Podcasts about kpfa

Are mass protests and elections enough to block the slide toward authoritarianism? Labor scholar and organizer Eric Blanc argues that neither will suffice without exerting leverage on the key pillars of Trump's support. He discusses how a multi-level campaign against the corporations and other entities that back the administration could be organized, as well as the state of the labor movement and the Supreme Court, the victory of Zohran Mamdani, and what it might take to build to a general strike. Labor Politics Eric Blanc, We Are the Union: How Worker-to-Worker Organizing Is Revitalizing Labor and Winning Big UC Press, 2025 Photo credit: By Jessica Bolanos CC BY-SA 4.0 The post How to Organize Against Authoritarianism appeared first on KPFA.

UpFront delivers a mix of local, state, and international coverage through challenging interviews, civil debates, breaking updates, and in-depth discussions with authors. The post UpFront – November 17, 2025 appeared first on KPFA.

Democracy Now! is a daily independent award-winning news program hosted by journalists Amy Goodman and Juan Gonzalez. The post Democracy Now! – November 17, 2025 appeared first on KPFA.

CounterSpin provides a critical examination of the each week's major news stories, and exposes what the mainstream media may have missed in their own coverage. Produced by the national media watch group FAIR (Fairness and Accuracy In Reporting). The post CounterSpin – November 16, 2025 appeared first on KPFA.

Weekend Edition of the KPFA Evening News, which is a collaboration of KPFA and KFCF in Fresno. The post The KPFA Evening News (Saturday) – November 15, 2025 appeared first on KPFA.

Deranged “edits” segue into a cascade of echoing glossolaliac madness, the voicing of lyric ruminations from the free-falling brains of disintegrating personalities. The post Puzzling Evidence – November 14, 2025 appeared first on KPFA.

Themed mixes are made live and spontaneously on the air, consisting of found sound of many kinds and from many sources, old and new, put together on the run as the continuous audio collage continues. The post Over the Edge – November 14, 2025 appeared first on KPFA.

Eleanor Goldfield & Mickey Huff host this week's program.  Today on this special episode of the Project Censored show, we look back at 50 years of the Project with a roundtable conversation about the forthcoming State of the Free Press 2026. Joined by associate director Shealeigh Voitl and editor-at-large Andy Lee Roth, Mickey Huff and Eleanor Goldfield dig into some of that 50 year history, the echoes of systemic problems within our media and also therefore within our society. Shealeigh Voitl is Project Censoreds associate director, and coeditor of the yearbook series, state of the free press. Andy Lee Rothis editor-at-large for Project Censored and its publishing imprint, The Censored Press. He is co-editor of ProjectsState of the Free Pressyearbook series, and a coauthor ofThe Media and Me: A Guide to Critical Media Literacy for Young People. Roth began working with the Project in 2006, and he served as associate director from 2012-2024.  They discuss and dissect what critical media literacy really is, solutions and citizen journalism, journalistic ethics and what a press of and for by the people really means, and why we need it now more than ever. The News That Didn't Make the News. Each week, co-hosts Mickey Huff and Eleanor Goldfield conduct in depth interviews with their guests and offer hard hitting commentary on the key political, social, and economic issues of the day with an emphasis on critical media literacy. The post Project Censored – November 14, 2025 appeared first on KPFA.

An award winning front-line investigative news magazine, that focuses on human, civil and workers right, issues of war and peace, Global Warming, racism and poverty, and other issues. Hosted by Dennis J. Bernstein. The post Flashpoints – November 14, 2025 appeared first on KPFA.

00:08 Andrew Hartman, professor of history at Illinois State, just out with the book of Karl Marx in America The post Karl Marx in America appeared first on KPFA.

Comprehensive coverage of the day's news with a focus on war and peace; social, environmental and economic justice. Photo: Ted Eytan Football coach killed in Oakland's second fatal school shooting in 2 days; Shutdown agreement promises vote on Affordable Care act subsidies, many Democrats skeptical; Berkeley license plate readers, police surveillance used by ICE in possible violation of city sanctuary law; SF guaranteed income pilot program pays single mothers for childcare work to help women leave sex work, violent relationships; Saturday is America Recycles Day, a national observance to reduce waste; Border czar Homan says “Catholic church is wrong” after US bishops criticize US immigration enforcement and profiling The post Dems divided over Affordable Care Act vote promise by Republicans; ICE using Berkeley police surveillance data – November 14, 2025 appeared first on KPFA.

On today's show: “Gunboat Diplomacy”: U.S. War in Latin America Feared as Hegseth Launches “Operation Southern Spear” “You Have Arrived in Hell”: Venezuelans Sent By U.S. to El Salvador Faced Torture, Sexual Abuse “The Trillion Dollar War Machine”: William Hartung on How U.S. Military Spending Fuels Wars How Mamdani Won: Field Director Tascha Van Auken on Grassroots Organizing Behind Historic Victory Democracy Now! is a daily independent award-winning news program hosted by journalists Amy Goodman and Juan Gonzalez. The post Democracy Now! – November 14, 2025 appeared first on KPFA.

Frederic Mousseau and DRC colleagues On today's show, independent policy think tank the Oakland Institute has come out with a new report about land grabbing and mineral grabbing in the Democratic Republic of the Congo entitled, “Shafted: The Scramble for Minerals in the DRC”.  I'll speak to policy director Frederic Mousseau about the findings from their in depth report. The post Mineral Grab in The DRC appeared first on KPFA.

A how-to and what-to-do program where skilled hosts welcome guests and callers to practice empathy, mindfulness, and effective communication. Do you want tools for connection, conflict resolution, and compassion for self and others? We explore skills, knowledge and resources to empower you to connect across differences. The post Talk-It-Out Radio – November 14, 2025 appeared first on KPFA.

For many veterans, the hardest fight begins when they come home—navigating disability, trauma, and a system that too often turns its back on them. For more than half a century, Swords to Plowshares has been serving and uplifting military veterans across the Bay Area. What began as a small grassroots effort to support Vietnam veterans—many of them living with disabilities and facing rejection from traditional institutions like the Veterans Administration—has grown into one of the nation's leading veteran service organizations. Elena Kim This week on Pushing Limits, we spotlight Swords to Plowshares, a vital force for veteran rights and disability justice. Tune in as we explore their powerful history, ongoing advocacy, and how they continue to help veterans rebuild their lives with dignity and purpose with the help of Elena Kim, Chief Operating Officer. As the former City of San Francisco's Director of Veterans Services, human intelligence collector from 2005-2010 during Operation Iraqi Freedom, and Master Degree holder in Legislative Affairs, Elena oversees Swords to Plowshares‘ operations and programs. This program is hosted and produced by Eddie Ytuarte.   The below image is from: https://www.flickr.com/people/37922399@N05 California Disabled Vets. December 2010 from Virginia State Parks staff The post 50 Years Strong: Swords to Plowshares – Pushing Limits – November 14, 2025 appeared first on KPFA.

Youth movements are at the forefront of the fight for a livable future. Around the world, young people are reimagining solutions to urgent environmental challenges and taking bold action to build a more sustainable and just world. On this episode of Terra Verde, host Fiona McLeod is joined by two young environmental leaders — Sophie Tipper and Lily YangLiu — to discuss their work advancing youth representation in environmental policy and decision-making. Lily YangLiu, a 17-year-old from British Columbia, leads initiatives to expand early climate education and increase youth participation in global governance spaces, including the United Nations and international financial institutions. Sophie Tipper, an 18-year-old from Colorado, helped draft and pass a state bill guaranteeing youth representation in environmental justice governance. Both recently received the 2025 Brower Youth Award in recognition of their environmental achievements. Together, they reflect on the power and necessity of youth leadership in shaping a more equitable and sustainable future. The post Youth Leaders Are Shaping the Future of Environmental Policy appeared first on KPFA.

Replay of January 2023 Show with updated context, intro …  Honoring Susan Griffin, who died Sept 30, 2025   Photo by Irene Young Caroline hosts fellow Council of Unreasonable Women, alumna Susan Griffin, “radical feminist philosopher, essayist, novelist and playwright particularly known for her innovative, hybrid-form ecofeminist works.” on her 80th birthday! Honoring her latest book “Out of Silence, Sound. Out of Nothing, Something. (A Writers Guide)” in which she be embodied encouraging, soothing, rousing fierce gentle Mentor of writing craft, to all of us who seek to gather our wits… our wonder and focus, whereby to cultivate and contribute our gifts. susangriffin.com www.counterpointpress.com/books/out-of-silence-sound-out-of-nothing-something   The post The Visionary Activist Show – Out of Nothing, Something (replay) appeared first on KPFA.

Mosaab Baba, author of this article, on what's behind the horrendous civil war in Sudan • Jake Adelstein, an American journalist who's been living in Japan for almost 40 years, on that country's reactionary new Prime Minister The post Sudan, and Japan's new PM appeared first on KPFA.

Today on the show: We feature our weekly segment, Genocide Watch with Sam Husseini. Today, Sam connects the dots between child rapist, Jeffrey Epstein, including deep connections with the Mosad.  Also, the US under Trump continues its arms build-up and expanding threats of a possible invasion of Venezuela. We'll speak to Steve Ellner, associate editor of Latin America Perspectives, and we also hear about a local forum and speak out planned for Berkeley on resisting endless Trump wars The post Genocide Watch w/ Sam Husseini Returns appeared first on KPFA.

00:08 — Claudia Boyd-Barrett is the Southern California Correspondent for KFF Health News. She writes about health care access and local impacts of national health policy changes. 00:33 — Michael Willrich is professor of history at Brandeis University. He discusses his book “Pox: An American History.” The post Government Shutdown is Done, How is Healthcare Impacted? Plus, the Politics of the First Vaccine appeared first on KPFA.

Comprehensive coverage of the day's news with a focus on war and peace; social, environmental and economic justice. COP-30 Climate Summit turns focus to Health on Day 4 of meetings; Bay area congressmember Huffman discusses shutdown, Prop 50, Epstein files; State senators look at SNAP food aid in wake of shutdown, recent GOP legislation; More than a thousand musicians and labels join musician-led boycott of Israel, “No Music for Genocide”; Novemver 13 is “World Kindness Day,” created in 1998 by “World Kindness Movement” coalition of non-profit organizations The post COP-30 Climate Summit turns focus to health issues; State senators look at SNAP food aid in wake of shutdown – November 13, 2025 appeared first on KPFA.

On today's show: Trump “Knew About The Girls”: Calls Grow For Full Epstein Files After Release of Emails Rep. Adelita Grijalva Speaks out on Epstein Files & More After Being Sworn in 7 Weeks Late Dr. Atul Gawande: Hundreds of Thousands Have Already Died Since Trump Closed USAID   Democracy Now! is a daily national independent award-winning news program, hosted by journalists Amy Goodman and Juan Gonzalez. The post Democracy Now! – November 13, 2025 appeared first on KPFA.

On today's show, guest host Kalonji Changa speaks with Mawuli Davis, renowned civil rights attorney, human rights organizer and author with over 30 years of experience in the Movement for Black Liberation and Whitley Carpenter, Senior Criminal Justice Counsel and Policy Manager for Forward Justice. She focuses on researching, developing and advocating for effective policy changes related to reducing racial disparities in the criminal justice system. Later in the show, we'll chat with Dhoruba bin Wahad, an American political activist and author, former leader of the New York Black Panther Party, and co-founder of the Black Liberation Army. He was one of the Panther 21 defendants charged in 1969 with conspiracy to attack New York City police stations. And finally, we'll speak with Jian White, filmmaker, memory worker, writer & organizer with the Mobilization 4 Mumia and several other affinity groups around Philadelphia, PA. — Subscribe to this podcast: https://plinkhq.com/i/1637968343?to=page Get in touch: lawanddisorder@kpfa.org Follow us on socials @LawAndDis: https://twitter.com/LawAndDis; https://www.instagram.com/lawanddis/ The post National Conference of Black Lawyers, Free Mumia and More w/ Guest Host Kalonji Changa appeared first on KPFA.

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

In this episode, guest host Thandisizwe Chimurenga chats with writer and journalist Gustavo Arellano. He is a columnist for the Los Angeles Times and the former editor of Orange County's alternative weekly OC Weekly.  His most recent column for the LA Times is called “When immigration agents picked up a 15-year-old white teen.” — Subscribe to this podcast: https://plinkhq.com/i/1637968343?to=page Get in touch: lawanddisorder@kpfa.org Follow us on socials @LawAndDis: https://twitter.com/LawAndDis; https://www.instagram.com/lawanddis/ The post LA Times' Gustavo Arellano on ICE in SoCal appeared first on KPFA.

Sudan's brutal two-year war has entered a new phase. The paramilitary Rapid Support Forces has seized control of the entire Darfur region, ousting the Sudanese army from its last stronghold. The conflict has killed over 40,000 people and displaced more than 14 million, creating a humanitarian crisis. The capture of el-Fasher, North Darfur's capital, raises fears of Sudan splitting again, nearly 15 years after South Sudan's independence. The RSF, led by Gen. Mohammed Hamdan Dagalo, has roots in the Darfur genocide and has been accused of atrocities. Dagalo's forces have expanded their power and influence, leading to a power struggle with Sudan's army chief that plunged Sudan into war. On today's show, guest host Thandisizwe Chimurenga talks with Alaa Suliman from the Sudanese Association of Northern California on the ongoing crisis in Sudan. — Subscribe to this podcast: https://plinkhq.com/i/1637968343?to=page Get in touch: lawanddisorder@kpfa.org Follow us on socials @LawAndDis: https://twitter.com/LawAndDis; https://www.instagram.com/lawanddis/ The post Sudan News w/ Alaa Suliman from SANC appeared first on KPFA.

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Amy Bloom: Award-Winning Literary Novelist, 2007 Amy Bloom, award-winning novelist and short-story writer, in conversation with Richard Wolinsky in the KPFA studios, on October 4, 2007 while on tour for her second novel, “Away.” Amy Bloom, says the New Yorker, gets more meaning into individual sentences than most authors manage in whole books. The author of five short story collections and two works of non-fiction, including a memoir, she has only written five novels since she debuted in 1997 with Love Invents Us.  She would be interviewed again on Bookwaves for her third novel, Lucky Us,  Her most recent novel, I'll Be Right Here, was published in June 2025.     John Banville: Irish Literary Master John Banville, Booker Prize winning novelist, in conversation with host Richard Wolinsky in the KPFA studios, on March 19, 2007 while on tour for the novel, “Christine Falls,” written under the pseudonym Benjamin Black. John Banville is a giant of Irish literature, winner of the Booker Prize for his novel, The Sea, and the Franz Kafka Prize in 2011. A literary novelist of the first order, he took a turn in 2007 with a mystery novel, Christine Falls, featuring a detective named Quirke, under the pseudonym Benjamin Black. Since that time there have been ten Quirke mysteries, three written under his own name, and four novels under the pseudonym. He continues to write literary and noir fiction. His most recent novel is “Venetian Vespers,” published in October, 2025.   Review of “A Driving Beat” at TheatreWorks Mountain View Center for the Performing Arts Second Stage, through November 23, 2025.   Review of “Sally and Tom” at Marin Theatre through November 23, 2025   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others for shorter periods each week. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  See website for highlights from the 110th Annual Bay Area Book Festival, May 31 – June 1, 2025. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.  Monthly Event Calendar. BookShop West Portal. Monthly Event Calendar. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actors Ensemble of Berkeley.  See website for readings and events. Actor's Reading Collective (ARC).  Mary Jane by Amy Herzog, directed by Amy Kossow, November 6 – 30, Magic Theatre, Fort Mason. African American Art & Culture Complex. See website for calendar. American Conservatory Theatre  Stereophonic (in association with BroadwaySF, at the Curran), Oct 28 – Nov 23. Awesome Theatre Company. See website for information. Berkeley Playhouse. Annie. November 7- December 21. Once, February 20 – March 22.  Berkeley Rep. The Hills of California .by Jez Butterworth, Oct. 31 – Dec. 7, Roda Theatre. Mother of Exiles by Jessica Huang, World Premiere, Nov. 14 – Dec. 32, Peets Theatre. Berkeley Shakespeare Company See website for upcoming productions. Brava Theatre Center: See calendar for events listings. BroadwaySF: Stereophonic (in association with ACT), Oct 28 – Nov 23, Curran. See website for complete listings for the Orpheum, Golden Gate and Curran Theaters. Broadway San Jose:  Kinky Boots, Nov. 28-30. See website for other events. Center REP: The Woman in Black, U.S. Tour, November 5-23.. Central Stage. See website for upcoming productions, 5221 Central Avenue, Richmond Central Works Dada Teen Musical: The Play by Maury Zeff, Oct. 18 – Nov. 16, Cinnabar Theatre. Young Rep: Disney's The Little Mermaid, November 14-23, Studio Space, Petaluma Outlet Mall. Club Fugazi. Dear San Francisco ongoing. Check website for Music Mondays listings. Contra Costa Civic Theatre Ebenezer Scrooge, an adaptation of “A Christmas Carol” by Joel Roster, December 6 –  21. . See website for other events. Golden Thread  See website for upcoming productions. Hillbarn Theatre: Rogers & Hammerstein's Cinderella, December 4 – 28. Lorraine Hansberry Theatre. Soulful Christmas, December 19-21, Magic Theatre. Los Altos Stage Company. A Christmas Carol, November  28 – December 21.. Lower Bottom Playaz  August Wilson's King Hedley II, November 8 -30. BAM House, Oakland. Magic Theatre. Actors Reading Collective: Mary Jane by Amy Herzog, directed by Amy Kossow, November 6 – 30, See website for other events and productions. Marin Shakespeare Company: See website for events and productions. Marin Theatre: Sally and Tom by Suzan-Lori Parks. October 30 – November 23. The Lightning Thief, MSC Teen Company, November 7 -9. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC)  Spanish Stew by Marga Gomez, October 17 – November 23. New Performance Traditions.  See website for upcoming schedule Oakland Theater Project. Cabaret, November 21 – December 14. Odd Salon: Upcoming events in San Francisco & New York, and streaming. Palace of Fine Arts Theater.  See website for event listings. Pear Theater. Ada & The Engine  by Lauren Gunderson, November 21 – December 7. See website for staged readings and other events. Playful People Productions. Newsies, November 8-16. Presidio Theatre. Peter Pan Panto, Nov. 29 – Dec. 28. See website for complete schedule of events and performances. Ray of Light: Mean Girls. May 2026. Ross Valley Players: See website for New Works Sunday night readings and other events. San Francisco Playhouse. Into the Woods. November 30 – January 17, 2026. SFBATCO.  See website for upcoming streaming and in- theater shows. San Jose Stage Company: See website for events and upcoming season Shotgun Players.  Sunday in the Park with George, November 15 – December 30. South Bay Musical Theatre:  Let It Snow: A Broadway Holiday Celebration, December 20-21, Little Women, The Broadway Musical, January 24 – February 14, 2026. SPARC: See website for upcoming events. Stagebridge: See website for events and productions. Storytime every 4th Saturday. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Lunatico Frankenstein, October 11 – November 2. Theatre Rhino  The Break-Up written and performed by Tina D'Elia, November 6-23. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley. A Driving Beat by Jordan Ramirez Puckett, Oct 29 – Nov. 23, . Mountain View Center for the Performing Arts Second Stage.Georgiana & Kitty, Christmas at Pemberley by Lauren Gunderson and Margot Melcon, Dec. 3 – 28, Lucie Stern Theatre. Word for Word.  See website for upcoming productions. Misc. Listings: BAMPFA: On View calendar for Berkeley Art Museum and Pacific Film Archive. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2025 Season. Dance Mission Theatre. On stage events calendar. Fort Mason Center. Events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Gay Men's Chorus. See schedule for upcoming SFGMC performances. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org   . The post November 13, 2025: Amy Bloom – John Banville appeared first on KPFA.

First-time presentation of the full-length interview with Brandon Keim about his book Meet the Neighbors, in which he considers the explosion of research into animal intelligence, emotion, and sociality; takes research findings out into everyday landscapes; and examines how wild animals are viewed and treated. Brandon Keim, Meet the Neighbors: Animal Minds and Life in a More-than-Human World W. W. Norton, 2025 (paper) The post Animal Minds and Life appeared first on KPFA.

Today on the show: Are Brentwood Police in Contra Costa, covering up brutality that may have led to elder Yolanda Ramirez's death? We speak to her family. And, Alameda Labor Council (ALC) endorses the Oakland Peoples Arms Embargo campaign, and are largest labor body to support ending military cargo shipments leaving from the Oakland Airport to Israel. And we speak to Vilma Almendra, Indigenous author and activist from Cauca in what is known as Colombia, about Indigenous Autonomy amidst terror of war. The post Coverup In Brentwood? The Case of the Death of Yolanda Ramirez appeared first on KPFA.

UpFront delivers a mix of local, state, and international coverage through challenging interviews, civil debates, breaking updates, and in-depth discussions with authors. The post UpFront – November 12, 2025 appeared first on KPFA.

Comprehensive coverage of the day's news with a focus on war and peace; social, environmental and economic justice. Photo: Kiara Worth Activists paddle to COP-30 climate summit with call for solidarity in climate struggle as nations fall short; Court strikes down LA warning against false complaints against police officers, calling it biased; Democrat Adelita Grijalva finally sworn in as congressmember, promptly signs petition to release Epstein files; Primatologist and environmental activist Jane Goodall celebrated at memorial service at Washington National Cathedral;; Judge orders release of hundreds arrested in Trump administration's Chicago immigration raids Tuberculosis cases continue to rise worldwide, US cases at highest level in more than a decade The post Activist flotilla paddles to COP-30 climate summit with call for solidarity; Democrat Adelita Grijalva sworn in 50 days after election to House – November 12, 2025 appeared first on KPFA.

On today's show: “Caved Too Soon”: Ro Khanna on Senate Shutdown Deal, Why Schumer Should Step Down & Epstein Files “Food is A Fundamental Human Right”: U.S. Hunger Expert Decries Trump Withholding Food Assistance Epstein & Israel: Drop Site News Investigates Jeffrey Epstein's Ties to Israeli Intelligence “Put Your Soul on Your Hand and Walk”: New Film on Gaza Photojournalist Killed in Israeli Strike   Democracy Now! is a daily independent award-winning news program hosted by journalists Amy Goodman and Juan Gonzalez. The post Democracy Now! – November 12, 2025 appeared first on KPFA.

Education Today is a radio show hosted by Kitty Kelly Epstein and Jaron Epstein that airs every week at 2:30. The post Education Today – November 12, 2025 appeared first on KPFA.

The Bay Native Circle weekly program presents special guests and explores today's Native issues, peoples, cultures, music & events with rotating hosts Morning Star Gali, Tony Gonzales, Eddie Madril and Janeen Antoine. The post Bay Native Circle – November 12, 2025 appeared first on KPFA.

A radio and web media project whose aim is to provide in-depth analysis and commentary on a variety of matters — political, economic, social and cultural — important to progressive and radical thinking and activism. The post Against the Grain – November 11, 2025 appeared first on KPFA.

An award winning front-line investigative news magazine, that focuses on human, civil and workers right, issues of war and peace, Global Warming, racism and poverty, and other issues. Hosted by Dennis J. Bernstein. The post Flashpoints – November 11, 2025 appeared first on KPFA.

00:08 Michael Mann, Distinguished Research Professor of Sociology Emeritus at UCLA; Honorary Professor at the University of Cambridge; author most recently of On Wars [this is a re-broadcast of an interview originally recorded in September 2023] The post Michael Mann On Wars [Rebroadcast] appeared first on KPFA.

Comprehensive coverage of the day's news with a focus on war and peace; social, environmental and economic justice. World War II Veteran Decries Authoritarian Backslide; The President of Syria Met with President Donald Trump to Discuss Diplomatic Relations; Harsh Words but Little Violence Between Protestors and Attendees at Turning USA's UC Berkeley Stop; Family Allege Cover Up of Police Killing a Woman in Contra Costa County; AI Stocks Lose $1.1 Trillion as Concerns of AI Bubble and Ripple Effects Grow The post Turning Point USA's Berkeley Stop Sparks Protests; Bay Area Family Alleges Police Cover Up – November 11, 2025 appeared first on KPFA.

Democracy Now! is a daily independent award-winning news program hosted by journalists Amy Goodman and Juan Gonzalez. The post Democracy Now! – November 11, 2025 appeared first on KPFA.

Supporting members of the military to resist deployment has taken on a new urgency as Trump sends troops into American cities. Journalist Steve Early discusses the history of soldier organizing — including as workers — from Vietnam to the present. And Suzanne Gordon discusses why the broad public should care about the administration's attack on the 1,400 hospitals and clinics that serve veterans, the largest socialized medical system in the country. Common Defense Veterans Healthcare Policy Institute Suzanne Gordon, Steve Early, and Jasper Craven, Our Veterans: Winners, Losers, Friends, and Enemies on the New Terrain of Veterans Affairs Duke University Press, 2022 Photo by Ian Hutchinson on Unsplash The post Troops in Cities; Veterans Under Siege appeared first on KPFA.

An award winning front-line investigative news magazine, that focuses on human, civil and workers right, issues of war and peace, Global Warming, racism and poverty, and other issues. Hosted by Dennis J. Bernstein. The post Flashpoints – November 10, 2025 appeared first on KPFA.

UpFront delivers a mix of local, state, and international coverage through challenging interviews, civil debates, breaking updates, and in-depth discussions with authors. The post UpFront – November 10, 2025 appeared first on KPFA.

A weekly news program providing information and analysis about Africa and the African Diaspora, hosted by Walter Turner. The post Africa Today – November 10, 2025 appeared first on KPFA.

Comprehensive coverage of the day's news with a focus on war and peace; social, environmental and economic justice. Turning Point USA makes stop at UC Berkeley after death of founder Charlie Kirk; Republicans reject Schumer plan to reopen government, extend ACA subsidies for 1 year; Bay area advocates challenge ICE courthouse arrests and conditions in holding cells after report cites abuse; 71,000 tons of unexploded ordinance amid rubble killing and injuring civilians including children as Gazans return from displacement; County agencies, food banks move to pick up slack amid government shutdown The post 8 Democrats Join Republicans to Reopen Government; Bay Area Advocates Challenge ICE Over Courthouse Arrests – November 10, 2025 appeared first on KPFA.

Democracy Now! is a daily independent award-winning news program hosted by journalists Amy Goodman and Juan Gonzalez. The post Democracy Now! – November 10, 2025 appeared first on KPFA.

On today's show, we speak with Joshua Clark Davis, author of the book Police Against the Movement: The Sabotage of the Civil Rights Struggle and the Activists Who Fought Back– A bold retelling of the 1960s civil rights struggle through its work against police violence—and a prehistory of both the Black Lives Matter and Blue Lives Matter movements that emerged half a century later. Learn more about the book here https://press.princeton.edu/books/hardcover/9780691238838/police-against-the-movement?srsltid=AfmBOorsXKYi8mO_dVaO3-lSBQald53zGjypj_gPicJiayPCEO5CxZw8 — Subscribe to this podcast: https://plinkhq.com/i/1637968343?to=page Get in touch: lawanddisorder@kpfa.org Follow us on socials @LawAndDis: https://twitter.com/LawAndDis; https://www.instagram.com/lawanddis/ The post Police Against the Movement w/ Joshua Clark Davis appeared first on KPFA.

There have been two major socialist and socialist feminist victories in the last month. First was the election of socialist feminist Catherine Connolly to be president of Ireland and the other was the election of Zohran Mamdami to Mayor of NYC. But Mamdami's election would not have been possible without the groundswell of activism by grassroots groups like Indivisible, Jews for Economic Justice and DRUM Beat, a progressive grassroots south asian group that really turned out the vote for Zohran in the south asian community. And similarly the election of a leftist feminist to President of Ireland wouldn't not have been possible without the decades of struggle by Socialist feminists in Ireland. Today we will focus on these successes by talking to the activists that make these victories possible. In the first half of the show we will talk to two socialist feminist activists from Ireland to see what radical feminist organizing is happening there and what patriarchal forces they are up against. We will be joined by Camilla Fitzsimons who is a long-time socialist feminist and activist who has been involved in radical left-wing politics in Ireland all her adult life and has written two books on feminism in Ireland, “Ireland's ongoing fight for Reproductive Rights” and her new book “Rethinking Feminism in Ireland.” And we will talk to Isidora Duran who is an activist with the ROSA socialist feminist movement. ROSA was established on International Women's Day 8 March 2013 in Ireland as a feminist, anti-austerity and anti-capitalist group, seeking to build the socialist feminist wing of the growing abortion rights movement and was a major force in overturning the ban on abortion in Ireland in 2018. In the second half of the show I will talk to Simran Thind, a community organizer with the NYC grass roots progressive organization DRUM Beats. DRUM Beats is the sibling organization of DRUM ( Desis Rising Up and Moving) which is a multigenerational grassroots organization in NYC that focuses on building political power within working class South Asian and Indo-Caribbean communities to achieve radical social change . The post Irish socialist feminists Camilla Fitzsimons and Isidora Duran, and DRUM Beats organizer Simran Thind appeared first on KPFA.

On today's Palestine Post, we hear from journalist Elizabeth Weill- Greenberg, on the story of a Palestinian-American child held as a hostage by Israeli forces. Mohammed Zaher Taysir Ibrahim, 15, has been held in an Israeli torture camp, barely fed and only allowed 40 minutes a day outside, according to Defense for Children International Palestine. Read Elizabeth's article here https://www.thecarceralreport.com/p/palestinian-american-child-hostage If you want to take action to help free Mohammed, see this website https://linktr.ee/freeMohammedIbrahim — Subscribe to this podcast: https://plinkhq.com/i/1637968343?to=page Get in touch: lawanddisorder@kpfa.org Follow us on socials @LawAndDis: https://twitter.com/LawAndDis; https://www.instagram.com/lawanddis/ The post Palestinian-American Child Held Hostage by Israel w/ Elizabeth Weill-Greenberg appeared first on KPFA.

CounterSpin provides a critical examination of the each week's major news stories, and exposes what the mainstream media may have missed in their own coverage. Produced by the national media watch group FAIR (Fairness and Accuracy In Reporting). The post CounterSpin – November 9, 2025 appeared first on KPFA.

Deranged “edits” segue into a cascade of echoing glossolaliac madness, the voicing of lyric ruminations from the free-falling brains of disintegrating personalities. The post Puzzling Evidence – November 7, 2025 appeared first on KPFA.