Vulnerable Yet Strong, August Lee Stevens Envisions ‘Better Places’
Making Sure the Sound Guy Isn’t Always a Guy
Rapper and Audio Engineer Xarina Opens a Studio of Her Own in East Oakland
How Music Nonprofits Bridge the Budget Gap in Oakland Schools
An All-Women Hip-Hop Panel, Plus a Genre-Bending Music Showcase
Will Ed Lee be Remembered as an Arts Advocate? It's Complicated
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srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-768x512.jpg 768w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens’ new EP, ‘Better Places,’ drops April 5. ‘A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,’ she says. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When you listen to the song “Better Places” by August Lee Stevens, be ready. Light a candle, take a deep breath and maybe even grab a seat on the floor, and prepare to connect with the spirits of those no longer here in physical form.\u003c/p>\n\u003cp>During the six-minute, meditative track, Stevens uses her powerful voice and moving lyrics to create an ode to a fallen schooolmate and their family. Complete with a truly electrifying guitar solo by Jesús Rico, the song inspires a silent prayer; you’ll reflect on people you’ve lost as well.\u003c/p>\n\u003cp>Across the four songs on Stevens’ debut EP \u003cem>Better Places\u003c/em>, the multitalented 24-year-old musician from Hercules shows off her pen game as well as her musicianship. Recorded in collaboration with \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> during a residency last year, \u003cem>Better Places\u003c/em> drops April 5. She’ll perform songs from the project on March 21 at \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798?pl=newparish&REFID=clientsitewp&edpPlParam=%3Fpl%3Dnewparish\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a>, as Stevens will open for well-known singer and songwriter \u003ca href=\"https://linktr.ee/marahruby\" target=\"_blank\" rel=\"noopener\">Mara Hruby\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954079\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg\" alt=\"Singer and musician August Lee Stevens lays in a field of grass next to her full-sized keyboard.\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-768x512.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It marks Stevens’ first time at the New Parish as a main performer instead of a backup singer. “This is the first time I’m doing my own material, with my own band,” she says. “I’m really excited. It’s been my dream for a while.”\u003c/p>\n\u003cp>Stevens is a classically trained pianist who picked up singing during her senior year of high school and mastered the guitar during the pandemic. She began molding her creative talents just around the corner from the New Parish at Oakland School of The Arts, where she attended both middle and high school.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When asked what audience members should expect during the upcoming show, she replies immediately: “Lots of healing and lots of vulnerability.” It’s one thing she and Mara Hruby have in common, she says. “I gravitate towards her because of her gentleness and vulnerability, and that’s something she’s picked up in my music.”\u003c/p>\n\u003cp>In addition to moments where people might be moved to tears, Stevens leaves room for lighthearted jokes as well. “When I’m on stage,” Stevens tells me, “I can’t stop rambling between songs when there’s no music, and I’ll often say some bad puns.” Her band members might get mad at her for it, she says with a laugh, but she doesn’t mind — it’s how she lets her guard down. Sometimes, she’ll even make herself the butt of the joke.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wk8Wj_skMQc\u003c/p>\n\u003cp>But her music is far from comical.\u003c/p>\n\u003cp>Stevens wrote \u003cem>Better Places\u003c/em> over the span of a few years. Its single, “\u003ca href=\"https://augustleestevens.bandcamp.com/track/in-my-head\">In My Head\u003c/a>,” is built around a simple, soulful arrangement that starts slow and builds, allowing Stevens to show off her tonal range and long vocal riffs.\u003c/p>\n\u003cp>Over keys, a smooth drum pattern, a jazzy xylophone and a strong-sounding horn, Stevens sings: “I wish you could see all the beauty that’s left to be found, and what this could be / But we’re fighting with every doubt, so don’t let it be all in my head.” (Stevens says the track was initially inspired by her dog Clyde, a Rhodesian Ridgeback who comes to her shows. “I want him to be famous,” Stevens says.)\u003c/p>\n\u003cp>[aside postID='arts_13953970']The EP’s first track, “Sweet Thing,” is slow with church-like keys and a breathtaking horn. “Keep Trying,” the EP’s most uptempo song, has the vibe of a movie — it could easily soundtrack a transitional montage where the protagonist gets their life together and becomes who they’re born to be.\u003c/p>\n\u003cp>The final track, “Better Places,” is clearly the star of the show. Starting slow, it builds epically, filled with emotion and grief as Stevens sings, “’Cause if we’re moving on, we can’t be weighed down anymore / And we tried another way to find it, only breaking down what was left with our open hands and empty pockets, searching for what we know is there.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E-RTVfNf000\u003c/p>\n\u003cp>Her big vocals continue through the song’s hook of “Better places, better places, better places, we’re going to reach for those better places.” Although made in honor of a fallen former schoolmate, the song is an uplifting example of how beauty can be birthed out of tragedy.\u003c/p>\n\u003cp>She credits Women’s Audio Mission, specifically studio manager and engineer Arielle Flinkman, for providing an environment where she, other women and gender-expansive people can feel comfortable to create. She also worked with Spain-based producer Jake Lloyd to create the project.\u003c/p>\n\u003cp>Stevens, who’s played shows in San Francisco, Santa Cruz and Sacramento, and was recently featured in \u003ca href=\"https://www.instagram.com/p/C4arwrRskHE/\" target=\"_blank\" rel=\"noopener\">NPR’s Tiny Desk\u003c/a> submission roundup, is clear: this project is an opportunity to showcase who she is as an artist.\u003c/p>\n\u003cp>[aside postID='arts_13953475']“A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,” reflects Stevens. “I feel like I have trouble speaking in person, and so sometimes it gives me the chance to go back and reflect about it — to know what I wanted to say, or to know what I was actually feeling,” says Stevens.\u003c/p>\n\u003cp>A poet and prose writer on top of being a musician, Stevens says it’s never too late to express yourself.\u003c/p>\n\u003cp>“There’s power in speaking your truth when you deem it a good time, when it feels comfortable and safe for you,” says Stevens. “That’s the main message that I hope people get from the music, that knowing it’s not too late to talk about what’s going on. You should talk about it at some point, you should express it at some point. And,” adds Stevens, emphasizing the power of personal choice, “\u003cem>you\u003c/em> should determine when and how \u003cem>you\u003c/em> do that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>August Lee Stevens performs at the New Parish in Oakland on Thursday, March 21, at 9 p.m. \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"On her debut release, the Hercules-based singer crafts songs that connect with the spirits.","status":"publish","parent":0,"modified":1710808831,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1140},"headData":{"title":"Vulnerable Yet Strong, August Lee Stevens Envisions ‘Better Places’ | KQED","description":"On her debut release, the Hercules-based singer crafts songs that connect with the spirits.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Vulnerable Yet Strong, August Lee Stevens Envisions ‘Better Places’","datePublished":"2024-03-18T22:23:40.000Z","dateModified":"2024-03-19T00:40:31.000Z","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/13954077/august-lee-stevens-better-places","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954078\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954078 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg\" alt=\"A young Black woman pictured from above, laying in a field of grass and surrounded by flowers, photographed with a wide-angle lens.\" width=\"1047\" height=\"698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-768x512.jpg 768w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens’ new EP, ‘Better Places,’ drops April 5. ‘A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,’ she says. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When you listen to the song “Better Places” by August Lee Stevens, be ready. Light a candle, take a deep breath and maybe even grab a seat on the floor, and prepare to connect with the spirits of those no longer here in physical form.\u003c/p>\n\u003cp>During the six-minute, meditative track, Stevens uses her powerful voice and moving lyrics to create an ode to a fallen schooolmate and their family. Complete with a truly electrifying guitar solo by Jesús Rico, the song inspires a silent prayer; you’ll reflect on people you’ve lost as well.\u003c/p>\n\u003cp>Across the four songs on Stevens’ debut EP \u003cem>Better Places\u003c/em>, the multitalented 24-year-old musician from Hercules shows off her pen game as well as her musicianship. Recorded in collaboration with \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> during a residency last year, \u003cem>Better Places\u003c/em> drops April 5. She’ll perform songs from the project on March 21 at \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798?pl=newparish&REFID=clientsitewp&edpPlParam=%3Fpl%3Dnewparish\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a>, as Stevens will open for well-known singer and songwriter \u003ca href=\"https://linktr.ee/marahruby\" target=\"_blank\" rel=\"noopener\">Mara Hruby\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954079\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg\" alt=\"Singer and musician August Lee Stevens lays in a field of grass next to her full-sized keyboard.\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-768x512.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It marks Stevens’ first time at the New Parish as a main performer instead of a backup singer. “This is the first time I’m doing my own material, with my own band,” she says. “I’m really excited. It’s been my dream for a while.”\u003c/p>\n\u003cp>Stevens is a classically trained pianist who picked up singing during her senior year of high school and mastered the guitar during the pandemic. She began molding her creative talents just around the corner from the New Parish at Oakland School of The Arts, where she attended both middle and high school.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>When asked what audience members should expect during the upcoming show, she replies immediately: “Lots of healing and lots of vulnerability.” It’s one thing she and Mara Hruby have in common, she says. “I gravitate towards her because of her gentleness and vulnerability, and that’s something she’s picked up in my music.”\u003c/p>\n\u003cp>In addition to moments where people might be moved to tears, Stevens leaves room for lighthearted jokes as well. “When I’m on stage,” Stevens tells me, “I can’t stop rambling between songs when there’s no music, and I’ll often say some bad puns.” Her band members might get mad at her for it, she says with a laugh, but she doesn’t mind — it’s how she lets her guard down. Sometimes, she’ll even make herself the butt of the joke.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Wk8Wj_skMQc'\n title='//www.youtube.com/embed/Wk8Wj_skMQc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But her music is far from comical.\u003c/p>\n\u003cp>Stevens wrote \u003cem>Better Places\u003c/em> over the span of a few years. Its single, “\u003ca href=\"https://augustleestevens.bandcamp.com/track/in-my-head\">In My Head\u003c/a>,” is built around a simple, soulful arrangement that starts slow and builds, allowing Stevens to show off her tonal range and long vocal riffs.\u003c/p>\n\u003cp>Over keys, a smooth drum pattern, a jazzy xylophone and a strong-sounding horn, Stevens sings: “I wish you could see all the beauty that’s left to be found, and what this could be / But we’re fighting with every doubt, so don’t let it be all in my head.” (Stevens says the track was initially inspired by her dog Clyde, a Rhodesian Ridgeback who comes to her shows. “I want him to be famous,” Stevens says.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953970","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The EP’s first track, “Sweet Thing,” is slow with church-like keys and a breathtaking horn. “Keep Trying,” the EP’s most uptempo song, has the vibe of a movie — it could easily soundtrack a transitional montage where the protagonist gets their life together and becomes who they’re born to be.\u003c/p>\n\u003cp>The final track, “Better Places,” is clearly the star of the show. Starting slow, it builds epically, filled with emotion and grief as Stevens sings, “’Cause if we’re moving on, we can’t be weighed down anymore / And we tried another way to find it, only breaking down what was left with our open hands and empty pockets, searching for what we know is there.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E-RTVfNf000'\n title='//www.youtube.com/embed/E-RTVfNf000'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her big vocals continue through the song’s hook of “Better places, better places, better places, we’re going to reach for those better places.” Although made in honor of a fallen former schoolmate, the song is an uplifting example of how beauty can be birthed out of tragedy.\u003c/p>\n\u003cp>She credits Women’s Audio Mission, specifically studio manager and engineer Arielle Flinkman, for providing an environment where she, other women and gender-expansive people can feel comfortable to create. She also worked with Spain-based producer Jake Lloyd to create the project.\u003c/p>\n\u003cp>Stevens, who’s played shows in San Francisco, Santa Cruz and Sacramento, and was recently featured in \u003ca href=\"https://www.instagram.com/p/C4arwrRskHE/\" target=\"_blank\" rel=\"noopener\">NPR’s Tiny Desk\u003c/a> submission roundup, is clear: this project is an opportunity to showcase who she is as an artist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953475","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,” reflects Stevens. “I feel like I have trouble speaking in person, and so sometimes it gives me the chance to go back and reflect about it — to know what I wanted to say, or to know what I was actually feeling,” says Stevens.\u003c/p>\n\u003cp>A poet and prose writer on top of being a musician, Stevens says it’s never too late to express yourself.\u003c/p>\n\u003cp>“There’s power in speaking your truth when you deem it a good time, when it feels comfortable and safe for you,” says Stevens. “That’s the main message that I hope people get from the music, that knowing it’s not too late to talk about what’s going on. You should talk about it at some point, you should express it at some point. And,” adds Stevens, emphasizing the power of personal choice, “\u003cem>you\u003c/em> should determine when and how \u003cem>you\u003c/em> do that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>\u003cem>August Lee Stevens performs at the New Parish in Oakland on Thursday, March 21, at 9 p.m. \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954077/august-lee-stevens-better-places","authors":["11491"],"categories":["arts_1","arts_69"],"tags":["arts_22021","arts_1220","arts_1143","arts_1146","arts_22027","arts_3448"],"featImg":"arts_13954282","label":"arts"},"arts_13936067":{"type":"posts","id":"arts_13936067","meta":{"index":"posts_1591205157","site":"arts","id":"13936067","score":null,"sort":[1696885444000]},"guestAuthors":[],"slug":"womens-audio-mission-20-years-neko-case","title":"Making Sure the Sound Guy Isn’t Always a Guy","publishDate":1696885444,"format":"standard","headTitle":"Making Sure the Sound Guy Isn’t Always a Guy | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Burned out after a decade toiling as a software engineer, guitarist Sammie Wallinga knew she had to make a change.\u003c/p>\n\u003cp>She’d moved from Chicago to Oakland in 2021 while working a remote tech job, and quickly established herself on the Bay Area music scene playing in various metal bands. But her dream career as an audio engineer seemed to hover permanently on the horizon, always out of reach.\u003c/p>\n\u003cp>[aside postid='arts_12268799']Then she heard about \u003ca href=\"https://womensaudiomission.org/\">Women’s Audio Mission\u003c/a>, the San Francisco nonprofit that’s trained thousands of women to run sound boards and recording equipment at studios and venues over the past 20 years. When a pink slip arrived last April, she took the bad news as an opportunity: the timing was perfect. “I immediately applied for the WAM internship, which was starting up in a couple of weeks,” says Wallinga. After training at WAM’s learning lab in Fruitvale, she plunged into classes at WAM’s San Francisco studio on Natoma Street to earn certification. “And now I’m a house engineer at the WAM studio.”\u003c/p>\n\u003cp>Wallinga continues to play music too — she performs with Exuvia at the How to Destroy the Universe festival in Oakland this Friday, Oct. 13. But for the past few months she’s spent most of her time recording voiceovers and podcasts, including an interview with a 90-year-old Holocaust survivor (for the public radio show \u003cem>Radiolab), \u003c/em>work for KCRW, and guided meditation sessions for yet another client. But “my favorite thing is working with musicians as part of WAM’s \u003ca href=\"https://womensaudiomission.org/training/local-sirens/#:~:text=Local%20Sirens%3A%20Live%20Music%20Performance,communities%20of%20the%20Bay%20Area.\">Local Sirens program\u003c/a>, sitting in at sessions and helping bring these songs to life.”\u003c/p>\n\u003cfigure id=\"attachment_13936105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13936105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-800x596.jpeg\" alt=\"a Black woman with a guitar stands on a stage, performing with her band in front of a red sign that reads 'women's audio mission'\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-800x596.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-1020x760.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-768x572.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-1536x1144.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM.jpeg 1611w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Skip the Needle performs as part of Women’s Audio Mission’s quarterly performance series, Local Sirens. \u003ccite>(Jamie Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wallinga’s career is just one of thousands that’s been launched or shaped by WAM since it was founded in 2003 by recording engineer Terri Winston. Early in her 10-year stint as a professor and director of City College of San Francisco’s sound recording arts program, Winston — looking to the Bay Area’s history of award-winning women engineers, like Cookie Marenco and Leslie Ann Jones — saw an opportunity to provide women not just college courses, but on-the-ground training and mentorship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the field is still disproportionately staffed by men, the number of women audio professionals has increased exponentially in the two decades since Winston launched the organization. WAM will celebrate that legacy with a \u003ca href=\"https://womensaudiomission.org/event/wams-20-anniversary-fundraiser/\">20th anniversary fundraiser at Herbst Theatre\u003c/a> this Thursday, Oct. 12, featuring a performance by singer/songwriter Neko Case. (She’s one of many artists who’ve recorded at WAM’s studio, including Toro y Moi, Tune-Yards, Kronos Quartet, David Sedaris and Beyoncé’s band.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JbPD88elviY\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThe milestone is an against-all-odds triumph for a project that started with Winston pushing a shopping cart of audio gear around to give recording workshops. WAM has found many male allies in the industry, but also faced numerous slammed doors: When a major audio engineering convention refused to rent WAM a booth early on, Winston says it took the City Attorney of San Francisco’s office intervening to get her in the door.\u003c/p>\n\u003cp>Now, “We’re training 2,000 women, girls and gender-expansive folks every year,” says Winston, who has built the organization through partnerships with companies looking to transform the once-cloistered profession, like Meyer Sound and Dolby, which regularly take on interns from WAM. At Outside Lands, WAM interns shadow engineers at nearly every stage, learning the ins and outs of live festival sound.\u003c/p>\n\u003cp>The pandemic brought the organization a surge of interest — and new challenges. Already offering classes online, the organization managed a surge in enrollment as hundreds of musicians and aspiring audio engineers from around the world signed up for courses. Within weeks the course load doubled, “which was good and bad,” Winston says. “The good was we gained global following, and the bad was keeping up. We were hiring in the middle of the pandemic. We did have a lot of support because we’d built that trust.”\u003c/p>\n\u003cp>WAM had also just been stepping into a new five-year plan to expand in Los Angeles when the pandemic hit. Last year, WAM received another major boost with a $1 million grant from philanthropist MacKenzie Scott to bring WAM to the recording industry centers of L.A. and Nashville. And Dolby recently invested to create new, advanced spatial audio recording rooms at WAM’s San Francisco studio.\u003c/p>\n\u003cfigure id=\"attachment_13936104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/WAM-Dolby-Interns-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13936104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/WAM-Dolby-Interns-800x600.jpg\" alt=\"a group of seven young women pose in front of a sign that reads 'Dolby Cinema'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission helps aspiring engineers land internships at some of the world’s biggest audio companies. \u003ccite>(Courtesy Women's Audio Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For artists, the presence of women in the studio isn’t just a question of equal opportunity in the business — it can go to the heart of the creative process. Merrill Garbus, who founded the Oakland project Tune-Yards with Nate Brenner, was “a puppeteer longing to be a musician” when she had her first dispiriting experiences in the studio. While working as a nanny for a veteran recording engineer, she bartered some of her compensation for his help recording her first songs.\u003c/p>\n\u003cp>[aside postid='arts_13897503']While he was “a perfectly nice human being,” says Garbus, the dynamic left her feeling “totally disempowered. It was not a model to have authority for the kind of sound I wanted.” It was a familiar feeling, says the musician: “In a previous band, there were no women except for me in the room. Without knowing the technical stuff, there’s an insidious quality of disempowerment.”\u003c/p>\n\u003cp>Garbus turned poison into medicine with the first Tune-Yards album, 2009’s \u003cem>Bird-Brains\u003c/em>, which she recorded entirely through a Dictaphone — “the only way to own my sound,” she says. “That was my attempt at reclaiming that authority.” The compressed, lo-fi audio became a Tune-Yards trademark, even as she grew increasingly confident in the studio.\u003c/p>\n\u003cp>Witnessing the infusion of women in studio positions has been heartening, Garbus says. “It has changed over my time as a musician and changed particularly because I live in the Bay Area. I reap the benefits of what Terri has done.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Women’s Audio Mission’s 20th anniversary fundraiser and concert featuring Neko Case takes place at 7 p.m. on Thursday, Oct. 12 at Herbst Theatre, 401 Van Ness Ave., San Francisco. \u003ca href=\"https://womensaudiomission.org/event/wams-20-anniversary-fundraiser/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With a Neko Case concert, Women's Audio Mission celebrates 20 years of pushing for equality at the engineering board. ","status":"publish","parent":0,"modified":1705003260,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1138},"headData":{"title":"Women's Audio Mission Celebrates 20th Anniversary | KQED","description":"With a Neko Case concert, Women's Audio Mission celebrates 20 years of pushing for equality at the engineering board. ","ogTitle":"Making Sure the Sound Guy Isn't Always a Guy","ogDescription":"","ogImgId":"","twTitle":"Making Sure the Sound Guy Isn't Always a Guy","twDescription":"","twImgId":"","socialTitle":"Women's Audio Mission Celebrates 20th Anniversary %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Making Sure the Sound Guy Isn’t Always a Guy","datePublished":"2023-10-09T21:04:04.000Z","dateModified":"2024-01-11T20:01:00.000Z","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/13936067/womens-audio-mission-20-years-neko-case","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Burned out after a decade toiling as a software engineer, guitarist Sammie Wallinga knew she had to make a change.\u003c/p>\n\u003cp>She’d moved from Chicago to Oakland in 2021 while working a remote tech job, and quickly established herself on the Bay Area music scene playing in various metal bands. But her dream career as an audio engineer seemed to hover permanently on the horizon, always out of reach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12268799","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Then she heard about \u003ca href=\"https://womensaudiomission.org/\">Women’s Audio Mission\u003c/a>, the San Francisco nonprofit that’s trained thousands of women to run sound boards and recording equipment at studios and venues over the past 20 years. When a pink slip arrived last April, she took the bad news as an opportunity: the timing was perfect. “I immediately applied for the WAM internship, which was starting up in a couple of weeks,” says Wallinga. After training at WAM’s learning lab in Fruitvale, she plunged into classes at WAM’s San Francisco studio on Natoma Street to earn certification. “And now I’m a house engineer at the WAM studio.”\u003c/p>\n\u003cp>Wallinga continues to play music too — she performs with Exuvia at the How to Destroy the Universe festival in Oakland this Friday, Oct. 13. But for the past few months she’s spent most of her time recording voiceovers and podcasts, including an interview with a 90-year-old Holocaust survivor (for the public radio show \u003cem>Radiolab), \u003c/em>work for KCRW, and guided meditation sessions for yet another client. But “my favorite thing is working with musicians as part of WAM’s \u003ca href=\"https://womensaudiomission.org/training/local-sirens/#:~:text=Local%20Sirens%3A%20Live%20Music%20Performance,communities%20of%20the%20Bay%20Area.\">Local Sirens program\u003c/a>, sitting in at sessions and helping bring these songs to life.”\u003c/p>\n\u003cfigure id=\"attachment_13936105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13936105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-800x596.jpeg\" alt=\"a Black woman with a guitar stands on a stage, performing with her band in front of a red sign that reads 'women's audio mission'\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-800x596.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-1020x760.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-768x572.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM-1536x1144.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skip-the-Needle_Local-Sirens__credit-Jamie-hernandez-WAM.jpeg 1611w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Skip the Needle performs as part of Women’s Audio Mission’s quarterly performance series, Local Sirens. \u003ccite>(Jamie Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wallinga’s career is just one of thousands that’s been launched or shaped by WAM since it was founded in 2003 by recording engineer Terri Winston. Early in her 10-year stint as a professor and director of City College of San Francisco’s sound recording arts program, Winston — looking to the Bay Area’s history of award-winning women engineers, like Cookie Marenco and Leslie Ann Jones — saw an opportunity to provide women not just college courses, but on-the-ground training and mentorship.\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>While the field is still disproportionately staffed by men, the number of women audio professionals has increased exponentially in the two decades since Winston launched the organization. WAM will celebrate that legacy with a \u003ca href=\"https://womensaudiomission.org/event/wams-20-anniversary-fundraiser/\">20th anniversary fundraiser at Herbst Theatre\u003c/a> this Thursday, Oct. 12, featuring a performance by singer/songwriter Neko Case. (She’s one of many artists who’ve recorded at WAM’s studio, including Toro y Moi, Tune-Yards, Kronos Quartet, David Sedaris and Beyoncé’s band.)\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/JbPD88elviY'\n title='//www.youtube.com/embed/JbPD88elviY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThe milestone is an against-all-odds triumph for a project that started with Winston pushing a shopping cart of audio gear around to give recording workshops. WAM has found many male allies in the industry, but also faced numerous slammed doors: When a major audio engineering convention refused to rent WAM a booth early on, Winston says it took the City Attorney of San Francisco’s office intervening to get her in the door.\u003c/p>\n\u003cp>Now, “We’re training 2,000 women, girls and gender-expansive folks every year,” says Winston, who has built the organization through partnerships with companies looking to transform the once-cloistered profession, like Meyer Sound and Dolby, which regularly take on interns from WAM. At Outside Lands, WAM interns shadow engineers at nearly every stage, learning the ins and outs of live festival sound.\u003c/p>\n\u003cp>The pandemic brought the organization a surge of interest — and new challenges. Already offering classes online, the organization managed a surge in enrollment as hundreds of musicians and aspiring audio engineers from around the world signed up for courses. Within weeks the course load doubled, “which was good and bad,” Winston says. “The good was we gained global following, and the bad was keeping up. We were hiring in the middle of the pandemic. We did have a lot of support because we’d built that trust.”\u003c/p>\n\u003cp>WAM had also just been stepping into a new five-year plan to expand in Los Angeles when the pandemic hit. Last year, WAM received another major boost with a $1 million grant from philanthropist MacKenzie Scott to bring WAM to the recording industry centers of L.A. and Nashville. And Dolby recently invested to create new, advanced spatial audio recording rooms at WAM’s San Francisco studio.\u003c/p>\n\u003cfigure id=\"attachment_13936104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/WAM-Dolby-Interns-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13936104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/WAM-Dolby-Interns-800x600.jpg\" alt=\"a group of seven young women pose in front of a sign that reads 'Dolby Cinema'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/WAM-Dolby-Interns-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission helps aspiring engineers land internships at some of the world’s biggest audio companies. \u003ccite>(Courtesy Women's Audio Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For artists, the presence of women in the studio isn’t just a question of equal opportunity in the business — it can go to the heart of the creative process. Merrill Garbus, who founded the Oakland project Tune-Yards with Nate Brenner, was “a puppeteer longing to be a musician” when she had her first dispiriting experiences in the studio. While working as a nanny for a veteran recording engineer, she bartered some of her compensation for his help recording her first songs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13897503","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While he was “a perfectly nice human being,” says Garbus, the dynamic left her feeling “totally disempowered. It was not a model to have authority for the kind of sound I wanted.” It was a familiar feeling, says the musician: “In a previous band, there were no women except for me in the room. Without knowing the technical stuff, there’s an insidious quality of disempowerment.”\u003c/p>\n\u003cp>Garbus turned poison into medicine with the first Tune-Yards album, 2009’s \u003cem>Bird-Brains\u003c/em>, which she recorded entirely through a Dictaphone — “the only way to own my sound,” she says. “That was my attempt at reclaiming that authority.” The compressed, lo-fi audio became a Tune-Yards trademark, even as she grew increasingly confident in the studio.\u003c/p>\n\u003cp>Witnessing the infusion of women in studio positions has been heartening, Garbus says. “It has changed over my time as a musician and changed particularly because I live in the Bay Area. I reap the benefits of what Terri has done.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>\u003cem>Women’s Audio Mission’s 20th anniversary fundraiser and concert featuring Neko Case takes place at 7 p.m. on Thursday, Oct. 12 at Herbst Theatre, 401 Van Ness Ave., San Francisco. \u003ca href=\"https://womensaudiomission.org/event/wams-20-anniversary-fundraiser/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936067/womens-audio-mission-20-years-neko-case","authors":["86"],"programs":["arts_140"],"categories":["arts_1","arts_835"],"tags":["arts_10342","arts_10278","arts_3448"],"featImg":"arts_13936103","label":"arts_140"},"arts_13897503":{"type":"posts","id":"arts_13897503","meta":{"index":"posts_1591205157","site":"arts","id":"13897503","score":null,"sort":[1621892662000]},"guestAuthors":[],"slug":"rapper-and-audio-engineer-xarina-opens-a-studio-of-her-own-in-east-oakland","title":"Rapper and Audio Engineer Xarina Opens a Studio of Her Own in East Oakland","publishDate":1621892662,"format":"standard","headTitle":"Rapper and Audio Engineer Xarina Opens a Studio of Her Own in East Oakland | KQED","labelTerm":{"term":4525,"site":"arts"},"content":"\u003cp>Earlier this month, audio engineer, rapper and singer \u003ca href=\"https://www.instagram.com/xarinamusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Xarina\u003c/a> hit a major milestone: opening the doors to \u003ca href=\"https://www.studioxrecording.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Studio X Recording\u003c/a>.\u003c/p>\n\u003cp>“When I walked in here, I just felt like it was already mine,” Xarina says, looking around the East Oakland loft space. “And so I let myself feel that for a second. And I was like, ‘Oh, I gotta make it happen.’”\u003c/p>\n\u003cp>In addition to pursuing her own music career, Xarina (real name Karina Flonnoy) has made a name for herself in hip-hop circles as the go-to engineer for Mistah F.A.B., the renowned Oakland rapper, Dope Era clothing owner and community activist. She previously worked out of \u003ca href=\"https://www.instagram.com/cmp_studios_/\" target=\"_blank\" rel=\"noopener noreferrer\">Cutthroat Mode Productions\u003c/a> in Hayward and \u003ca href=\"https://www.instagram.com/toonedstudios/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tooned Studios\u003c/a> in Oakland, two destinations for up-and-coming rap talent, and she’s mixed songs for other notable Oakland artists, including rapper Capolow and singer Rayven Justice. [aside postid='arts_13897650']\u003c/p>\n\u003cp>Though Xarina enjoyed working with the tight-knit Cutthroat Mode Production team, on quiet nights she’d sometimes find herself browsing Craigslist for a studio of her own. A few weeks ago, she stumbled on a spot that felt right. Tucked away at the end of a residential street in Jingletown, the space is located in a warehouse that already includes several other studios, including the video production house MOPIX Creative. The entire building was once owned by members of Green Day and known as JingleTown Recording, where clients included Smash Mouth and Iggy Pop.\u003c/p>\n\u003cp>“Good energy,” Xarina says, still taking it in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/iY2um37K4wo\u003c/p>\n\u003cp>A one-woman team, Xarina cobbled together her savings and a loan and signed the lease. (There were plenty of sacrifices along the way: It wasn’t long ago that she was living and working in her friend’s mom’s garage.) Then, it was time to get to work.\u003c/p>\n\u003cp>“Before we got here, all this was open space, so there was no wall here or nothin’,” she tells me during a recent visit on a Monday afternoon. With the help of some friends, she built a wall that sections off the loft into a secluded recording space, installed soundproofing in the vocal booth and loaded in her collection of microphones, audio interfaces and monitors. The space is a work in progress; Xarina says she’s still working on some cosmetic fixes and getting more equipment.\u003c/p>\n\u003cp>When you enter Studio X, you’re greeted with the cozy, lived-in vibe of comfy couches and the excited panting of Xarina’s boxer, Brixx. During my visit, Xarina’s friend \u003ca href=\"https://www.instagram.com/djtasi/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Tasi\u003c/a> is hanging out downstairs, and \u003ca href=\"https://www.ctbeats-realmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">CT Beats\u003c/a> is upstairs behind the computer working on a bass-heavy beat. Although not a household name yet, CT Beats produced the hit “\u003ca href=\"https://www.youtube.com/watch?v=HkVS79y4p4Y&ab_channel=YGVEVO\" target=\"_blank\" rel=\"noopener noreferrer\">Why You Always Hatin’\u003c/a>” by YG, Drake and Kamaiyah, and recently had a track featured in Beyoncé’s Ivy Park athletic wear commercial starring Hailey Bieber and Gucci Mane.\u003c/p>\n\u003cp>https://youtu.be/wLMnFRKrGWs\u003c/p>\n\u003cp>There’s clearly a lot of promise in the building—and in the Bay Area in general, Xarina will tell you with pride. Although it’s a common refrain that Bay Area rap talent often influences but gets overlooked by the mainstream music industry, Xarina is excited about Studio X becoming a place for artists to perfect their crafts and make connections.\u003c/p>\n\u003cp>“Everybody loves to complain about the Bay Area and what we don’t do, but like, what do we do?” says Xarina, who grew up in San Jose and has lived all over the East Bay for the last 10 years. “We are an amazing group of fucking people. I don’t care what we lack. What do we have? We have magic. We have this realness about us that you can’t really find anywhere else. So, like, forget the bullshit, what can we do? How can we connect? How can we build?”\u003c/p>\n\u003cp>Over the past two weeks, Xarina has had some of her first recording sessions. Mistah F.A.B. even came through on the May 15 opening day, and rising Oakland rapper Ally Cocaine booked a session a week later. Xarina envisions the studio as a free-form creative space. Her specialty is recording crisp vocals, and since she has extensive experience as an artist herself, she often works as a hands-on creative collaborator with the rappers, singers, songwriters and producers who book time with her. [aside postid='arts_13891687']\u003c/p>\n\u003cp>“Sometimes I’ll just lay vocals for them or I’ll end up writing bars for them,” she says. “If I ever critique, I will always have a solution. If I don’t like that line, I’ll give you a better line.”\u003c/p>\n\u003cp>Xarina says that making her way in the male-dominated rap world prepared her for advancing in her career as an engineer. “I always knew I had to work harder and be better just to get some type of acknowledgment,” she says.\u003c/p>\n\u003cp>If women rappers are still treated like outliers in the industry, engineers are even more scarce. Women make up less than 5% of professional audio engineers, according to the educational and professional organization \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Women’s Audio Mission (WAM)\u003c/a>. WAM is based in Oakland and San Francisco, and Xarina interned there after graduating college in 2016. “I met so many dope women that wanted to do this,” she says. “The Recording Academy and WAM and a few others have advocated for women in the industry a little bit more lately. So that’s cool we’re getting kind of a spotlight and a shine, but it’s still not nearly enough.” [aside postid='arts_13894449']\u003c/p>\n\u003cp>Xarina herself is certainly doing her part to contribute to that change. She has big dreams for Studio X, including one day hiring a team (including some of her WAM cohort) and expanding into a space that can accommodate bands and ensembles.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I needed a headquarters to execute my ideas,” she says. “I’m excited. I finally have a \u003cem>thing\u003c/em>, you know, I finally have a brand and company. So now it’s just like—let’s take it on one.”\u003c/p>\n\n","blocks":[],"excerpt":"How Mistah F.A.B.’s go-to engineer established herself in a space once owned by Green Day. ","status":"publish","parent":0,"modified":1705008328,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1077},"headData":{"title":"Rapper and Audio Engineer Xarina Opens a Studio of Her Own in East Oakland | KQED","description":"How Mistah F.A.B.’s go-to engineer established herself in a space once owned by Green Day. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rapper and Audio Engineer Xarina Opens a Studio of Her Own in East Oakland","datePublished":"2021-05-24T21:44:22.000Z","dateModified":"2024-01-11T21:25:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13897503/rapper-and-audio-engineer-xarina-opens-a-studio-of-her-own-in-east-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month, audio engineer, rapper and singer \u003ca href=\"https://www.instagram.com/xarinamusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Xarina\u003c/a> hit a major milestone: opening the doors to \u003ca href=\"https://www.studioxrecording.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Studio X Recording\u003c/a>.\u003c/p>\n\u003cp>“When I walked in here, I just felt like it was already mine,” Xarina says, looking around the East Oakland loft space. “And so I let myself feel that for a second. And I was like, ‘Oh, I gotta make it happen.’”\u003c/p>\n\u003cp>In addition to pursuing her own music career, Xarina (real name Karina Flonnoy) has made a name for herself in hip-hop circles as the go-to engineer for Mistah F.A.B., the renowned Oakland rapper, Dope Era clothing owner and community activist. She previously worked out of \u003ca href=\"https://www.instagram.com/cmp_studios_/\" target=\"_blank\" rel=\"noopener noreferrer\">Cutthroat Mode Productions\u003c/a> in Hayward and \u003ca href=\"https://www.instagram.com/toonedstudios/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tooned Studios\u003c/a> in Oakland, two destinations for up-and-coming rap talent, and she’s mixed songs for other notable Oakland artists, including rapper Capolow and singer Rayven Justice. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13897650","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though Xarina enjoyed working with the tight-knit Cutthroat Mode Production team, on quiet nights she’d sometimes find herself browsing Craigslist for a studio of her own. A few weeks ago, she stumbled on a spot that felt right. Tucked away at the end of a residential street in Jingletown, the space is located in a warehouse that already includes several other studios, including the video production house MOPIX Creative. The entire building was once owned by members of Green Day and known as JingleTown Recording, where clients included Smash Mouth and Iggy Pop.\u003c/p>\n\u003cp>“Good energy,” Xarina says, still taking it in.\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>\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/iY2um37K4wo'\n title='//www.youtube.com/embed/iY2um37K4wo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A one-woman team, Xarina cobbled together her savings and a loan and signed the lease. (There were plenty of sacrifices along the way: It wasn’t long ago that she was living and working in her friend’s mom’s garage.) Then, it was time to get to work.\u003c/p>\n\u003cp>“Before we got here, all this was open space, so there was no wall here or nothin’,” she tells me during a recent visit on a Monday afternoon. With the help of some friends, she built a wall that sections off the loft into a secluded recording space, installed soundproofing in the vocal booth and loaded in her collection of microphones, audio interfaces and monitors. The space is a work in progress; Xarina says she’s still working on some cosmetic fixes and getting more equipment.\u003c/p>\n\u003cp>When you enter Studio X, you’re greeted with the cozy, lived-in vibe of comfy couches and the excited panting of Xarina’s boxer, Brixx. During my visit, Xarina’s friend \u003ca href=\"https://www.instagram.com/djtasi/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Tasi\u003c/a> is hanging out downstairs, and \u003ca href=\"https://www.ctbeats-realmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">CT Beats\u003c/a> is upstairs behind the computer working on a bass-heavy beat. Although not a household name yet, CT Beats produced the hit “\u003ca href=\"https://www.youtube.com/watch?v=HkVS79y4p4Y&ab_channel=YGVEVO\" target=\"_blank\" rel=\"noopener noreferrer\">Why You Always Hatin’\u003c/a>” by YG, Drake and Kamaiyah, and recently had a track featured in Beyoncé’s Ivy Park athletic wear commercial starring Hailey Bieber and Gucci Mane.\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/wLMnFRKrGWs'\n title='//www.youtube.com/embed/wLMnFRKrGWs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s clearly a lot of promise in the building—and in the Bay Area in general, Xarina will tell you with pride. Although it’s a common refrain that Bay Area rap talent often influences but gets overlooked by the mainstream music industry, Xarina is excited about Studio X becoming a place for artists to perfect their crafts and make connections.\u003c/p>\n\u003cp>“Everybody loves to complain about the Bay Area and what we don’t do, but like, what do we do?” says Xarina, who grew up in San Jose and has lived all over the East Bay for the last 10 years. “We are an amazing group of fucking people. I don’t care what we lack. What do we have? We have magic. We have this realness about us that you can’t really find anywhere else. So, like, forget the bullshit, what can we do? How can we connect? How can we build?”\u003c/p>\n\u003cp>Over the past two weeks, Xarina has had some of her first recording sessions. Mistah F.A.B. even came through on the May 15 opening day, and rising Oakland rapper Ally Cocaine booked a session a week later. Xarina envisions the studio as a free-form creative space. Her specialty is recording crisp vocals, and since she has extensive experience as an artist herself, she often works as a hands-on creative collaborator with the rappers, singers, songwriters and producers who book time with her. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13891687","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Sometimes I’ll just lay vocals for them or I’ll end up writing bars for them,” she says. “If I ever critique, I will always have a solution. If I don’t like that line, I’ll give you a better line.”\u003c/p>\n\u003cp>Xarina says that making her way in the male-dominated rap world prepared her for advancing in her career as an engineer. “I always knew I had to work harder and be better just to get some type of acknowledgment,” she says.\u003c/p>\n\u003cp>If women rappers are still treated like outliers in the industry, engineers are even more scarce. Women make up less than 5% of professional audio engineers, according to the educational and professional organization \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Women’s Audio Mission (WAM)\u003c/a>. WAM is based in Oakland and San Francisco, and Xarina interned there after graduating college in 2016. “I met so many dope women that wanted to do this,” she says. “The Recording Academy and WAM and a few others have advocated for women in the industry a little bit more lately. So that’s cool we’re getting kind of a spotlight and a shine, but it’s still not nearly enough.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894449","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Xarina herself is certainly doing her part to contribute to that change. She has big dreams for Studio X, including one day hiring a team (including some of her WAM cohort) and expanding into a space that can accommodate bands and ensembles.\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>“I needed a headquarters to execute my ideas,” she says. “I’m excited. I finally have a \u003cem>thing\u003c/em>, you know, I finally have a brand and company. So now it’s just like—let’s take it on one.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13897503/rapper-and-audio-engineer-xarina-opens-a-studio-of-her-own-in-east-oakland","authors":["11387"],"series":["arts_4525"],"categories":["arts_1"],"tags":["arts_8505","arts_10342","arts_10278","arts_7827","arts_10648","arts_3448"],"featImg":"arts_13897742","label":"arts_4525"},"arts_13830918":{"type":"posts","id":"arts_13830918","meta":{"index":"posts_1591205157","site":"arts","id":"13830918","score":null,"sort":[1525903245000]},"guestAuthors":[],"slug":"lending-a-hand-to-oakland-middle-school-music-education","title":"How Music Nonprofits Bridge the Budget Gap in Oakland Schools","publishDate":1525903245,"format":"image","headTitle":"How Music Nonprofits Bridge the Budget Gap in Oakland Schools | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On a recent morning at Westlake Middle School in Oakland, longtime band teacher Randy Porter keeps a friendly demeanor while wrangling his students’ attention. “Turn to page 17,” he says, projecting over a cacophony of sixth graders messing with their flutes, clarinets, trumpets and saxophones. “Here’s the thing: with a little bit of focus, you could get \u003cem>every\u003c/em> line sounding that good. I know you could. Or actually, even better!”\u003c/p>\n\u003cp>Porter’s encouragement gets a boost in his next class, for seventh and eighth grade advanced band students, when local trumpet player Christopher Clarke joins him. Clarke is a teaching artist who’s here thanks to San Francisco nonprofit \u003ca href=\"https://www.sfjazz.org/education/schools-and-partnerships/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>‘s program Jazz in Session, which brings professional musicians into classrooms to work one-on-one with students. As Porter leads the class through a 12-bar blues composition, Clarke brings three trumpet players into a glass-paneled practice room for a special session.\u003c/p>\n\u003cfigure id=\"attachment_13831113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg\" alt=\"Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ' Jazz in Session initiative. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ’s Jazz in Session initiative. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Clarke here, the atmosphere changes; the students seem more engaged, and Porter seems relieved. “I feel like the biggest part of my job is psychologist. I gotta teach music, but there’s a lot more,” Porter says when he gets a moment to break away from his class. “More than half of our students come from a traumatic home life.”\u003c/p>\n\u003cp>SFJAZZ has had a presence in San Francisco public schools since 1984, but this year marks its major expansion into Oakland, with the goal of reaching all of the city’s middle schools. Along with fellow San Francisco nonprofit Women’s Audio Mission — which opened an Oakland location for its middle school after-school program this school year — SFJAZZ joins several Oakland music nonprofits, including Oaktown Jazz and Oakland Public Conservatory, in bolstering underfunded music programs in the Oakland Unified School District.\u003c/p>\n\u003ch3>Tackling Music Education from Multiple Fronts\u003c/h3>\n\u003cp>Last fall, SFJAZZ introduced Jazz in Session — where teaching artists like Clarke visit music classrooms — to three Oakland middle Schools: Westlake, Montera and Edna Brewer. In the coming 2018-19 school year, SFJAZZ plans to implement two more education programs in Oakland: one of them, School Day Concerts, will bring musicians like bassist Marcus Shelby and Latin jazz ensemble La Mixta Criolla to perform for assemblies at 15 different schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At two to three more middle schools, SFJAZZ is planning another program, Jazz in the Middle, which integrates a jazz curriculum into existing language arts and social studies classes at schools that don’t have band periods. (SFJAZZ has yet to announce the names of the beneficiary schools of both programs.)\u003c/p>\n\u003cfigure id=\"attachment_13831114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg\" alt=\"Beginning band class at Westlake Middle School.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning band class at Westlake Middle School. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ Director of Education Rebecca Mauleón says she hopes SFJAZZ’s efforts will bolster the arts in the low-income school district, which has about \u003ca href=\"http://www.ofcy.org/assets/Strategic-Plan/Strategic-Plan-2016-2019-Appendix-A-Oakland-Youth-Demographic-Profile.pdf\" target=\"_blank\" rel=\"noopener\">a third of students\u003c/a> living below the poverty line. The primary aim is to contribute to students’ over all academic success, not necessarily to put them on a direct path to professional musicianship.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The arts are necessary skill-building tools that are part of critical thinking, collaborative learning and, in many cases, the types of job opportunities they’ll have in the future that haven’t been invented yet,” Mauleón says.\u003c/span>\u003c/p>\n\u003cp>SFJAZZ’ goal is to bring consistency to OUSD’s music programs at a time when the district faces a major \u003ca href=\"https://www.eastbaytimes.com/2017/12/14/oakland-unified-school-board-approves-9-million-in-mid-year-cuts/\" target=\"_blank\" rel=\"noopener\">budget crisis\u003c/a>. According to the\u003ca href=\"http://www.randstatestats.org/ca/stats/per-pupil-spending-(ca-only).html\" target=\"_blank\" rel=\"noopener\"> latest available data\u003c/a> from the Rand Corporation, Oakland Unified School District (OUSD) spent $13,813 per student during the 2016-17 school year. (In comparison, across the Bay in affluent Palo Alto, the school district spent $17,941 — over $4,000 more — per student.) Moreover, in December 2017, OUSD approved $9 million in mid-year budget cuts, nixing dozens of non-teaching staff positions and reducing budgets for supplies, teacher benefits and other areas.\u003c/p>\n\u003cp>Fillmore Rydeen, the manager of visual and performing arts at OUSD, says OUSD hasn’t laid off any music teachers in years, but admitted that there have been operational cuts to music:\u003cspan style=\"font-weight: 400\"> “Money we’d use to purchase instruments, supplies and things like that; repair equipment,” he says.\u003c/span>\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.kqed.org/news/10897918/parents-and-administrators-in-oakland-battle-over-middle-schools-future\" target=\"_blank\" rel=\"noopener\">several other teachers at Westlake\u003c/a>, Porter maintains that traditional public schools have \u003ca href=\"https://www.eastbaytimes.com/2017/12/08/what-led-to-oakland-unifieds-budget-crisis/\" target=\"_blank\" rel=\"noopener\">taken a major hit\u003c/a> over the past decade as a result of the charter school movement. Charter schools attract high-achieving students from well-off families out of public schools like Westlake, he says, leaving students from low-income families behind.\u003c/p>\n\u003cp>In 2013, Westlake had 747 students. Porter says that number is now closer to 360. Because schools get funding based on average daily attendance, they’ve lost many resources. The principal cancelled Porter’s before-school jazz band period because of low enrollment, for instance, which cut the time he gets with his advanced students in half.\u003c/p>\n\u003cp>“We have this new era of segregation in Oakland schools,” he says.\u003c/p>\n\u003cp>At Westlake, teachers are stretched thin, Porter explains, which is why non-profit programs that send in teaching artists like Clarke can be a huge boon: “There are so many kids that have so many needs in a community like this that to be really successful is not a one-person job.”\u003c/p>\n\u003ch3>Focusing on Under-Resourced Schools\u003c/h3>\n\u003cp>Like SFJAZZ, the San Francisco-based Women’s Audio Mission (WAM) is also seeking to deepen its relationship with Oakland schools. The nonprofit has offered after-school programs on site at Oakland schools for nearly seven years, and it opened its first Oakland facility in the Fruitvale district at the start of the 2017-2018 school year.\u003c/p>\n\u003cp>“We’ve had next-to-no capacity to offer audio engineering course work for our middle school students, so having someone like Women’s Audio Mission is something that’s really critical and fills a variety of different roles in music education,” says Rydeen.\u003c/p>\n\u003cfigure id=\"attachment_13831116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg\" alt=\"Women's Audio Mission interns assist in a podcasting class for middle schoolers at the non-profit's Oakland facility.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission interns assist in a podcasting class for middle school students at the non-profit’s Oakland facility. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As of 2017, the Oakland Unified School District has a\u003ca href=\"https://edsource.org/2017/graduation-and-dropout-rates-look-up-california-districts-and-high-schools/580171\" target=\"_blank\" rel=\"noopener\"> 35 percent dropout rate\u003c/a>, and Terri Winston, founder of Women’s Audio Mission, says that phenomenon is particularly prevalent in East Oakland. She set her sights on Fruitvale in order to reach those under-resourced students.\u003c/p>\n\u003cp>“This location in particular, there’s like eight middle schools that can walk to us,” says Winston. “It was important to us to have a location that the girls could own, that felt like, ‘This is a part of my neighborhood.'”\u003c/p>\n\u003cp>When I sit in on a class called Girls on the Mic on a recent afternoon, over a dozen sixth-grade girls from Urban Promise Academy work on podcasts in GarageBand. Most of them are bilingual English and Spanish speakers, so there’s a lot of Spanglish in the mix. One group of three giggles as they practice the introduction to their gossip podcast, which they’re calling \u003cem>Middle School Chisme. \u003c/em>Another group passionately huddles around their microphones for a podcast on LGBTQ issues. “I don’t know what I am yet,” one student confesses into the mic, “but I think everyone should be themselves!”\u003c/p>\n\u003cp>At Girls on the Mic, kids learn a wide range of skills, including recording, mixing, music production, sound for film, podcasting and live sound. “They kind of get to pick and choose and get exposed to all of these careers,” says Victoria Fajardo, a Girls on the Mic instructor.\u003c/p>\n\u003cp>Fajardo says that as a woman of color, her passion to inspire young girls in Fruitvale is deeply personal: she’s first generation Mexican American and grew up in a similarly working class, predominantly Latino neighborhood in Concord. “It’s really important for me to tell them, ‘If I can do it, you can do it,'” she says.\u003c/p>\n\u003cp>As class wraps up, the girls look invigorated; they’re still giggling from having fun being themselves on the mic. Winston says that experiences like this can help close the achievement gap by motivating students to get excited about learning. Her goal is to reach 3,000 Oakland students a year by 2020.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“They can see how this ties into their current studies,” she says. “And then: ‘Oh, maybe my current studies aren’t that bad if I can use them to make this badass art.'”\u003c/p>\n\n","blocks":[],"excerpt":"A visit to classrooms in Oakland, where SFJAZZ and Women's Audio Mission are expanding music education programs during a budget crisis.","status":"publish","parent":0,"modified":1705027908,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1484},"headData":{"title":"How Music Nonprofits Bridge the Budget Gap in Oakland Schools | KQED","description":"A visit to classrooms in Oakland, where SFJAZZ and Women's Audio Mission are expanding music education programs during a budget crisis.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Music Nonprofits Bridge the Budget Gap in Oakland Schools","datePublished":"2018-05-09T22:00:45.000Z","dateModified":"2024-01-12T02:51:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13830918/lending-a-hand-to-oakland-middle-school-music-education","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent morning at Westlake Middle School in Oakland, longtime band teacher Randy Porter keeps a friendly demeanor while wrangling his students’ attention. “Turn to page 17,” he says, projecting over a cacophony of sixth graders messing with their flutes, clarinets, trumpets and saxophones. “Here’s the thing: with a little bit of focus, you could get \u003cem>every\u003c/em> line sounding that good. I know you could. Or actually, even better!”\u003c/p>\n\u003cp>Porter’s encouragement gets a boost in his next class, for seventh and eighth grade advanced band students, when local trumpet player Christopher Clarke joins him. Clarke is a teaching artist who’s here thanks to San Francisco nonprofit \u003ca href=\"https://www.sfjazz.org/education/schools-and-partnerships/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>‘s program Jazz in Session, which brings professional musicians into classrooms to work one-on-one with students. As Porter leads the class through a 12-bar blues composition, Clarke brings three trumpet players into a glass-paneled practice room for a special session.\u003c/p>\n\u003cfigure id=\"attachment_13831113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg\" alt=\"Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ' Jazz in Session initiative. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ’s Jazz in Session initiative. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Clarke here, the atmosphere changes; the students seem more engaged, and Porter seems relieved. “I feel like the biggest part of my job is psychologist. I gotta teach music, but there’s a lot more,” Porter says when he gets a moment to break away from his class. “More than half of our students come from a traumatic home life.”\u003c/p>\n\u003cp>SFJAZZ has had a presence in San Francisco public schools since 1984, but this year marks its major expansion into Oakland, with the goal of reaching all of the city’s middle schools. Along with fellow San Francisco nonprofit Women’s Audio Mission — which opened an Oakland location for its middle school after-school program this school year — SFJAZZ joins several Oakland music nonprofits, including Oaktown Jazz and Oakland Public Conservatory, in bolstering underfunded music programs in the Oakland Unified School District.\u003c/p>\n\u003ch3>Tackling Music Education from Multiple Fronts\u003c/h3>\n\u003cp>Last fall, SFJAZZ introduced Jazz in Session — where teaching artists like Clarke visit music classrooms — to three Oakland middle Schools: Westlake, Montera and Edna Brewer. In the coming 2018-19 school year, SFJAZZ plans to implement two more education programs in Oakland: one of them, School Day Concerts, will bring musicians like bassist Marcus Shelby and Latin jazz ensemble La Mixta Criolla to perform for assemblies at 15 different schools.\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>At two to three more middle schools, SFJAZZ is planning another program, Jazz in the Middle, which integrates a jazz curriculum into existing language arts and social studies classes at schools that don’t have band periods. (SFJAZZ has yet to announce the names of the beneficiary schools of both programs.)\u003c/p>\n\u003cfigure id=\"attachment_13831114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg\" alt=\"Beginning band class at Westlake Middle School.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning band class at Westlake Middle School. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ Director of Education Rebecca Mauleón says she hopes SFJAZZ’s efforts will bolster the arts in the low-income school district, which has about \u003ca href=\"http://www.ofcy.org/assets/Strategic-Plan/Strategic-Plan-2016-2019-Appendix-A-Oakland-Youth-Demographic-Profile.pdf\" target=\"_blank\" rel=\"noopener\">a third of students\u003c/a> living below the poverty line. The primary aim is to contribute to students’ over all academic success, not necessarily to put them on a direct path to professional musicianship.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The arts are necessary skill-building tools that are part of critical thinking, collaborative learning and, in many cases, the types of job opportunities they’ll have in the future that haven’t been invented yet,” Mauleón says.\u003c/span>\u003c/p>\n\u003cp>SFJAZZ’ goal is to bring consistency to OUSD’s music programs at a time when the district faces a major \u003ca href=\"https://www.eastbaytimes.com/2017/12/14/oakland-unified-school-board-approves-9-million-in-mid-year-cuts/\" target=\"_blank\" rel=\"noopener\">budget crisis\u003c/a>. According to the\u003ca href=\"http://www.randstatestats.org/ca/stats/per-pupil-spending-(ca-only).html\" target=\"_blank\" rel=\"noopener\"> latest available data\u003c/a> from the Rand Corporation, Oakland Unified School District (OUSD) spent $13,813 per student during the 2016-17 school year. (In comparison, across the Bay in affluent Palo Alto, the school district spent $17,941 — over $4,000 more — per student.) Moreover, in December 2017, OUSD approved $9 million in mid-year budget cuts, nixing dozens of non-teaching staff positions and reducing budgets for supplies, teacher benefits and other areas.\u003c/p>\n\u003cp>Fillmore Rydeen, the manager of visual and performing arts at OUSD, says OUSD hasn’t laid off any music teachers in years, but admitted that there have been operational cuts to music:\u003cspan style=\"font-weight: 400\"> “Money we’d use to purchase instruments, supplies and things like that; repair equipment,” he says.\u003c/span>\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.kqed.org/news/10897918/parents-and-administrators-in-oakland-battle-over-middle-schools-future\" target=\"_blank\" rel=\"noopener\">several other teachers at Westlake\u003c/a>, Porter maintains that traditional public schools have \u003ca href=\"https://www.eastbaytimes.com/2017/12/08/what-led-to-oakland-unifieds-budget-crisis/\" target=\"_blank\" rel=\"noopener\">taken a major hit\u003c/a> over the past decade as a result of the charter school movement. Charter schools attract high-achieving students from well-off families out of public schools like Westlake, he says, leaving students from low-income families behind.\u003c/p>\n\u003cp>In 2013, Westlake had 747 students. Porter says that number is now closer to 360. Because schools get funding based on average daily attendance, they’ve lost many resources. The principal cancelled Porter’s before-school jazz band period because of low enrollment, for instance, which cut the time he gets with his advanced students in half.\u003c/p>\n\u003cp>“We have this new era of segregation in Oakland schools,” he says.\u003c/p>\n\u003cp>At Westlake, teachers are stretched thin, Porter explains, which is why non-profit programs that send in teaching artists like Clarke can be a huge boon: “There are so many kids that have so many needs in a community like this that to be really successful is not a one-person job.”\u003c/p>\n\u003ch3>Focusing on Under-Resourced Schools\u003c/h3>\n\u003cp>Like SFJAZZ, the San Francisco-based Women’s Audio Mission (WAM) is also seeking to deepen its relationship with Oakland schools. The nonprofit has offered after-school programs on site at Oakland schools for nearly seven years, and it opened its first Oakland facility in the Fruitvale district at the start of the 2017-2018 school year.\u003c/p>\n\u003cp>“We’ve had next-to-no capacity to offer audio engineering course work for our middle school students, so having someone like Women’s Audio Mission is something that’s really critical and fills a variety of different roles in music education,” says Rydeen.\u003c/p>\n\u003cfigure id=\"attachment_13831116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg\" alt=\"Women's Audio Mission interns assist in a podcasting class for middle schoolers at the non-profit's Oakland facility.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission interns assist in a podcasting class for middle school students at the non-profit’s Oakland facility. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As of 2017, the Oakland Unified School District has a\u003ca href=\"https://edsource.org/2017/graduation-and-dropout-rates-look-up-california-districts-and-high-schools/580171\" target=\"_blank\" rel=\"noopener\"> 35 percent dropout rate\u003c/a>, and Terri Winston, founder of Women’s Audio Mission, says that phenomenon is particularly prevalent in East Oakland. She set her sights on Fruitvale in order to reach those under-resourced students.\u003c/p>\n\u003cp>“This location in particular, there’s like eight middle schools that can walk to us,” says Winston. “It was important to us to have a location that the girls could own, that felt like, ‘This is a part of my neighborhood.'”\u003c/p>\n\u003cp>When I sit in on a class called Girls on the Mic on a recent afternoon, over a dozen sixth-grade girls from Urban Promise Academy work on podcasts in GarageBand. Most of them are bilingual English and Spanish speakers, so there’s a lot of Spanglish in the mix. One group of three giggles as they practice the introduction to their gossip podcast, which they’re calling \u003cem>Middle School Chisme. \u003c/em>Another group passionately huddles around their microphones for a podcast on LGBTQ issues. “I don’t know what I am yet,” one student confesses into the mic, “but I think everyone should be themselves!”\u003c/p>\n\u003cp>At Girls on the Mic, kids learn a wide range of skills, including recording, mixing, music production, sound for film, podcasting and live sound. “They kind of get to pick and choose and get exposed to all of these careers,” says Victoria Fajardo, a Girls on the Mic instructor.\u003c/p>\n\u003cp>Fajardo says that as a woman of color, her passion to inspire young girls in Fruitvale is deeply personal: she’s first generation Mexican American and grew up in a similarly working class, predominantly Latino neighborhood in Concord. “It’s really important for me to tell them, ‘If I can do it, you can do it,'” she says.\u003c/p>\n\u003cp>As class wraps up, the girls look invigorated; they’re still giggling from having fun being themselves on the mic. Winston says that experiences like this can help close the achievement gap by motivating students to get excited about learning. Her goal is to reach 3,000 Oakland students a year by 2020.\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>“They can see how this ties into their current studies,” she says. “And then: ‘Oh, maybe my current studies aren’t that bad if I can use them to make this badass art.'”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13830918/lending-a-hand-to-oakland-middle-school-music-education","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_4725","arts_1118","arts_5849","arts_1143","arts_9159","arts_2048","arts_3448"],"featImg":"arts_13831112","label":"arts"},"arts_13826726":{"type":"posts","id":"arts_13826726","meta":{"index":"posts_1591205157","site":"arts","id":"13826726","score":null,"sort":[1520550727000]},"guestAuthors":[],"slug":"an-all-women-hip-hop-panel-plus-a-genre-bending-music-showcase","title":"An All-Women Hip-Hop Panel, Plus a Genre-Bending Music Showcase","publishDate":1520550727,"format":"standard","headTitle":"An All-Women Hip-Hop Panel, Plus a Genre-Bending Music Showcase | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The San Francisco non-profit \u003ca href=\"https://www.womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> continues its free concert series, Local Sirens, at the Rickshaw Stop on March 13, and this time it’s handing over the mic to female hip-hop artists.\u003c/p>\n\u003cp>The evening begins with a panel about women in hip-hop, moderated by WAM founder and veteran audio engineer Terri Winston. It features \u003ca href=\"https://www.kqed.org/arts/13078404/rocky-riveras-round-we-go-is-a-call-to-action-and-a-reminder-weve-been-here-before\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a>, a feminist MC who got her start as a music journalist at \u003cem>Rolling Stone\u003c/em>; Chhoti Maa, a rapper and activist who created a vital platform for female artists with her annual party, \u003ca href=\"https://www.eastbayexpress.com/oakland/madlines-on-the-brujas-you-couldnt-kill/Content?oid=4572403\" target=\"_blank\" rel=\"noopener\">The Brujas You Couldn’t Kill\u003c/a>; and Versoul (aka \u003ca href=\"https://www.eastbayexpress.com/oakland/babii-cris-becoming-fearless/Content?oid=4765159\" target=\"_blank\" rel=\"noopener\">Babii Cris\u003c/a>), a fierce rapper and producer with an empowering message.\u003c/p>\n\u003cp>https://youtu.be/SW2KUk0IC7g\u003c/p>\n\u003cp>Versoul and Rocky Rivera will perform after the panel. And rounding out the evening will be sets from the wistful, indie pop singer Rose Droll and \u003ca href=\"https://www.eastbayexpress.com/oakland/krystle-ahmadyars-long-journey-home/Content?oid=4536304\" target=\"_blank\" rel=\"noopener\">Ruby Mountain\u003c/a>, a versatile Oakland singer and multi-instrumentalist whose music takes inspiration from her Afghan and Mexican roots. It should be an eclectic evening, and best of all, it’s free.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information and tickets for Local Sirens can be found \u003ca href=\"https://www.eventbrite.com/e/wam-presents-local-sirens-rocky-rivera-versoul-rose-droll-ruby-mountain-tickets-41635978332\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Women's Audio Mission's latest Local Sirens showcase features Rocky Rivera, Rose Droll, and more. ","status":"publish","parent":0,"modified":1705028304,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":193},"headData":{"title":"An All-Women Hip-Hop Panel, Plus a Genre-Bending Music Showcase | KQED","description":"Women's Audio Mission's latest Local Sirens showcase features Rocky Rivera, Rose Droll, and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An All-Women Hip-Hop Panel, Plus a Genre-Bending Music Showcase","datePublished":"2018-03-08T23:12:07.000Z","dateModified":"2024-01-12T02:58:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13826726/an-all-women-hip-hop-panel-plus-a-genre-bending-music-showcase","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco non-profit \u003ca href=\"https://www.womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> continues its free concert series, Local Sirens, at the Rickshaw Stop on March 13, and this time it’s handing over the mic to female hip-hop artists.\u003c/p>\n\u003cp>The evening begins with a panel about women in hip-hop, moderated by WAM founder and veteran audio engineer Terri Winston. It features \u003ca href=\"https://www.kqed.org/arts/13078404/rocky-riveras-round-we-go-is-a-call-to-action-and-a-reminder-weve-been-here-before\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a>, a feminist MC who got her start as a music journalist at \u003cem>Rolling Stone\u003c/em>; Chhoti Maa, a rapper and activist who created a vital platform for female artists with her annual party, \u003ca href=\"https://www.eastbayexpress.com/oakland/madlines-on-the-brujas-you-couldnt-kill/Content?oid=4572403\" target=\"_blank\" rel=\"noopener\">The Brujas You Couldn’t Kill\u003c/a>; and Versoul (aka \u003ca href=\"https://www.eastbayexpress.com/oakland/babii-cris-becoming-fearless/Content?oid=4765159\" target=\"_blank\" rel=\"noopener\">Babii Cris\u003c/a>), a fierce rapper and producer with an empowering message.\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/SW2KUk0IC7g'\n title='//www.youtube.com/embed/SW2KUk0IC7g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Versoul and Rocky Rivera will perform after the panel. And rounding out the evening will be sets from the wistful, indie pop singer Rose Droll and \u003ca href=\"https://www.eastbayexpress.com/oakland/krystle-ahmadyars-long-journey-home/Content?oid=4536304\" target=\"_blank\" rel=\"noopener\">Ruby Mountain\u003c/a>, a versatile Oakland singer and multi-instrumentalist whose music takes inspiration from her Afghan and Mexican roots. It should be an eclectic evening, and best of all, it’s free.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>\u003c/p>\n\u003cp>\u003cem>More information and tickets for Local Sirens can be found \u003ca href=\"https://www.eventbrite.com/e/wam-presents-local-sirens-rocky-rivera-versoul-rose-droll-ruby-mountain-tickets-41635978332\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13826726/an-all-women-hip-hop-panel-plus-a-genre-bending-music-showcase","authors":["11387"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_4219","arts_1334","arts_3448"],"featImg":"arts_13826732","label":"arts_140"},"arts_13817451":{"type":"posts","id":"arts_13817451","meta":{"index":"posts_1591205157","site":"arts","id":"13817451","score":null,"sort":[1513301383000]},"guestAuthors":[],"slug":"will-ed-lee-be-remembered-as-an-arts-advocate-its-complicated","title":"Will Ed Lee be Remembered as an Arts Advocate? It's Complicated","publishDate":1513301383,"format":"image","headTitle":"Will Ed Lee be Remembered as an Arts Advocate? It’s Complicated | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On Friday night, Dec. 8, Mayor Ed Lee was at Stevens Books in the Excelsior District of San Francisco, viewing the work of artist Aaron de la Cruz and talking with other artists who’d created storefront installations funded by the city. \u003c/p>\n\u003cp>Tom DeCaigny, cultural affairs director for the San Francisco Arts Commission, saw the mayor there that night. According to DeCaigny, Lee’s regular appearances at this and other local arts events prove the importance of the arts to the mayor, who suffered a heart attack and died Monday evening at age 65.\u003c/p>\n\u003cp>“I think he really saw the value of arts and culture, particularly at the neighborhood level,” DeCaigny says. “Many people have spoken about how he wasn’t a flashy politician. He much preferred meeting with a local artist, in a local storefront — and that’s where he was, late into the evening just last Friday, before he passed.”\u003c/p>\n\u003cfigure id=\"attachment_13817503\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg\" alt=\"Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13817503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat.jpg 1285w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such stories about Lee’s embrace of the arts, however, clash with a prevailing narrative in San Francisco’s creative community: specifically, that Lee’s tech- and developer-friendly policies sparked rent increases, low vacancy rates, and evictions that cumulatively pushed artists out of the city.\u003c/p>\n\u003cp>A 2015 survey from DeCaigny’s own San Francisco Arts Commission (SFAC) showed that of 600 artists polled, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had been displaced\u003c/a> from their home or studio. (Multiple artists contacted for this piece did not want to go on the record, citing Lee’s too-recent death, before unleashing a string of words that either started with “F” or had to do with tech’s takeover of San Francisco.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stuart Shuffman, a.k.a. Broke-Ass Stuart, ran for Mayor against Lee in a 2015 election on a platform that included the protection of artists.\u003c/p>\n\u003cp>“When there are policies to help the rich get richer, you can’t be an artist in San Francisco anymore,” he says. “Art doesn’t come from the top. Art is a bottom-up thing. And when you push out all the working-class people, all the poor people and artists, you just get a boring-ass city.”\u003c/p>\n\u003cp>Lee should have been able to see the direct connection between his tech-friendly policies and artist displacement, Shuffman says — a stance shared by most artists he knows. “Ed Lee wasn’t out there personally evicting artists. I don’t think he was a bad person, and I’m sure he liked art and artists. But the policy of tech by any means necessary was harmful to the city.” \u003c/p>\n\u003cfigure id=\"attachment_13809567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13809567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Moscone at San Francisco Arts Advocacy Day in 2017. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That conclusion — that Lee was friendly to tech and thus an enemy to artists — is an oversimplified one, says Jonathan Moscone, civic engagement chief at the Yerba Buena Center for the Arts and son of the late mayor George Moscone.\u003c/p>\n\u003cp>“There are a lot of forces that make arts difficult to sustain, in \u003cem>any\u003c/em> city in this country,” says Moscone. “I don’t think it’s a one-to-one ratio that tech caused this, considering the complexity of issues that San Francisco faces.”\u003c/p>\n\u003cp>Moscone was the leading proponent of Prop. S, a \u003ca href=\"https://ww2.kqed.org/arts/2016/05/27/sf-arts-and-homeless-organizations-join-forces-to-secure-more-city-funding/\" rel=\"noopener\" target=\"_blank\">2016 hotel tax initiative\u003c/a> that would have restored lost funding for the arts. Lee did not come out publicly for the proposal, and it failed at the polls by a narrow margin. Despite that, Moscone says, he understands that Lee had other priorities, and “insofar as we were able to get his ear, he did love the arts, that was very clear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003cp>Those in nonprofit arts organizations around the city echo the sentiment — that though Lee may not have loudly campaigned for the arts, he did understand their importance, and worked behind the scenes to mitigate the creative class’ exodus from San Francisco. Often that involved committees, meetings, boards, grants and other “not-so-sexy to the public” activities, says DeCaigny, but had tangible, and massive, results.\u003c/p>\n\u003cp>“One of his signature accomplishments was a historic \u003ca href=\"https://www.sfstation.com/2015/06/05/sf-commits-7-million-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">million-dollar increase to the Cultural Equity Endowment\u003c/a>. That’s the endowment that the Arts Commission manages that grants to both individual artists and small, mid-sized budget arts nonprofit organizations,” says DeCaigny of the 50-percent increase. “That endowment had been around for 20 years, so it’s something to say that it hadn’t been done before.”\u003c/p>\n\u003cp>Also as a result of that 2015 funding package, the \u003ca href=\"http://cast-sf.org/\" rel=\"noopener\" target=\"_blank\">Community Arts Stabilization Trust\u003c/a> (CAST) was able to secure long-term leases for both the Luggage Store Gallery and CounterPulse, both well-loved institutions. Moy Eng, CAST’s executive director, characterizes Lee’s approach with the funding package as “not just a kicking the can down the road, but finding a long-term and permanent solution.”\u003c/p>\n\u003cfigure id=\"attachment_11539534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg\" alt=\"Equipto.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11539534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_.jpg 1595w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Equipto, hip-hop artist and member of the ‘Frisco Five’ who personally addressed Mayor Ed Lee in a widely shared video.\u003c/figcaption>\u003c/figure>\n\u003cp>And yet in San Francisco, those approaches — wonky, not easy to digest, full of bureaucracy — didn’t quell his critics. Perhaps the loudest artist expressing anger toward Lee was longtime San Francisco hip-hop artist Equipto, who confronted the mayor at Max’s Opera Cafe in 2015. “You have no heart, man,” the rapper told him in a \u003ca href=\"https://www.facebook.com/equipto415/videos/1033058506733989/\" rel=\"noopener\" target=\"_blank\">widely shared video\u003c/a>. “The people that built this city, you’re kickin’ ’em all out of here, man. You’re a part of it, I know you are.” \u003c/p>\n\u003cp>Equipto — part of a \u003ca href=\"http://wineandbowties.com/music/four-one-fivin-san-francisco-rap-aint-dead-yet/\" rel=\"noopener\" target=\"_blank\">dwindling hip-hop community\u003c/a> in San Francisco, where the black population \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" rel=\"noopener\" target=\"_blank\">rapidly diminished under Lee\u003c/a> — did not respond to requests for comment. But his musical collaborator (and fellow \u003ca href=\"https://www.youtube.com/watch?v=6b2jsTGys8Y\" rel=\"noopener\" target=\"_blank\">Frisco Five\u003c/a> activist) Selassie took a \u003ca href=\"https://twitter.com/Sellassie/status/940682970993647616\" rel=\"noopener\" target=\"_blank\">conciliatory tone on Twitter\u003c/a>: “Even though we were adversaries in the ring of social justice in San Francisco, I respected him,” Selassie wrote. “Disagreed with him, but respected him as my elder. #RIP.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003cp>Terri Winston, executive director of Women’s Audio Mission, which teaches women recording and engineering skills, says Lee was especially helpful when Women’s Audio Mission faced displacement in 2014.\u003c/p>\n\u003cp>“His support helped us keep the only professional recording studio in the world run by women in San Francisco and set us on the road to permanently owning our facility — which we now do,” Winston writes in an email to KQED Arts. “Mayor Ed Lee understood the importance of amplifying the voices of young women and girls of color and how our work was changing their relationship to technology.”\u003c/p>\n\u003cfigure id=\"attachment_13817505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg\" alt=\"Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13817505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011. \u003ccite>(Courtesy Josette Melchor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That intersection of arts and tech was key to Lee’s efforts to revitalize the Central Market district, which he sought to populate with arts organizations and tech companies alike. It is also central to the mission of the Gray Area Foundation — and Josette Melchor, Gray Area’s founder and director, says that when she started in the Tenderloin, Lee’s support was crucial in helping them get their first city grant.\u003c/p>\n\u003cp>“Gray Area had only been a nonprofit at that point for like two years,” Melchor says. “Taking a risk on a young entrepreneur is always really hard for a government official to do, but that signaled more support from other departments, which was instrumental to our growth.”\u003c/p>\n\u003cp>When Gray Area leased the former Grand Theater on Mission Street in 2014, “it took us two years to get our permits through because of the historical nature of the building, on top of the backlog of permits with the city,” Melchor says. “We were on the brink of throwing our hands up.” \u003c/p>\n\u003cp>Melchor emailed Lee with her plight, and Lee responded within an hour. “He immediately got his staff on task,” Melchor says. “I don’t know if our project would have even happened without Ed Lee stepping up.\u003c/p>\n\u003cp>“I know a lot of people have negative things to say about what he did to support tech companies. On the other side, I know he was supporting arts groups as well — but I guess it wasn’t as big of a headline.”\u003c/p>\n\u003cfigure id=\"attachment_13809447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ABADA%CC%81-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13809447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABADÁ-Capoiera performs on the steps of City Hall during San Francisco Arts Advocacy Day in March. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same Mission District neighborhood is Galería de la Raza, whose director Ani Rivera first met Lee when he was the director of public works during the establishment of the Calle 24 Latino Cultural District.\u003c/p>\n\u003cp>“What I want to really honor and celebrate was his commitment to keeping San Francisco a sanctuary city,” Rivera says. In addition to his housing department’s \u003ca href=\"http://sfmayor.org/article/mayor-lee-announces-funding-small-site-acquisition-program-protect-longtime-san-francisco\" rel=\"noopener\" target=\"_blank\">Small Site Acquisition Program\u003c/a> for long-term residents, which directly helped Rivera stay in her home, it was Lee’s understanding that art and culture weren’t mutually exclusive that drove his neighborhood approach, says Rivera. “It was part of keeping people in place, and securing culture.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003cp>“Securing culture” isn’t exactly how other artists would characterize Lee’s tenure. \u003c/p>\n\u003cp>“What’s always made this city special is the outsiders, and rebels, and people who never fit in anyplace else,” Shuffman says. “And under Ed Lee’s tenure, that was killed. You can’t be an artist in San Francisco anymore.”\u003c/p>\n\u003cp>Shuffman points to the many artists “living in warehouses or making stencils in their living rooms” who never had the benefit of grant writers and thus were forced to leave, eroding the cultural fabric of the city.\u003c/p>\n\u003cp>“While there has been criticism about the social fabric of the city, particularly with the influx of tech workers here, it’s tough to be the mayor,” says SFJAZZ’s executive director, Randall Kline. “It’s a no-win thing.” (The well-known artist \u003ca href=\"https://sillypinkbunnies.com/\" rel=\"noopener\" target=\"_blank\">Jeremy Fish\u003c/a>, who once had a day proclaimed in his honor by Lee while an \u003ca href=\"https://ww2.kqed.org/arts/2015/11/23/san-francisco-city-hall-illustrated-by-the-playful-provocative-jeremy-fish/\" rel=\"noopener\" target=\"_blank\">artist-in-residence at City Hall\u003c/a> for its centennial, says simply: “I don’t think people understand how hard a job that guy had.”)\u003c/p>\n\u003cfigure id=\"attachment_13817502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg\" alt=\"Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13817502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At least for SFJAZZ, Lee was a key part of the SFJAZZ Center being built and opening in Hayes Valley in 2013. “It was not an easy project to embark upon,” says Kline, recalling how the mayor swung a sledgehammer at the groundbreaking and helped push the project through. “We owe him a great deal of gratitude for that.”\u003c/p>\n\u003cp>With many jazz musicians having had to move to the East Bay or beyond, “One of the things I’m most concerned about is housing for artists,” Kline says.\u003c/p>\n\u003cp>“I believe there were things brewing to make the city more affordable for artists, more livable for artists,” Kline says. “And it’s such a shame, because if the right project were put in front of him, I know he’d support it.”\u003c/p>\n\u003cp>That complexity, of weighing so many priorities in a city facing myriad issues, is echoed by YBCA’s Jonathan Moscone.\u003c/p>\n\u003cp>“I’m just sad,” says Moscone, “that we lost a mayor who was really trying his best, in a very difficult context, to do right by a lot of constituents.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"While San Francisco artists faced unprecedented displacement and eviction, the mayor increased funding for many arts organizations.","status":"publish","parent":0,"modified":1705028900,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":2022},"headData":{"title":"Will Ed Lee be Remembered as an Arts Advocate? It's Complicated | KQED","description":"While San Francisco artists faced unprecedented displacement and eviction, the mayor increased funding for many arts organizations.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Will Ed Lee be Remembered as an Arts Advocate? It's Complicated","datePublished":"2017-12-15T01:29:43.000Z","dateModified":"2024-01-12T03:08:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817451/will-ed-lee-be-remembered-as-an-arts-advocate-its-complicated","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday night, Dec. 8, Mayor Ed Lee was at Stevens Books in the Excelsior District of San Francisco, viewing the work of artist Aaron de la Cruz and talking with other artists who’d created storefront installations funded by the city. \u003c/p>\n\u003cp>Tom DeCaigny, cultural affairs director for the San Francisco Arts Commission, saw the mayor there that night. According to DeCaigny, Lee’s regular appearances at this and other local arts events prove the importance of the arts to the mayor, who suffered a heart attack and died Monday evening at age 65.\u003c/p>\n\u003cp>“I think he really saw the value of arts and culture, particularly at the neighborhood level,” DeCaigny says. “Many people have spoken about how he wasn’t a flashy politician. He much preferred meeting with a local artist, in a local storefront — and that’s where he was, late into the evening just last Friday, before he passed.”\u003c/p>\n\u003cfigure id=\"attachment_13817503\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg\" alt=\"Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13817503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat.jpg 1285w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such stories about Lee’s embrace of the arts, however, clash with a prevailing narrative in San Francisco’s creative community: specifically, that Lee’s tech- and developer-friendly policies sparked rent increases, low vacancy rates, and evictions that cumulatively pushed artists out of the city.\u003c/p>\n\u003cp>A 2015 survey from DeCaigny’s own San Francisco Arts Commission (SFAC) showed that of 600 artists polled, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had been displaced\u003c/a> from their home or studio. (Multiple artists contacted for this piece did not want to go on the record, citing Lee’s too-recent death, before unleashing a string of words that either started with “F” or had to do with tech’s takeover of San Francisco.)\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>Stuart Shuffman, a.k.a. Broke-Ass Stuart, ran for Mayor against Lee in a 2015 election on a platform that included the protection of artists.\u003c/p>\n\u003cp>“When there are policies to help the rich get richer, you can’t be an artist in San Francisco anymore,” he says. “Art doesn’t come from the top. Art is a bottom-up thing. And when you push out all the working-class people, all the poor people and artists, you just get a boring-ass city.”\u003c/p>\n\u003cp>Lee should have been able to see the direct connection between his tech-friendly policies and artist displacement, Shuffman says — a stance shared by most artists he knows. “Ed Lee wasn’t out there personally evicting artists. I don’t think he was a bad person, and I’m sure he liked art and artists. But the policy of tech by any means necessary was harmful to the city.” \u003c/p>\n\u003cfigure id=\"attachment_13809567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13809567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Moscone at San Francisco Arts Advocacy Day in 2017. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That conclusion — that Lee was friendly to tech and thus an enemy to artists — is an oversimplified one, says Jonathan Moscone, civic engagement chief at the Yerba Buena Center for the Arts and son of the late mayor George Moscone.\u003c/p>\n\u003cp>“There are a lot of forces that make arts difficult to sustain, in \u003cem>any\u003c/em> city in this country,” says Moscone. “I don’t think it’s a one-to-one ratio that tech caused this, considering the complexity of issues that San Francisco faces.”\u003c/p>\n\u003cp>Moscone was the leading proponent of Prop. S, a \u003ca href=\"https://ww2.kqed.org/arts/2016/05/27/sf-arts-and-homeless-organizations-join-forces-to-secure-more-city-funding/\" rel=\"noopener\" target=\"_blank\">2016 hotel tax initiative\u003c/a> that would have restored lost funding for the arts. Lee did not come out publicly for the proposal, and it failed at the polls by a narrow margin. Despite that, Moscone says, he understands that Lee had other priorities, and “insofar as we were able to get his ear, he did love the arts, that was very clear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003cp>Those in nonprofit arts organizations around the city echo the sentiment — that though Lee may not have loudly campaigned for the arts, he did understand their importance, and worked behind the scenes to mitigate the creative class’ exodus from San Francisco. Often that involved committees, meetings, boards, grants and other “not-so-sexy to the public” activities, says DeCaigny, but had tangible, and massive, results.\u003c/p>\n\u003cp>“One of his signature accomplishments was a historic \u003ca href=\"https://www.sfstation.com/2015/06/05/sf-commits-7-million-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">million-dollar increase to the Cultural Equity Endowment\u003c/a>. That’s the endowment that the Arts Commission manages that grants to both individual artists and small, mid-sized budget arts nonprofit organizations,” says DeCaigny of the 50-percent increase. “That endowment had been around for 20 years, so it’s something to say that it hadn’t been done before.”\u003c/p>\n\u003cp>Also as a result of that 2015 funding package, the \u003ca href=\"http://cast-sf.org/\" rel=\"noopener\" target=\"_blank\">Community Arts Stabilization Trust\u003c/a> (CAST) was able to secure long-term leases for both the Luggage Store Gallery and CounterPulse, both well-loved institutions. Moy Eng, CAST’s executive director, characterizes Lee’s approach with the funding package as “not just a kicking the can down the road, but finding a long-term and permanent solution.”\u003c/p>\n\u003cfigure id=\"attachment_11539534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg\" alt=\"Equipto.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11539534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_.jpg 1595w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Equipto, hip-hop artist and member of the ‘Frisco Five’ who personally addressed Mayor Ed Lee in a widely shared video.\u003c/figcaption>\u003c/figure>\n\u003cp>And yet in San Francisco, those approaches — wonky, not easy to digest, full of bureaucracy — didn’t quell his critics. Perhaps the loudest artist expressing anger toward Lee was longtime San Francisco hip-hop artist Equipto, who confronted the mayor at Max’s Opera Cafe in 2015. “You have no heart, man,” the rapper told him in a \u003ca href=\"https://www.facebook.com/equipto415/videos/1033058506733989/\" rel=\"noopener\" target=\"_blank\">widely shared video\u003c/a>. “The people that built this city, you’re kickin’ ’em all out of here, man. You’re a part of it, I know you are.” \u003c/p>\n\u003cp>Equipto — part of a \u003ca href=\"http://wineandbowties.com/music/four-one-fivin-san-francisco-rap-aint-dead-yet/\" rel=\"noopener\" target=\"_blank\">dwindling hip-hop community\u003c/a> in San Francisco, where the black population \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" rel=\"noopener\" target=\"_blank\">rapidly diminished under Lee\u003c/a> — did not respond to requests for comment. But his musical collaborator (and fellow \u003ca href=\"https://www.youtube.com/watch?v=6b2jsTGys8Y\" rel=\"noopener\" target=\"_blank\">Frisco Five\u003c/a> activist) Selassie took a \u003ca href=\"https://twitter.com/Sellassie/status/940682970993647616\" rel=\"noopener\" target=\"_blank\">conciliatory tone on Twitter\u003c/a>: “Even though we were adversaries in the ring of social justice in San Francisco, I respected him,” Selassie wrote. “Disagreed with him, but respected him as my elder. #RIP.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003cp>Terri Winston, executive director of Women’s Audio Mission, which teaches women recording and engineering skills, says Lee was especially helpful when Women’s Audio Mission faced displacement in 2014.\u003c/p>\n\u003cp>“His support helped us keep the only professional recording studio in the world run by women in San Francisco and set us on the road to permanently owning our facility — which we now do,” Winston writes in an email to KQED Arts. “Mayor Ed Lee understood the importance of amplifying the voices of young women and girls of color and how our work was changing their relationship to technology.”\u003c/p>\n\u003cfigure id=\"attachment_13817505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg\" alt=\"Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13817505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011. \u003ccite>(Courtesy Josette Melchor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That intersection of arts and tech was key to Lee’s efforts to revitalize the Central Market district, which he sought to populate with arts organizations and tech companies alike. It is also central to the mission of the Gray Area Foundation — and Josette Melchor, Gray Area’s founder and director, says that when she started in the Tenderloin, Lee’s support was crucial in helping them get their first city grant.\u003c/p>\n\u003cp>“Gray Area had only been a nonprofit at that point for like two years,” Melchor says. “Taking a risk on a young entrepreneur is always really hard for a government official to do, but that signaled more support from other departments, which was instrumental to our growth.”\u003c/p>\n\u003cp>When Gray Area leased the former Grand Theater on Mission Street in 2014, “it took us two years to get our permits through because of the historical nature of the building, on top of the backlog of permits with the city,” Melchor says. “We were on the brink of throwing our hands up.” \u003c/p>\n\u003cp>Melchor emailed Lee with her plight, and Lee responded within an hour. “He immediately got his staff on task,” Melchor says. “I don’t know if our project would have even happened without Ed Lee stepping up.\u003c/p>\n\u003cp>“I know a lot of people have negative things to say about what he did to support tech companies. On the other side, I know he was supporting arts groups as well — but I guess it wasn’t as big of a headline.”\u003c/p>\n\u003cfigure id=\"attachment_13809447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ABADA%CC%81-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13809447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABADÁ-Capoiera performs on the steps of City Hall during San Francisco Arts Advocacy Day in March. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same Mission District neighborhood is Galería de la Raza, whose director Ani Rivera first met Lee when he was the director of public works during the establishment of the Calle 24 Latino Cultural District.\u003c/p>\n\u003cp>“What I want to really honor and celebrate was his commitment to keeping San Francisco a sanctuary city,” Rivera says. In addition to his housing department’s \u003ca href=\"http://sfmayor.org/article/mayor-lee-announces-funding-small-site-acquisition-program-protect-longtime-san-francisco\" rel=\"noopener\" target=\"_blank\">Small Site Acquisition Program\u003c/a> for long-term residents, which directly helped Rivera stay in her home, it was Lee’s understanding that art and culture weren’t mutually exclusive that drove his neighborhood approach, says Rivera. “It was part of keeping people in place, and securing culture.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/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\u003cp>“Securing culture” isn’t exactly how other artists would characterize Lee’s tenure. \u003c/p>\n\u003cp>“What’s always made this city special is the outsiders, and rebels, and people who never fit in anyplace else,” Shuffman says. “And under Ed Lee’s tenure, that was killed. You can’t be an artist in San Francisco anymore.”\u003c/p>\n\u003cp>Shuffman points to the many artists “living in warehouses or making stencils in their living rooms” who never had the benefit of grant writers and thus were forced to leave, eroding the cultural fabric of the city.\u003c/p>\n\u003cp>“While there has been criticism about the social fabric of the city, particularly with the influx of tech workers here, it’s tough to be the mayor,” says SFJAZZ’s executive director, Randall Kline. “It’s a no-win thing.” (The well-known artist \u003ca href=\"https://sillypinkbunnies.com/\" rel=\"noopener\" target=\"_blank\">Jeremy Fish\u003c/a>, who once had a day proclaimed in his honor by Lee while an \u003ca href=\"https://ww2.kqed.org/arts/2015/11/23/san-francisco-city-hall-illustrated-by-the-playful-provocative-jeremy-fish/\" rel=\"noopener\" target=\"_blank\">artist-in-residence at City Hall\u003c/a> for its centennial, says simply: “I don’t think people understand how hard a job that guy had.”)\u003c/p>\n\u003cfigure id=\"attachment_13817502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg\" alt=\"Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13817502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At least for SFJAZZ, Lee was a key part of the SFJAZZ Center being built and opening in Hayes Valley in 2013. “It was not an easy project to embark upon,” says Kline, recalling how the mayor swung a sledgehammer at the groundbreaking and helped push the project through. “We owe him a great deal of gratitude for that.”\u003c/p>\n\u003cp>With many jazz musicians having had to move to the East Bay or beyond, “One of the things I’m most concerned about is housing for artists,” Kline says.\u003c/p>\n\u003cp>“I believe there were things brewing to make the city more affordable for artists, more livable for artists,” Kline says. “And it’s such a shame, because if the right project were put in front of him, I know he’d support it.”\u003c/p>\n\u003cp>That complexity, of weighing so many priorities in a city facing myriad issues, is echoed by YBCA’s Jonathan Moscone.\u003c/p>\n\u003cp>“I’m just sad,” says Moscone, “that we lost a mayor who was really trying his best, in a very difficult context, to do right by a lot of constituents.”\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/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817451/will-ed-lee-be-remembered-as-an-arts-advocate-its-complicated","authors":["185"],"categories":["arts_1","arts_235"],"tags":["arts_3447","arts_1766","arts_746","arts_1091","arts_1879","arts_2048","arts_3448","arts_1040"],"featImg":"arts_13817497","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","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. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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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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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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