts_2746","arts_2093"],"featImg":"arts_13811364","label":"arts"},"arts_13811354":{"type":"posts","id":"arts_13811354","meta":{"index":"posts_1591205157","site":"arts","id":"13811354","score":null,"sort":[1507766689000]},"guestAuthors":[],"slug":"fantastic-negrito-makes-music-about-our-times-and-troubles","title":"Fantastic Negrito Makes Music About Our Times and Troubles","publishDate":1507766689,"format":"standard","headTitle":"Fantastic Negrito Makes Music About Our Times and Troubles | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Oakland’s Fantastic Negrito makes music we can all believe in, songs about uniting people and resisting hate. He’s just issued a video for “Push Back” a new song on the re-release of his 2016 album \u003ci>The Last Days of Oakland\u003c/i>. It lets Negrito take on the enemy: stress, anxiety and fear, and people who “want to build a wall / but that won’t help at all.” He won a Grammy last year for best blues album, but success hasn’t spoiled him a bit. We just wish he’d play gigs in the Bay Area more often. For his show Saturday, Oct. 14 at the UC Theatre, find \u003ca href=\"http://www.theuctheatre.org/event/1556450-fantastic-negrito-berkeley/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DtW6BcDva24\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Success hasn't spoiled bluesman and activist Fantastic Negrito of Oakland, it's just given him a bigger voice.","status":"publish","parent":0,"modified":1705029358,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":133},"headData":{"title":"Fantastic Negrito Makes Music About Our Times and Troubles | KQED","description":"Success hasn't spoiled bluesman and activist Fantastic Negrito of Oakland, it's just given him a bigger voice.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fantastic Negrito Makes Music About Our Times and Troubles","datePublished":"2017-10-12T00:04:49.000Z","dateModified":"2024-01-12T03:15:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13811354/fantastic-negrito-makes-music-about-our-times-and-troubles","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s Fantastic Negrito makes music we can all believe in, songs about uniting people and resisting hate. He’s just issued a video for “Push Back” a new song on the re-release of his 2016 album \u003ci>The Last Days of Oakland\u003c/i>. It lets Negrito take on the enemy: stress, anxiety and fear, and people who “want to build a wall / but that won’t help at all.” He won a Grammy last year for best blues album, but success hasn’t spoiled him a bit. We just wish he’d play gigs in the Bay Area more often. For his show Saturday, Oct. 14 at the UC Theatre, find \u003ca href=\"http://www.theuctheatre.org/event/1556450-fantastic-negrito-berkeley/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DtW6BcDva24'\n title='//www.youtube.com/embed/DtW6BcDva24'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13811354/fantastic-negrito-makes-music-about-our-times-and-troubles","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69","arts_235"],"tags":["arts_1588","arts_1118","arts_1006","arts_596","arts_1143","arts_626","arts_2093"],"featImg":"arts_12488397","label":"arts_140"},"arts_13804918":{"type":"posts","id":"arts_13804918","meta":{"index":"posts_1591205157","site":"arts","id":"13804918","score":null,"sort":[1502314887000]},"guestAuthors":[],"slug":"a-giant-of-ethiopian-jazz-meets-a-local-musical-ambassador","title":"A Giant of Ethiopian Jazz Meets A Local Musical Ambassador","publishDate":1502314887,"format":"standard","headTitle":"A Giant of Ethiopian Jazz Meets A Local Musical Ambassador | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>You may have heard Mulatu Astatke’s music in the Jim Jarmusch film \u003cem>Broken Flowers\u003c/em>, or on various mixtapes and playlists — it’s this hypnotic, pulsing sound that’s hard to forget. The godfather of Ethiopian jazz makes a rare U.S. appearance next Wednesday at the U.C. Theatre in Berkeley, and opening the show is the Bay Area’s own Meklit, who’s been an ambassador for East AFrican music worldwide both as an Ethiopian-born TED fellow and \u003ca href=\"https://ww2.kqed.org/arts/2015/02/17/indelible-music-inspires-new-view-of-countries-connected-by-nile-river/\" target=\"_blank\" rel=\"noopener\">in her touring show The Nile Project\u003c/a>. \u003c/p>\n\u003cp>On the importance of Mulatu’s music, “There’s pretty much no artist who’s had a more greater impact on me,” Meklit says. “Before him, no one had taken American jazz and Ethiopian pentatonic systems and brought them together in one form. He was the pioneer and the innovator in that sound, and in a way, he freed \u003cem>me\u003c/em> to be an innovator.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=weiUAWyy8MY\u003c/p>\n\u003cp>Meklit’s new album of her own, \u003cem>When The People Move, The Music Moves Too\u003c/em>, is \u003ca href=\"https://ww2.kqed.org/arts/2017/05/05/with-a-drum-driven-new-record-meklit-is-determined-to-make-you-move/\" target=\"_blank\" rel=\"noopener\">a rhythm-heavy burst of joy\u003c/a>. It’s a great double bill as Meklit opens for Mulatu Astatke at the UC Theatre in Berkeley on Wednesday, Aug. 16 — and it’ll likely sell out. \u003ca href=\"http://www.theuctheatre.org/event/1511562-mulatu-astatke-berkeley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Two giants from Ethiopia come to Berkeley: Mulatu Astatke's music is a hypnotic, pulsing sound that's hard to forget, and Meklit's new album boils over with rhythm.","status":"publish","parent":0,"modified":1705029815,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":230},"headData":{"title":"A Giant of Ethiopian Jazz Meets A Local Musical Ambassador | KQED","description":"Two giants from Ethiopia come to Berkeley: Mulatu Astatke's music is a hypnotic, pulsing sound that's hard to forget, and Meklit's new album boils over with rhythm.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Giant of Ethiopian Jazz Meets A Local Musical Ambassador","datePublished":"2017-08-09T21:41:27.000Z","dateModified":"2024-01-12T03:23:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13804918/a-giant-of-ethiopian-jazz-meets-a-local-musical-ambassador","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may have heard Mulatu Astatke’s music in the Jim Jarmusch film \u003cem>Broken Flowers\u003c/em>, or on various mixtapes and playlists — it’s this hypnotic, pulsing sound that’s hard to forget. The godfather of Ethiopian jazz makes a rare U.S. appearance next Wednesday at the U.C. Theatre in Berkeley, and opening the show is the Bay Area’s own Meklit, who’s been an ambassador for East AFrican music worldwide both as an Ethiopian-born TED fellow and \u003ca href=\"https://ww2.kqed.org/arts/2015/02/17/indelible-music-inspires-new-view-of-countries-connected-by-nile-river/\" target=\"_blank\" rel=\"noopener\">in her touring show The Nile Project\u003c/a>. \u003c/p>\n\u003cp>On the importance of Mulatu’s music, “There’s pretty much no artist who’s had a more greater impact on me,” Meklit says. “Before him, no one had taken American jazz and Ethiopian pentatonic systems and brought them together in one form. He was the pioneer and the innovator in that sound, and in a way, he freed \u003cem>me\u003c/em> to be an innovator.”\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/weiUAWyy8MY'\n title='//www.youtube.com/embed/weiUAWyy8MY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meklit’s new album of her own, \u003cem>When The People Move, The Music Moves Too\u003c/em>, is \u003ca href=\"https://ww2.kqed.org/arts/2017/05/05/with-a-drum-driven-new-record-meklit-is-determined-to-make-you-move/\" target=\"_blank\" rel=\"noopener\">a rhythm-heavy burst of joy\u003c/a>. It’s a great double bill as Meklit opens for Mulatu Astatke at the UC Theatre in Berkeley on Wednesday, Aug. 16 — and it’ll likely sell out. \u003ca href=\"http://www.theuctheatre.org/event/1511562-mulatu-astatke-berkeley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13804918/a-giant-of-ethiopian-jazz-meets-a-local-musical-ambassador","authors":["185"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_1420","arts_1334","arts_626","arts_2093"],"featImg":"arts_13804919","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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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":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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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. 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