I remember the night clearly: I was 12, had just started listening to the Sex Pistols and the Dead Kennedys as 12-year-olds do, and had utterly confused my dad in the process.
“What,” he asked, in the living room after dinner, “do you like about this music?”
I wasn’t about to say the lyrics, which fed into my inexperienced fascination with political and cultural subversion. I dithered. “Oh, you know,” I told my dad, lamely. “The loud guitars and crashing cymbals. The energy.”
He paused, thought for a second, and then uttered seven words that changed our relationship forever.
“I’ve got a record you might like.”
Sponsored
He went to the shelf and slowly slid out what looked like a plain brown album. He dropped the needle. And there I sat for the next half hour with my dad, in 1987, in our living room with its 10-inch Sony TV and brown carpet and upright piano, taking in a primordial sound like nothing I’d heard before.
The songs were defiant, full of yearning and rage. The music thundered with a gale force, rumbling like a train in danger of careening off its tracks. It was a sound that repeatedly refused to die, some songs ending and then starting up again three or four separate times.
The Who’s Live at Leeds had entered my life. My dad knew something I didn’t, and I vowed to figure out what it was.
In 2016, when the organizers of Coachella announced Desert Trip, a three-day festival with the Who, the Rolling Stones, Paul McCartney, Bob Dylan, Neil Young and Roger Waters, two things happened. It was instantly dubbed “Oldchella” by the music press. Also, I knew I had to go, and that I had to bring my dad.
The night of listening to Live at Leeds was no grand musical reconciliation, mind you. Up until I left home (early, at age 16), I still cautiously closed my bedroom door when I listened to any music that could be construed as a problem: Nomeansno, D.R.I., Christ on Parade, the Subhumans, Dayglo Abortions, Born Against. We were, at the time, a Mormon household. I’d sat through maddening lectures at Mormon boys’ camp by high-ranking apostles about the evils of punk and hardcore, confounded at their misunderstanding of this music that had given me so much positive energy and inspiration. I assumed my parents felt it was evil too. When there was a knock at my bedroom door, I’d always lift the needle or pause the tape before opening it.
There was other trouble. My grades dipped. My mom and dad scraped together the money to send me to a Catholic school, where, with a wealthy student population, there were more drugs and booze than ever. I snuck out of the house to go to shows. I stole copies from the local Kinko’s to make my zine about how much I hated high school. I had questionable relationships and an even more questionable wardrobe. I felt perfectly normal and productive, and to this day I believe I was doing just fine in those years, but I also know my parents were worried sick over me.
Through it all—the screaming, the ultimatums, the day I packed a duffel bag and sneaked out, the years afterward of being broke and unhealthy, and slowly but dangerously finding my place in the world—my dad and I always had the Who. We could talk for hours about them. It was more than just the music. The Who represented, to me, the knowledge that no matter how distant we got from each other, we still had a connection.
I often joke that if you want me to understand something, you’ll have to make it about records. I’m a parent now, so I know firsthand what it’s like to love your child unconditionally. But in those trying years, long before I’d ever imagine being a father myself, the best way I understood my dad’s unconditional love was this: We’ll always have the Who.
A few months before the festival, I called him and asked if he’d be my +1 to Desert Trip. He said yes. We rented a car, booked a trailer in a mobile home park in the Palm Springs desert, and when the big weekend came, we started driving south on the father-son road trip of a lifetime.
“Here’s where the road was filled with stopped cars,” my dad says, as we drive along Hwy. 580 near Altamont. “It was like a parking lot. Everybody just left their cars in the road and started walking.”
I guess I’ve been leaving out the fact that my dad has always been as rabid about music as me. Yes, my dad went to Altamont, the infamous free concert in 1969 headlined by the Rolling Stones. He frequented the Fillmore in high school, seeing the Dead, Janis, the Doors, the Animals and countless others. (He swears he never did drugs; I believe it.) He still has his ticket stubs, posters, handbills—including some that he passed out at school so he could get into shows for free.
He even once saw Elvis Presley, bringing along a slender brunette from his school who’d captured his attention. On the way back, they parked at the vista point north of the Golden Gate Bridge and, with the lights of San Francisco twinkling through the fog and the fervor of “Love Me Tender” still lingering, he kissed her for the first time. When he proposed a year later, she said yes, and that’s how he married my mom.
Once my sisters and I were born, the new responsibilities we brought didn’t kill my dad’s love of music. He still played bass in his band at local dances and pizza parlors. He still bought records on a weekly basis. He worked construction from dawn ’til 5pm or 6pm to support his family, so he didn’t get out as much, though I do have distinct childhood memories of waiting with him at Ticketron kiosks and BASS outlets to buy concert tickets. He installed new speakers and premium cassette decks in all our cars, and pretended not to love it when my mom would crank the volume up to 10, and sing out the car window at the top of her lungs.
But I’m getting ahead of myself. My dad also went to Altamont.
The actual concert site of Altamont doesn’t look like anything from the freeway now, and as we drive past it, I relish my dad’s retelling of that day’s events. He and a buddy took a Greyhound, he tells me, from Santa Rosa to San Francisco; they transferred to a bus toward Livermore, and then hitchhiked with strangers into the concert. The bands were distant, the sound was bad. He didn’t pick up on the festival’s bad vibes, let alone witness what came to be the defining moment of Altamont: the stabbing and beating to death of Meredith Hunter, a black 18-year-old fan, by the Hell’s Angels.
Instead, after the Rolling Stones finished, he hitchhiked back to Livermore in the back of a pickup truck driven by a likely very drunk and/or high teenager doing 80mph on bumpy dirt backroads, bussed back to San Francisco and then Santa Rosa, and got home at 4:30 in the morning.
Hearing this story now, on the way to Southern California, my mind is blown. I knew he’d gone to Altamont. But hitchhiking? Riding with drunk drivers? Coming home at 4:30am? These are details of the story he’d conveniently left out when I was younger—and, truth be told, secretly doing all of those same things myself.
The rest of the drive toward Oldchella is filled with similar stories. We reminisce about the time in 1989 that our family went to see Paul McCartney at UC Berkeley’s Memorial Stadium. We talk about the several times he took my mom to see the Stones, the ticket prices getting higher and higher each time until it was untenable to keep seeing them.
In the 10 years since my mom died, my dad and I have gotten closer. We’ve gone on other journeys together: a week-long baseball trip of stadiums on the east coast; a trip to the Masters golf tournament in Georgia. We’ve seen a lot of music together. But being in a car with nothing to see for miles has a way of opening up conversation. It goes beyond talking about music, or telling stories, or confirming memories; you can think more deeply about what all of these things actually mean, and how they affect your life.
For example, somewhere along the endless, unchanging stretch of I-5, he tells me again about seeing the Who, at the Cow Palace in 1967. Their out-of-place appearance on a lineup with the Association and the Everly Brothers was part of a “new generation” showcase sponsored by White Front department stores. They played six songs, destroyed their equipment, and left. My dad was amazed. It would be the only time he’d see the Who—until this weekend, now, almost 50 years later.
Whenever he retells how the Who smashed their instruments that night at the Cow Palace, my dad never fails to mention the role played by bassist John Entwistle. While Roger Daltrey swung his microphone around by its cord; while Pete Townshend obliterated his guitar and thrust it through the speakers of his Vox amplifier; while Keith Moon upended his drums off their riser, throwing them all over the stage—amidst this post-musical anarchy there stood Entwistle, nicknamed “The Ox,” stoic and unmoved, still playing the bass.
“He was like a rock, just this anchor for all the chaos going on around him,” my dad says, still awestruck. “No matter what happened, he stayed with the song. He was the glue.”
My dad has never made the obvious connection here, but growing up, we gave him a lot of tumult to deal with. We threw our teenage drama and emotional upheaval and reckless actions and stupid anger at each other—me, my sisters, my mom, all of us. All it took was a few words from my dad to remind us what was important. Even after my mom was killed in the car crash, when we were all utterly destroyed, when he of all people should have been destroyed the most, he kept us rooted. He was our ox. Our John Entwistle.
When we finally get to Desert Trip and ride the Ferris wheel for a bird’s-eye view of where we’ll spend the next three evenings, we realize that the festival grounds are huge. My dad, who’s either worked on or led construction crews all of his adult life, can’t help but hypothesize about the logistics of putting on something this size. “This is like a city! How long did it take them to set everything up?” he asks. “How many people do you think are working here? How much money do you think this place makes every day?”
I have no clue, honestly. As we make our way to watch Bob Dylan, I’m busy thinking about my dad’s old boxes of 45s.
I first found them when I was eight, maybe nine. The two avocado-green boxes were falling apart. The lids had come off their hinges years ago; masking tape from the tool drawer in my dad’s construction van held the corners together. But for me, those two boxes contained the whole world. Records by the Beatles, the Vanilla Fudge, the Count Five, the Stones, the Small Faces, Hendrix. I could randomly pull out any 45 and be hit with either a seminal ’60s anthem the world knew by heart but I’d not yet heard, or an obscure garage-rock gem that would feed my burgeoning music nerd-dom. I’d sit with those boxes at our living-room record player for hours, and let my imagination run wild.
To a curious young kid, those boxes held creativity, wild abandon, freedom. They also held no records at all by Bob Dylan.
I own dozens of Dylan albums now, but my dad had just one when I was growing up: Hugo Montenegro’s Dawn of Dylan, a schlocky orchestral LP of Dylan songs, filed on his shelf between the Doors and the Eagles. I don’t know how he wound up with it. “I could never stand his voice,” he’d told me when I was 13, and had asked him why he didn’t have any others. Fair enough.
At the festival, we find our seats for Dylan, who’s been in the news for the past day as a “voice of a generation” for winning the Nobel Prize for Literature. Ironically, on this road trip, he’s not someone my dad and I can really bond over. When I was 16, partly out of concession to my fandom and partly just to tick off the box, he bought tickets for the family to see Bob Dylan in Santa Rosa. I’m pretty sure he hated it. My mom definitely hated it. (Years later, I would even have the chance to talk with Tom Waits about being at this show, and even he hated it. It was a bad era for Dylan.)
But as baffled as I was that evening in 1992—by his drastic rearrangements, and reptilian voice—I was also intrigued. Now, 25 years later in the stands at Desert Trip, that same wonder comes back as Dylan takes the stage and plays song after song, resurrecting vignettes from my life: The time I played “Don’t Think Twice, It’s Alright” on the guitar in class after breaking up with my first major girlfriend, who’d introduced me to Bob Dylan. How every line of “It’s All Over Now, Baby Blue” directly correlated to a moment in our relationship. How we both hated “Rainy Day Women #12 and 35” and “Highway 61 Revisited.”
How I took time off from Dylan, but discovered Blood on the Tracks at age 22 while living in a garage and playing “Simple Twist of Fate” and “Tangled Up in Blue.” How I once dated a girl who loved Barry Manilow and only knew “To Make You Feel My Love” because Garth Brooks had covered it. How I used to close the record store I worked at by putting on “Desolation Row” at 4:50pm, every single shift, eventually listening to it hundreds of times. How, the night before moving into the house my wife and I have now lived in for 14 years, I set up the stereo in the empty living room alone and played Time Out of Mind, with “Love Sick” reverberating off the walls and hardwood floors, an eerie welcome to a new home.
The morning of the Nobel Prize announcement, I’d woken up to a storm of denigrating, snarky comments on Twitter, mostly from people younger than me. I know that for my age, I have a higher-than-average attachment to Dylan, but I truly couldn’t understand it. Wasn’t Dylan, like, unilaterally recognized as a songwriting titan? How could anyone feel resentful about him winning an award?
Ah, but then. I remembered. The same impulse is in me, too, just a slightly different strain. It’s always been there, this nagging thing that I’ve wrestled with for years. I don’t know if it has a name, but these are the words I blurt out when it consumes me:
I hate the stupid Baby Boomer generation.
Here is where I clarify that I don’t actually hate the Baby Boomer generation.
But anyone who grew up in the shadow of the Boomers knows this feeling. It’s simple math: in the ’80s, the Baby Boomers took up a lot of space. Their huge, unprecedented population was both the coveted demographic for advertisers, and in charge of doing the advertising. They made the decisions that shaped mainstream culture at large in the Reagan era.
You remember, probably, how this affected music. Sixties bands had big comebacks as pop stars. The Moody Blues had “Wildest Dreams.” The Grateful Dead had “Touch of Grey.” Starship, the neon-wearing, synthesizer-playing, hairspray-laden ’80s incarnation of Jefferson Airplane, had “We Built This City.”
Meanwhile, acts like the Replacements and the Smiths were making some of the most important and interesting rock music in the world, to say nothing of the many boundary-pushing punk and independent-label bands (let alone hip-hop, then blossoming as an art). But with Boomers in charge at radio, working A&R at labels, and—let’s be real—fueled by a cocaine self-importance, there was no room for these vibrant new artists in the mainstream. You’d turn on MTV and see Glenn Frey trying to go new wave, or Phil Collins crooning over electronic drums, all while incredible evolutions in modern rock and punk and rap were happening in America, not only unnoticed but completely shut out, relegated to low-watt college radio and fanzines and niche record stores.
Even after Nirvana broke, Boomers clung stridently to “their” music, insisting that Eric Clapton and the Rolling Stones were The All-Time Most Important Rock Institutions on Earth (see: every Rolling Stone list circa 1992-1999). I know this, because I worked at a record store for 14 years, and some days I felt like I was paid to have the same conversation about the Beatles over and over again all day long.
These days, not only have most of the Boomers aged out of positions of influence in the music industry, but the old channels for influence have been broken up, reclaimed by the internet, and placed in the hands of teens. That’s how influence should work: from the bottom up.
For my formative years, though, when Boomers were in power? Influence was top-down. As a result, I can sing you the entirety of “Kokomo” by the Beach Boys, and I’m not happy about it.
So the Rolling Stones play. They do their thing. They do it well. There are no surprises.
I can very vividly recall, as a kid, seeing the Rolling Stones’ video for “Start Me Up” on our 10-inch Sony television. Watching it now is like a college course in the awkwardness of the then-nascent art form of the music video: it’s really cringeworthy. But what I remember most from watching it when I was six is my mom in complete shock, shrieking quasi-hysterically to my dad: “They’re so OLD! Look at them! Look at their grey hair!”
My dad was unmoved. “Well,” he replied, “we’re old.”
They were 30.
Despite the many great Rolling Stones songs from my dad’s 45 boxes, and the entire Their Satanic Majesties Request album rearranging my young brain, the Rolling Stones never gave me a reason to go see them live. With their abhorrently expensive ticket prices, I’d worn it as a badge of pride that I hadn’t been suckered to one of their shows. But: if you really love the Stones, and you happen to have thousands of dollars you could light on fire with no fundamental impact on your life, then Mick Jagger will be happy to take your money.
Sometime during opener “Jumpin’ Jack Flash,” I hear a guy near us loudly tell his friend, “I can’t believe this! These guys are legends!” That’s what the Stones are selling these days: brief, vicarious access to their “legend” status.
Meanwhile, I keep thinking that the Rolling Stones couldn’t happen in today’s world. For that matter, the entire British Invasion—built on the notion that American audiences had little to no access to their own country’s blues music and, even if they had, would prefer it played by white people—couldn’t happen in today’s world. Look at what’s happened to the Australian rapper Iggy Azalea in the internet era of outrage over cultural appropriation, and get back to me.
Or better yet: imagine Iggy Azalea 50 years from now, launching into “Fancy” in front of 80,000 people, all of them having forked over a whole paycheck to be in her presence. That’s how surreal the Rolling Stones are to me in this moment.
A guitar lick starts the next song and knocks me out of my thoughts. I instantly go a little weak. It’s “Tumblin’ Dice,” and my dad has played this song dozens of times, and I can’t help but feel transported. “Man, I love this song,” I shout to my dad.
He nods, smiling a big, carefree smile. He loves it too.
The next day, we leave our trailer and drive north to Pioneertown. We have no idea what’s there, other than a tiny bar in the middle of nowhere called Pappy & Harriet’s where Paul McCartney played a surprise show two nights before.
It turns out “in the middle of nowhere” isn’t just a phrase. There’s nothing for miles. Pioneertown is a old-west ghost town, built for Roy Rogers westerns, with fake wooden storefronts and scattered spitoons. Then, at the end of the dirt street, there’s the place where a living Beatle performed for 300 people on a ramshackle stage no taller than a sidewalk curb.
We talk to a local woman; she tells us that prior to the show, McCartney and his band warmed up inside an empty building across the street marked “Likker Barn,” and that she and some others stood outside, ears to the wall, eavesdropping on rock ‘n’ roll royalty. Can you imagine?
This turns out to be one of several diversions on our trip, including a) seeing Frank Sinatra’s gravesite, b) seeing Elvis Presley’s honeymoon house, and c) seeing Tower of Power in concert. We spend the rest of the day driving through Joshua Tree National Forest, with a brief stop beforehand at the Joshua Tree Inn, where Gram Parsons died. (My wife and I fell in love listening to a lot of Gram Parsons, and eventually danced to his desolate, sad song “$1,000 Wedding” at our own $1,000 wedding. It feels nice to pay respects.)
Inside Joshua Tree, I survey the barren, eroded landscape and decide to play a hypnotic album by Stars of the Lid, essentially an indie new age duo. The soft music swells and fades, a strangely fitting soundtrack. My dad is surprised that I would even like such music.
I laugh. I tell him about the odd new age revival currently happening, and how loving noise acts like Yellow Swans and Merzbow led me to push further into the abstract, which led me to Kreng and Sylvain Chauveau and Jóhann Jóhannsson, and then to the music of Caretaker, which, like William Basinski’s ‘Disintegration Loops,’ repeats fragments of old music until they’re destroyed, and how, to me, Caretaker, Basinski and Stars of the Lid’s cyclical repetition of destruction eerily mimics the centuries of nature’s toil which created the rock formations around us in the desert.
“I am always so amazed at how much music you know about,” he says.
I laugh again. I’ll say it here, for posterity: It all started with him.
Neil Young and Roger Waters are the two outliers on the festival, for me and my dad, at least. My dad had Harvest and After the Gold Rush when I began diving into his record collection, but they didn’t do anything for me. Later, at 16, when grunge bands cited him as a godfather? I hated grunge, and if Neil Young was responsible for any of it, well, I held him in contempt.
It wasn’t until years later, at about 21, that I heard Tonight’s the Night and I understood Neil Young’s thing. The emotional weariness, the ragged playing, the unadorned storytelling and intoxicated sadness—it still affects me.
Neil Young is great. He moves from piano to pump organ to guitar, to slowly building a whole band behind him, and he plays all the songs you’d want him to play. “Old Man” resonates on this trip with my dad, as does hearing “Harvest Moon” while an actual harvest moon rises behind the Polo Grounds’ palm trees. But does it convert me into a Neil Young fanatic? No.
I’ll get Roger Waters out of the way here, too—aside from one very stoned afternoon at a rich Catholic school kid’s house listening to Dark Side of the Moon, Pink Floyd has meant little to me and even less to my dad. I can’t overestimate their sonic influence on sound production and engineering at large, but they were never my thing. Onstage, Waters leads a large crew of musicians, the world’s greatest Pink Floyd cover band, in a greatest-hits set, and though the surround-sound effects are dazzling, your imagination can probably fill in the rest. If you’ve just read a billion words so far to get to the epic Pink Floyd section, I apologize.
That leaves McCartney and the Who. They both surprise me more than I could imagine.
When I was 10, I listened to the Beatles in the same way that others read the Bible. I listened and re-listened to their albums until I felt like I understood every musical parable being conveyed. I pored over every lyric like it was scripture, every chord structure like it was a commandment. I learned to play the songs on piano and guitar for others, a missionary spreading the gospel. I dove headlong into books about them, serving as theological sermons about the divine meaning of it all.
And then? After two immersive years, I graduated from Bible school. The Beatles were in my blood, a deeply imbued part of me that I could never extract. And hence, I didn’t need to keep listening to them, or obsessing over them; in ways, I simply was them. I was ready for that which was built upon the solid rock of their foundation.
Not everyone graduated, I would learn. I try very hard not to be a snob or to denigrate others’ musical preferences, but I really, really do not need to have another conversation about the greatness of the Beatles. Being a superfan of the Beatles is like decorating your apartment exclusively in Star Wars décor, or owning a kitchen full of “I ♥ Chocolate” accessories. The goodness of these things is so self-evident that to celebrate them openly and fanatically feels eerie and suspect: “Air! It’s great! Everyone should breathe it!”
Nevertheless, I have hooked myself back up to the oxygen tank over the years. After seeing him in 1989 with the family, I saw McCartney again in 2014 at Outside Lands in Golden Gate Park, an experience I loved perhaps even more. That’s because after years of fighting with the world’s unending worship of the Beatles and disavowing them in Joe Strummer-esque “phony Beatlemania” fashion, it felt good to make amends in person. To realize that I could still sing along with every single word, and be reminded of why they mattered to me.
Only one thing was missing. There was an important name on all those Beatles records I devoured at age 10, and it wasn’t John, Paul, George or Ringo, or even George Martin: it was “Robert J. Meline,” followed by my dad’s home address, “2717 Magowan Dr., Santa Rosa”—the house of his dad, a mailman and WWII veteran—written on the record sleeve in his unmistakable blocky handwriting. Watching McCartney play “Lady Madonna” and “Paperback Writer” and tell stories about Clapton and Hendrix and perform the entire finale of Abbey Road, I kept thinking, that night in Golden Gate Park, “I wish my dad were here.”
So here with him in Indio, the wish is finally coming true. McCartney comes out, strums the opening chord of “A Hard Day’s Night,” and we’re off: “Day Tripper,” “I’ve Just Seen a Face,” “Ob-La-Di, Ob-La-Da,” “And I Love Her.” He plays “Birthday” and “We Can Work It Out,” both songs my dad and I have played; he brings out Rihanna for “FourFiveSeconds” and Neil Young for “Why Don’t We Do It In the Road?” and “A Day in the Life”; he even throws in “Being for the Benefit of Mr. Kite.”
But something is off. It’s not the grand reunion of myself, Paul, and my dad that I’d built up in my mind. McCartney is stiff, telling the same exact stories he’d told the last time I saw him, and playing the same songs. May dad and I sing parts of songs here and there, but it’s not… ecstatic. The rest of the people in our section sit down in their seats the whole time, and part of me doesn’t blame them.
Ever since I first read the sermon on the mount in the Bible, I’ve imagined in my mind a specific scene, a specific mountain, and a specific crowd of people. And while McCartney plays, I realize the scene I’ve always had in mind for the sermon on the mount looks a lot like this concert, with one man in front of 80,000 people in a huge field. John Lennon once quipped that the Beatles were bigger than Jesus. What if Jesus had lived to be 74? What if he returned to the mount for the ‘Blessed Are The Meek Reunion Tour,’ reciting the Beatitudes and other hits, for $399 plus convenience fees per ticket? How weird would that be? Is that what I’m witnessing with Paul McCartney?
Jesus had the right idea, long before “My Generation.” Now there’s a guy who died before he got old.
The scream in “Won’t Get Fooled Again” is the greatest rock and roll scream of all time.
This is wisdom imparted to me by my dad. This is also not up for debate. Many have tried to match the scream. All have failed. I have listened to upwards of 20,000 albums in my life, scouring along the way for a better scream like an archaeologist searching for the lost ark, and have come up empty-handed.
When I formed my first band, I demanded we cover “Won’t Get Fooled Again” for the sole purpose of trying my hand at the scream. The closer I could get to Roger Daltrey’s holy eruption, I surmised, the closer I would be to God. There are dusty videotapes in my dad’s attic, containing the results. They are disastrous. When I was on tour constantly for the next seven years in other bands—playing bass, just like my dad, in fact playing the same 1972 Fender Jazz Bass that he handed down to me—I would warm up my voice by attempting the scream. To the backstage staff at venues all over America and Europe: I’m sorry.
So as my dad and I find our seats to watch the Who, I’m a little nervous. I want the Who to be great. I want this so I can be reassured that with age and the passing of time, relationships can retain their magic. This is the wholly asinine promise of nostalgia, and I openly admit that I fall for it. I need Daltrey and Pete Townshend to be alright so I’ll know that me and my dad will be alright.
But mostly, I want the scream.
I know what you might be thinking. The Who is gonna play “My Generation,” right, and me and my dad will look at each other knowingly during the line “I hope I die before I get old,” silently acknowledging our age. We’ll share a poignant understanding that despite our generation’s differences we’re all still human, all of us gathered here under the palm trees in a huge Polo field.
But “My Generation” comes and goes with scant notice, let alone fanfare, tucked within a barrage of the band’s early hits, one after another. “I Can’t Explain,” “The Seeker,” “The Kids are Alright,” “I Can See for Miles”—holy shit, this band’s songs are so good—then songs from Who’s Next, like “Behind Blue Eyes” and “Bargain.”
And then something happens. During “The Rock,” from Quadrophenia, scenes from 50 years of global upheaval are projected on the stage’s enormous screens. The Paris shooting, the Great Recession, 9-11, Tiannamen Square, the L.A. riots, Nixon’s resignation, the Iran hostage crisis, Chernobyl, John Lennon’s death, and on and on and on. Much of the footage is from Vietnam. Lots and lots of Vietnam.
I can’t ever know what it was like to live through Vietnam. I remember being eight, in 1983, and being pulled up by my mother to stand and applaud when a group of grizzled-looking Vietnam veterans walked in our hometown parade, and being told that they were heroes, and that people dumped buckets of sewage on them when they came home from the war, which was a terrible, stupid war, and for that reason, I should clap for them now. I did not know at such a young age what to make of these mixed messages—“applaud these good people who fought a bad war”—but I understood that Vietnam was a complicated thing.
It hits me, watching this montage, how a complicated thing like Vietnam would be so much different today. In 1968, there weren’t cameras in everyone’s pocket, and no ability to transmit information instantaneously, no social media. There were three TV channels and about as many magazines with resources enough to send journalists to the front lines. Today, everybody’s story is told instantly, but the story during Vietnam was littered with gaps: censorship, spin, classified information, oversights, untold experiences, unspoken tragedies, and whole swaths of war experience ignored.
Rock ‘n’ roll filled in those gaps. It gave a voice to the disenfranchisement, the unrest, the disillusionment. It spoke not only for my dad—who nervously picked up a newspaper with the local draft lottery results one afternoon and returned home, relieved, when his number was high—but for millions of others who were drafted, or had loved ones who were. It certainly spoke for the hundreds of thousands who were wounded or killed.
Generation Xers and Millennials like to say they got a raw deal, and they’re right. Baby Boomers took all the jobs, and then ruined the economy. There is nothing but a dismal future for young people right now.
But rock ‘n’ roll—or at least the kind of rock ‘n’ roll that told the untold story of the 1960s—also reminds us that the Boomers were literally sent off to die. For no good reason. For over a decade. Sent to war by their own parents, the “greatest generation.” We have student-loan debt. They had body bags.
That’s an oversimplification, I know. But I’m here watching the Who just trying to have a good time with my dad, and next thing I know I’m making peace with my entire disdain and resentment for an imaginary culture war between generations that in reality doesn’t exist.
Just as all this love is reigning over me, the band plays the opening notes of the next song, “Love Reign O’er Me,” and it’s so ridiculously perfect, and the chorus so majestic, that I get tiny goosebumps all over. Later, during “Baba O’Riley,” Daltrey sings the words “Let’s get together before we get much older,” and the sentiment fills me with gratitude for my dad and I deciding to take this four-day road trip together, now, before we get much older.
And of course, the Who ends their set with “Won’t Get Fooled Again.”
At this point—after heavy realizations about age, the passing of time, political upheaval, generational empathy—the scream is almost an afterthought. But during the long synthesizer break right before the scream, my hands are twitching. I even hold them up to my dad: “I’m worried!” I say, nervously. “What if it sucks?!”
The drum fill starts. The high synthesizer notes ring out. The stage lights pulse as the whole thing builds.
AND THE SCREAM IS AWESOME.
By which I mean that the scream ricochets around the entire field, up to the skies, and in that moment it feels like it covers the entire world. Daltrey is writhing and Townshend is sliding on his knees across the stage and me and my dad are just so, so giddy and bonkers with stupid excitement, and we can’t stop grinning like 12-year-olds, a father and his son filled with crazy elation for hours afterwards.
And I can’t stop repeating a still, quiet mantra in my head:
The scream is awesome. Rock ‘n’ roll is transcendent. My dad is here. Everything’s gonna be alright.
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He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.","avatar":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twitter":"gmeline","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"artschool","roles":["editor"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"liveblog","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Gabe Meline | KQED","description":"Senior Editor, KQED Arts & Culture","ogImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/gmeline"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13957833":{"type":"posts","id":"arts_13957833","meta":{"index":"posts_1591205157","site":"arts","id":"13957833","found":true},"guestAuthors":[],"slug":"golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo","title":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party","publishDate":1715729282,"format":"standard","headTitle":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790376816840146993\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790360287725674855\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area’s newest sports franchise will host a free community event in front of Chase Center this weekend.","status":"publish","parent":0,"modified":1715729282,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":679},"headData":{"title":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party | KQED","description":"The Bay Area’s newest sports franchise will host a free community event in front of Chase Center this weekend.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party","datePublished":"2024-05-14T16:28:02-07:00","dateModified":"2024-05-14T16:28:02-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957833","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957833/golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1790376816840146993"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1790360287725674855"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957833/golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo","authors":["11748"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_5786","arts_6926","arts_1601","arts_22151","arts_9346","arts_1829","arts_681","arts_1803","arts_1146"],"featImg":"arts_13957856","label":"arts"},"arts_13957576":{"type":"posts","id":"arts_13957576","meta":{"index":"posts_1591205157","site":"arts","id":"13957576","found":true},"guestAuthors":[],"slug":"bay-area-free-concerts-summer-2024","title":"10 Free Concerts Not to Miss in the Bay Area This Summer","publishDate":1715878846,"format":"standard","headTitle":"10 Free Concerts Not to Miss in the Bay Area This Summer | KQED","labelTerm":{},"content":"\u003cp>According to economist Thorstein Veblen, conspicuous consumption results in a counter-intuitive dynamic: Increasing a luxury item’s cost can actually lead to higher demand. But no social scientist has explained why the satisfaction of experiencing live music seems to rise as the price of admission approaches zero. My theory is that Veblen goods acquire cache due to the perception of exclusivity, while free concerts often foster a sense of welcoming solidarity, as newbie passersby mingle with devoted fans.\u003c/p>\n\u003cp>The Bay Area’s multifarious free concert options may not provide an antidote to the region’s Veblen epidemic, but these sounds of summer are a celebration, and everyone’s invited.\u003c/p>\n\u003cfigure id=\"attachment_13951313\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg\" alt=\"A Black man in a cap and patterned blue shirt stands with a saxophone, with moving boxes and an organ in the background\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley in his Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/howardwiley-june1\">Howard Wiley’s SF Love: Playing For the People\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park Bandshell, San Francisco\u003cbr>\nJune 1, 2-6 p.m.\u003c/em>\u003c/p>\n\u003cp>Oakland saxophone great Howard Wiley presented his soul-powered love letter to California at the SFJAZZ Center last March, and he’s bringing the party to the Golden Gate Bandshell as part of the recently launched SF Live concert series. Wiley’s band shares the afternoon program with DJ Knowpa Slaps, MC Radioactive and Bayonics vocalist Jairo Vargas’s side project, Rojai and the Pocket. Drawing on hip-hop, funk, gospel, blues and bebop, Wiley has been devising outrageously creative mash-ups (think “Hotel California” meets “Californication”). Produced in partnership with Illuminate and Madrone Art Bar, where Wiley’s band Extra Nappy held down a weekly residency for years before the pandemic, the concert is part of \u003ca href=\"https://sflivefest.com/\">SF Live’s six-month series of free concerts.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13957946\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg\" alt=\"\" width=\"1200\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-1020x536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-768x403.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">South African musicians Steve and Bokani Dyer (right to left). \u003ccite>(Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/dyertribe/\">Dyertribe: Steve & Bokani Dyer + Izithunywa featuring Nbado Zulu & Linda Sikhakhane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nJune 8, 1-3 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>South African jazz musicians were in the forefront of the struggle against apartheid, and this double bill is part of a 30th-anniversary celebration of the country’s first free, multiracial election. One of South Africa’s leading improvisers, saxophonist Steve Dyer, came of age in the crucible of the anti-apartheid movement. He performs with Dyertribe, his duo with his son, pianist/composer Bokani Dyer. Offering another view of South Africa’s creative ferment, the group Izithunywa, featuring trumpeter Ndabo Zulu and saxophonist Linda Sikhakhane, draw deeply on traditional music from Botswana and the Zulu people. Co-presented with the Museum of the African Diaspora, the Bay Area residency includes a free talk and musical demonstration at MoAD on Friday, June 7, 6:30-8 p.m., “\u003ca href=\"https://www.moadsf.org/event/discussion-demonstration-south-african-jazz-a-musical-journey-through-traditions-and-time\">South African Jazz: A Musical Journey Through Traditions and Time\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13957949\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957949\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg\" alt=\"\" width=\"1024\" height=\"819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-768x614.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">American jazz duo Tuck and Patti, William Charles “Tuck” Andress and singer Patricia “Patti” Cathcart Andress perform during the Newport Folk Festival 2018 at Fort Adams State Park on July 27, 2018 in Newport, Rhode Island. \u003ccite>(Photo by Douglas Mason/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Childrens-Theatre/Twilight-Concert-Series\">Tuck & Patti\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Rinconada Park, Palo Alto\u003cbr>\nJune 8, 6:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Palo Alto’s long-running Twilight Concert Series opens with hometown heroes Tuck & Patti, a.k.a. guitar wizard Tuck Andress and bewitching vocalist Patti Cathcart. The couple has been performing as a self-contained duo for close to four decades, honing an expansive repertoire of gracefully reharmonized jazz, soul, R&B and pop tunes. Cathcart has also written emotionally bountiful originals that celebrate love and forgiveness. While they haven’t released a new album since 2007, a new generation of listeners have discovered Tuck & Patti via Andress’ niece St. Vincent, who traveled with the duo as a roadie and tour manager.\u003c/p>\n\u003cfigure id=\"attachment_10678353\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10678353\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg\" alt=\"\" width=\"1600\" height=\"2257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-400x564.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-837x1180.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-1180x1665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-960x1354.jpg 960w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/festival-schedule/june-15/\">Healdsburg Jazz’s Juneteenth Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Downtown Healdsburg\u003cbr>\nJune 15, 2-8:30 p.m.\u003c/i>\u003c/p>\n\u003cp>The Healdsburg Jazz Festival (June 15-23), which has continued to punch well above its weight under the direction of San Francisco bass maestro Marcus Shelby, kicks off with a free, all-day Juneteenth celebration in the town’s picturesque plaza. It’s a musical triple bill headlined by the sextet of trombone star Steve Turre, the festival’s artist in residence. Saxophones are well represented by Person2Person, the quintet co-led by 89-year-old tenor great Houston Person and his younger colleague, fiery altoist Eric Person. And pianist Darrell Grant performs with his Modern Jazz Quartet-inspired chamber jazz band Darrell Grant and MJ New.\u003c/p>\n\u003cfigure id=\"attachment_13957952\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png\" alt=\"\" width=\"970\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-800x663.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-768x637.png 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Pacific Mambo Orchestra. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/pacificmambo-june20\">Pacific Mambo Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fulton Plaza, San Francisco\u003cbr>\nJune 20, 4-7 p.m.\u003c/i>\u003c/p>\n\u003cp>The Pacific Mambo Orchestra shocked the Latin music world with an upset victory at the 2014 Grammys, when the group’s eponymous crowd-funded release won Best Tropical Latin Album. Ever since, the East Bay big band has been a mainstay at festivals and nightclubs. Co-led by trumpeter Steffen Kuehn and pianist Christian Tumalan, the band is packed with top players and arrangers, like trombonist Mike Rinta and baritone saxophonist Aaron Lington. With Armando Cordoba, Christelle Durandy and Braulio Barrera providing an array of lead vocals, the PMO is designed to keep dance floors crowded.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vQ26Z-vJftM\u003c/p>\n\u003ch2>\u003ca href=\"https://www.cortemaderacommunityfoundation.org/corte-madera-summer-concerts\">Anthony Paule Soul Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Piccolo Pavilion in Menke Park, Corte Madera\u003c/em>\u003cbr>\n\u003cem>June 23, 5-6:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Guitarist Anthony Paule’s Soul Orchestra is a horn-powered combo devoted to swaggering, 1960s and ’70s blues and soul emanating from Detroit, Muscle Shoals and Los Angeles. The group has earned a devoted following through regular appearances at European music festivals, showcasing powerhouse vocalists like Terrie Odabi and Wee Willie Walker. For this concert, part of the Corte Madera Summer Concert series, the APSO is joined by Willy Jordan, a versatile singer (and drummer) who’s toured and recorded with John Lee Hooker, Elvin Bishop, Charlie Musselwhite and Gator Beat.\u003c/p>\n\u003cfigure id=\"attachment_13957954\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg\" alt=\"\" width=\"1500\" height=\"1102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-768x564.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Le Jazz Hot. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jazzontheplazz.com/2024-concerts/\">Le Jazz Hot Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Los Gatos Town Plaza\u003cbr>\nJune 26, 6:30-8:30 p.m.\u003c/em>\u003c/p>\n\u003cp>A long-running mid-week concert series in Los Gatos, Jazz on the Plazz kicks off this year with the timeless swing of Le Jazz Hot Quartet. A distilled version of guitarist Paul Mehling’s Hot Club of San Francisco (the ensemble that spearheaded a North American revival of Django Reinhardt’s and Stéphane Grappelli’s ebullient 1930s sound), the quartet explores Reinhardt standards, Beatles tunes and numerous originals with the requisite rhythmic authority.\u003c/p>\n\u003cfigure id=\"attachment_13957955\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg\" alt=\"\" width=\"1024\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-768x506.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux performs on stage during Day 3 of the Womad Festival at Charlton Park on July 29, 2023 in Malmesbury, England. \u003ccite>(C Brandon/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/ana-tijoux-j-noa/\">Ana Tijoux & J Noa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 3, 1–3 p.m.\u003c/em>\u003c/p>\n\u003cp>After her hit 2010 solo debut, \u003cem>1977\u003c/em>, French-born Chilean MC Ana Tijoux was dubbed “South America’s answer to Lauryn Hill: equally skillful at singing and rapping” by \u003cem>The New York Times\u003c/em>. In truth, she’s forged a highly personal sound, combining old-school hip-hop production with Latin American instrumentation. Her recent album, \u003cem>Vengo\u003c/em>, features some of her most appealing work, and she brings a full band to the Yerba Buena Gardens Festival. With teenage Dominican rap sensation J Noa playing an opening set, this double bill is the city’s premier global hip-hop summer showcase.\u003c/p>\n\u003cfigure id=\"attachment_13957957\" class=\"wp-caption aligncenter\" style=\"max-width: 672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg\" alt=\"\" width=\"672\" height=\"897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015-160x214.jpg 160w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003cfigcaption class=\"wp-caption-text\">Monica Salmaso. \u003ccite>(Roberto Filho/Divulgacão)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/brazil-in-the-gardens-2024/\">Brazil in the Gardens: Monica Salmaso, Guinga and Teca Cardoso\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 15, 12:30-1:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Monica Salmaso made her mark with \u003cem>Afro-Sambas\u003c/em>, the classic 1997 album with guitarist Paulo Bellinati interpreting Baden Powell’s and Vinícius de Moraes’ incantatory song cycle. The São Paulo vocalist doesn’t make it to the Bay Area often, and this concert stems from California Brazil Camp, which sends a contingent of faculty every summer from the redwoods of Cazadero to San Francisco’s Yerba Buena Gardens. She’s joined by Guinga, a master guitarist, vocalist and composer whose songs have been recorded by Brazilian legends such as Elis Regina, Clara Nunes and Miúcha; and multi-instrumentalist Teco Cardoso, a brilliant improviser on saxophones and flutes known for his work with Edu Lobo, Joyce, João Donato, Rosa Passos and Baden Powell himself.\u003c/p>\n\u003cfigure id=\"attachment_13858024\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg\" alt=\"Meklit Hadero.\" width=\"900\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-768x768.jpeg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Meklit Hadero. \u003ccite>(Ronald Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/movement-immigrant-orchestra/\">Meklit’s Movement Immigrant Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 31, 1-2:30 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco-based Ethiopian American singer, songwriter and expert story wrangler Meklit manifests her multi-platform \u003ca href=\"https://www.meklitmusic.com/movement\">Movement\u003c/a> initiative at the Gardens with a dozen musicians hailing from 10 countries. Focusing on the experience of border-crossing artists, the production draws on her podcast, nationally syndicated public radio broadcast and stage production. Performers include Mexican singer-songwriter Diana Gameros, Iranian composer Sahba Aminikia, Italian percussionist extraordinaire Marco Peris, Malian virtuoso Mamadou Sidibé, Carnatic percussionist Rohan Krishnamurthy, Barrio Manouche guitarist Javi Jimenez, Iranian American bassist/composer Safa Shokrai and Meklit herself.\u003c/p>\n\n","blocks":[],"excerpt":"Free jazz, salsa and hip-hop shows abound in all corners of the Bay. ","status":"publish","parent":0,"modified":1715959641,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1525},"headData":{"title":"10 Free Concerts Not to Miss in the Bay Area This Summer | KQED","description":"Free jazz, salsa and hip-hop shows abound in all corners of the Bay. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Free Concerts Not to Miss in the Bay Area This Summer","datePublished":"2024-05-16T10:00:46-07:00","dateModified":"2024-05-17T08:27:21-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"nprStoryId":"kqed-13957576","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957576/bay-area-free-concerts-summer-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to economist Thorstein Veblen, conspicuous consumption results in a counter-intuitive dynamic: Increasing a luxury item’s cost can actually lead to higher demand. But no social scientist has explained why the satisfaction of experiencing live music seems to rise as the price of admission approaches zero. My theory is that Veblen goods acquire cache due to the perception of exclusivity, while free concerts often foster a sense of welcoming solidarity, as newbie passersby mingle with devoted fans.\u003c/p>\n\u003cp>The Bay Area’s multifarious free concert options may not provide an antidote to the region’s Veblen epidemic, but these sounds of summer are a celebration, and everyone’s invited.\u003c/p>\n\u003cfigure id=\"attachment_13951313\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg\" alt=\"A Black man in a cap and patterned blue shirt stands with a saxophone, with moving boxes and an organ in the background\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley in his Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/howardwiley-june1\">Howard Wiley’s SF Love: Playing For the People\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park Bandshell, San Francisco\u003cbr>\nJune 1, 2-6 p.m.\u003c/em>\u003c/p>\n\u003cp>Oakland saxophone great Howard Wiley presented his soul-powered love letter to California at the SFJAZZ Center last March, and he’s bringing the party to the Golden Gate Bandshell as part of the recently launched SF Live concert series. Wiley’s band shares the afternoon program with DJ Knowpa Slaps, MC Radioactive and Bayonics vocalist Jairo Vargas’s side project, Rojai and the Pocket. Drawing on hip-hop, funk, gospel, blues and bebop, Wiley has been devising outrageously creative mash-ups (think “Hotel California” meets “Californication”). Produced in partnership with Illuminate and Madrone Art Bar, where Wiley’s band Extra Nappy held down a weekly residency for years before the pandemic, the concert is part of \u003ca href=\"https://sflivefest.com/\">SF Live’s six-month series of free concerts.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13957946\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg\" alt=\"\" width=\"1200\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-1020x536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-768x403.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">South African musicians Steve and Bokani Dyer (right to left). \u003ccite>(Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/dyertribe/\">Dyertribe: Steve & Bokani Dyer + Izithunywa featuring Nbado Zulu & Linda Sikhakhane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nJune 8, 1-3 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>South African jazz musicians were in the forefront of the struggle against apartheid, and this double bill is part of a 30th-anniversary celebration of the country’s first free, multiracial election. One of South Africa’s leading improvisers, saxophonist Steve Dyer, came of age in the crucible of the anti-apartheid movement. He performs with Dyertribe, his duo with his son, pianist/composer Bokani Dyer. Offering another view of South Africa’s creative ferment, the group Izithunywa, featuring trumpeter Ndabo Zulu and saxophonist Linda Sikhakhane, draw deeply on traditional music from Botswana and the Zulu people. Co-presented with the Museum of the African Diaspora, the Bay Area residency includes a free talk and musical demonstration at MoAD on Friday, June 7, 6:30-8 p.m., “\u003ca href=\"https://www.moadsf.org/event/discussion-demonstration-south-african-jazz-a-musical-journey-through-traditions-and-time\">South African Jazz: A Musical Journey Through Traditions and Time\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13957949\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957949\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg\" alt=\"\" width=\"1024\" height=\"819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-768x614.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">American jazz duo Tuck and Patti, William Charles “Tuck” Andress and singer Patricia “Patti” Cathcart Andress perform during the Newport Folk Festival 2018 at Fort Adams State Park on July 27, 2018 in Newport, Rhode Island. \u003ccite>(Photo by Douglas Mason/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Childrens-Theatre/Twilight-Concert-Series\">Tuck & Patti\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Rinconada Park, Palo Alto\u003cbr>\nJune 8, 6:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Palo Alto’s long-running Twilight Concert Series opens with hometown heroes Tuck & Patti, a.k.a. guitar wizard Tuck Andress and bewitching vocalist Patti Cathcart. The couple has been performing as a self-contained duo for close to four decades, honing an expansive repertoire of gracefully reharmonized jazz, soul, R&B and pop tunes. Cathcart has also written emotionally bountiful originals that celebrate love and forgiveness. While they haven’t released a new album since 2007, a new generation of listeners have discovered Tuck & Patti via Andress’ niece St. Vincent, who traveled with the duo as a roadie and tour manager.\u003c/p>\n\u003cfigure id=\"attachment_10678353\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10678353\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg\" alt=\"\" width=\"1600\" height=\"2257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-400x564.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-837x1180.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-1180x1665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-960x1354.jpg 960w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/festival-schedule/june-15/\">Healdsburg Jazz’s Juneteenth Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Downtown Healdsburg\u003cbr>\nJune 15, 2-8:30 p.m.\u003c/i>\u003c/p>\n\u003cp>The Healdsburg Jazz Festival (June 15-23), which has continued to punch well above its weight under the direction of San Francisco bass maestro Marcus Shelby, kicks off with a free, all-day Juneteenth celebration in the town’s picturesque plaza. It’s a musical triple bill headlined by the sextet of trombone star Steve Turre, the festival’s artist in residence. Saxophones are well represented by Person2Person, the quintet co-led by 89-year-old tenor great Houston Person and his younger colleague, fiery altoist Eric Person. And pianist Darrell Grant performs with his Modern Jazz Quartet-inspired chamber jazz band Darrell Grant and MJ New.\u003c/p>\n\u003cfigure id=\"attachment_13957952\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png\" alt=\"\" width=\"970\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-800x663.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-768x637.png 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Pacific Mambo Orchestra. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/pacificmambo-june20\">Pacific Mambo Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fulton Plaza, San Francisco\u003cbr>\nJune 20, 4-7 p.m.\u003c/i>\u003c/p>\n\u003cp>The Pacific Mambo Orchestra shocked the Latin music world with an upset victory at the 2014 Grammys, when the group’s eponymous crowd-funded release won Best Tropical Latin Album. Ever since, the East Bay big band has been a mainstay at festivals and nightclubs. Co-led by trumpeter Steffen Kuehn and pianist Christian Tumalan, the band is packed with top players and arrangers, like trombonist Mike Rinta and baritone saxophonist Aaron Lington. With Armando Cordoba, Christelle Durandy and Braulio Barrera providing an array of lead vocals, the PMO is designed to keep dance floors crowded.\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/vQ26Z-vJftM'\n title='//www.youtube.com/embed/vQ26Z-vJftM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.cortemaderacommunityfoundation.org/corte-madera-summer-concerts\">Anthony Paule Soul Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Piccolo Pavilion in Menke Park, Corte Madera\u003c/em>\u003cbr>\n\u003cem>June 23, 5-6:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Guitarist Anthony Paule’s Soul Orchestra is a horn-powered combo devoted to swaggering, 1960s and ’70s blues and soul emanating from Detroit, Muscle Shoals and Los Angeles. The group has earned a devoted following through regular appearances at European music festivals, showcasing powerhouse vocalists like Terrie Odabi and Wee Willie Walker. For this concert, part of the Corte Madera Summer Concert series, the APSO is joined by Willy Jordan, a versatile singer (and drummer) who’s toured and recorded with John Lee Hooker, Elvin Bishop, Charlie Musselwhite and Gator Beat.\u003c/p>\n\u003cfigure id=\"attachment_13957954\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg\" alt=\"\" width=\"1500\" height=\"1102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-768x564.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Le Jazz Hot. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jazzontheplazz.com/2024-concerts/\">Le Jazz Hot Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Los Gatos Town Plaza\u003cbr>\nJune 26, 6:30-8:30 p.m.\u003c/em>\u003c/p>\n\u003cp>A long-running mid-week concert series in Los Gatos, Jazz on the Plazz kicks off this year with the timeless swing of Le Jazz Hot Quartet. A distilled version of guitarist Paul Mehling’s Hot Club of San Francisco (the ensemble that spearheaded a North American revival of Django Reinhardt’s and Stéphane Grappelli’s ebullient 1930s sound), the quartet explores Reinhardt standards, Beatles tunes and numerous originals with the requisite rhythmic authority.\u003c/p>\n\u003cfigure id=\"attachment_13957955\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg\" alt=\"\" width=\"1024\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-768x506.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux performs on stage during Day 3 of the Womad Festival at Charlton Park on July 29, 2023 in Malmesbury, England. \u003ccite>(C Brandon/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/ana-tijoux-j-noa/\">Ana Tijoux & J Noa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 3, 1–3 p.m.\u003c/em>\u003c/p>\n\u003cp>After her hit 2010 solo debut, \u003cem>1977\u003c/em>, French-born Chilean MC Ana Tijoux was dubbed “South America’s answer to Lauryn Hill: equally skillful at singing and rapping” by \u003cem>The New York Times\u003c/em>. In truth, she’s forged a highly personal sound, combining old-school hip-hop production with Latin American instrumentation. Her recent album, \u003cem>Vengo\u003c/em>, features some of her most appealing work, and she brings a full band to the Yerba Buena Gardens Festival. With teenage Dominican rap sensation J Noa playing an opening set, this double bill is the city’s premier global hip-hop summer showcase.\u003c/p>\n\u003cfigure id=\"attachment_13957957\" class=\"wp-caption aligncenter\" style=\"max-width: 672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg\" alt=\"\" width=\"672\" height=\"897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015-160x214.jpg 160w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003cfigcaption class=\"wp-caption-text\">Monica Salmaso. \u003ccite>(Roberto Filho/Divulgacão)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/brazil-in-the-gardens-2024/\">Brazil in the Gardens: Monica Salmaso, Guinga and Teca Cardoso\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 15, 12:30-1:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Monica Salmaso made her mark with \u003cem>Afro-Sambas\u003c/em>, the classic 1997 album with guitarist Paulo Bellinati interpreting Baden Powell’s and Vinícius de Moraes’ incantatory song cycle. The São Paulo vocalist doesn’t make it to the Bay Area often, and this concert stems from California Brazil Camp, which sends a contingent of faculty every summer from the redwoods of Cazadero to San Francisco’s Yerba Buena Gardens. She’s joined by Guinga, a master guitarist, vocalist and composer whose songs have been recorded by Brazilian legends such as Elis Regina, Clara Nunes and Miúcha; and multi-instrumentalist Teco Cardoso, a brilliant improviser on saxophones and flutes known for his work with Edu Lobo, Joyce, João Donato, Rosa Passos and Baden Powell himself.\u003c/p>\n\u003cfigure id=\"attachment_13858024\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg\" alt=\"Meklit Hadero.\" width=\"900\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-768x768.jpeg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Meklit Hadero. \u003ccite>(Ronald Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/movement-immigrant-orchestra/\">Meklit’s Movement Immigrant Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 31, 1-2:30 p.m.\u003c/em>\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>San Francisco-based Ethiopian American singer, songwriter and expert story wrangler Meklit manifests her multi-platform \u003ca href=\"https://www.meklitmusic.com/movement\">Movement\u003c/a> initiative at the Gardens with a dozen musicians hailing from 10 countries. Focusing on the experience of border-crossing artists, the production draws on her podcast, nationally syndicated public radio broadcast and stage production. Performers include Mexican singer-songwriter Diana Gameros, Iranian composer Sahba Aminikia, Italian percussionist extraordinaire Marco Peris, Malian virtuoso Mamadou Sidibé, Carnatic percussionist Rohan Krishnamurthy, Barrio Manouche guitarist Javi Jimenez, Iranian American bassist/composer Safa Shokrai and Meklit herself.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957576/bay-area-free-concerts-summer-2024","authors":["86"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_22150","arts_585"],"featImg":"arts_13953527","label":"source_arts_13957576"},"arts_13958007":{"type":"posts","id":"arts_13958007","meta":{"index":"posts_1591205157","site":"arts","id":"13958007","found":true},"guestAuthors":[],"slug":"ybca-new-interim-ceo-jim-rettew","title":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts","publishDate":1715897916,"format":"standard","headTitle":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A new CEO has stepped in to lead \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> (YBCA), the embattled San Francisco arts organization whose \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">previous interim CEO abruptly resigned\u003c/a> in March during the fallout of a pro-Palestinian protest.\u003c/p>\n\u003cp>Jim Rettew, the new interim CEO, has previously held five interim leadership roles at various nonprofits. His background as a crisis management expert will be put to the test at YBCA, which has been embroiled in controversy since a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">Feb. 15 protest\u003c/a> during which eight artists spray painted and draped pro-Palestinian messages onto their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13958014\" class=\"wp-caption aligncenter\" style=\"max-width: 906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg\" alt=\"\" width=\"906\" height=\"1155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-768x979.jpg 768w\" sizes=\"(max-width: 906px) 100vw, 906px\">\u003cfigcaption class=\"wp-caption-text\">Jim Rettew is YBCA’s new interim CEO. \u003ccite>(Jim Rettew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the protest, former interim CEO Sara Fenske Bahat and the board closed the galleries, which remained shuttered for a month. In open letters, \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">artists\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">staff\u003c/a> accused YBCA leaders of censorship. Bahat resigned on March 3, citing “antisemitic backlash” and “the actions of some of our own employees” in her letter to the board. (Staff and leadership denied each other’s allegations.) San Francisco Supervisor Hillary Ronen, meanwhile, voiced support for the artists, and proposed an examination of the city’s support of YBCA at an upcoming Board of Supervisors meeting.\u003c/p>\n\u003cp>[aside postid='arts_13952460,arts_13953653']YBCA reopened in mid-March, but the turmoil continued. At least nine staff members have resigned in protest, according to employee comments during a public meeting. And YBCA now faces scrutiny from San Francisco’s Director of Cultural Affairs, who has proposed changes that would drastically alter how YBCA operates.\u003c/p>\n\u003cp>In an email interview, Rettew told KQED that he sees rebuilding public trust as one of YBCA’s biggest challenges, and that he’s spent his first few weeks on the job listening to employees.\u003c/p>\n\u003cp>“I’m now using those essential conversations to work with our staff to help deliver on the promises and aspirations of our organization,” he wrote. “I think that in many ways, the protest on Feb. 15 was a reflection of people asking the question: what do people expect from a cultural institution in 2024? We are working tirelessly to try to answer that question, and to create a space that is authentic and valuable to the public.”\u003c/p>\n\u003cfigure id=\"attachment_13954248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Artists Against Genocide (B.A.A.A.G.) member Paz G displays design options at a screen-printing event artists organized outside of YBCA while the art center was closed in March 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An art center on taxpayer-funded property\u003c/h2>\n\u003cp>YBCA is under particular scrutiny because the private nonprofit enjoys significant, taxpayer-funded subsidies from the City and County of San Francisco. It occupies a city-owned building, rent free, on public land under a contract that’s subject to renewal through 2094. YBCA has also received tens of millions in taxpayer dollars since its founding in 1993; according to its most recent financial report, for fiscal year 2023, about 6% of its revenue and support came from the City and County of San Francisco. [ad fullwidth]\u003c/p>\n\u003cp>Yerba Buena Gardens Conservancy, another nonprofit, manages the YBCA property, acting as an intermediary between YBCA and the city. In exchange for financial support and subsidies, YBCA is contractually obligated to offer “high-quality artistic programming to San Francisco residents and visitors.”\u003c/p>\n\u003cp>At the Conservancy’s most recent public board meeting on April 10, San Francisco’s Director of Cultural Affairs, Ralph Remington, sharply criticized YBCA for what he considers its failure to do so.\u003c/p>\n\u003cp>“With the level of subsidy YBCA receives … they should have been operating and maintaining the cultural facilities in a way that presents themselves as a world-class performing arts presenting, producing, exhibiting organization,” Remington said. “You’d have to go back into the distant past to see when that actually happened.”\u003c/p>\n\u003cfigure id=\"attachment_13958015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs Ralph Remington said YBCA needs to be ‘reined in’ at a recent board meeting. \u003ccite>(Aminda Villa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, YBCA significantly reduced its film programming in 2018 after \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">laying off the two-person department\u003c/a>. In 2020, it launched the \u003ca href=\"https://www.kqed.org/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists\">Artist Power Center\u003c/a>, an online platform meant to connect artists to grants and job opportunities; it has since sunsetted that project.\u003c/p>\n\u003cp>“It turned into some kind of weird thinktank that should’ve been out in the woods somewhere, maybe,” said Remington at the Conservancy board meeting. “But for the level of public subsidy in the middle of the city … YBCA, in my opinion, needs to be reined in.”\u003c/p>\n\u003cp>At the board meeting, Remington contrasted YBCA with SOMArts, a significantly less resourced nonprofit that’s also located in a city-owned building. While YBCA enjoys a spacious, modern, centrally located facility, SOMArts needs significant seismic improvements, and is in a much less desirable location, below a freeway underpass and away from BART and downtown offices. [aside postid='arts_13955613']\u003c/p>\n\u003cp>“I would put on the table that we could move SOMArts into YBCA to share with SOMA Pilipinas,” said Remington, referring to another vibrant, less resourced arts organization, “and they could activate the building.”\u003c/p>\n\u003cp>In a follow-up interview, Remington told KQED that these proposals are in their “embryonic” stages. He credited the Feb. 15 protesters, who now call themselves Bay Area Artists Against Genocide, with spurring important conversations about reforms at YBCA.\u003c/p>\n\u003cp>“I think the activists ultimately were successful because they drew attention to the issues at YBCA; they drew attention to the issue that they were actually protesting about,” he said in a video call. “And they brought about ultimate change that will happen with that organization as a result of these bold actions. … This is why civil disobedience and protest and having your voice heard is so important.”\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staff members reveal a schism with leadership\u003c/h2>\n\u003cp>During the April 10 Conservancy board meeting, a handful of YBCA staff members spoke out during public comment, painting an image of broken trust between the art center’s leadership and YBCA workers. The employees said that, even amid leadership changes, they’ve spent years building relationships with artists and the public, and they now feel those relationships are in jeopardy due to the actions of the board and former CEO.\u003c/p>\n\u003cp>Rettew told KQED that he sees rebuilding trust with staff as one of his first priorities. (He declined to comment on recent staff resignations.) He also said that he’s working to make sure the art center fulfills its commitment to the city and its visitors.\u003c/p>\n\u003cp>“I cannot undo decisions that were made, or change what happened,” he said. “What I can do is help this organization move forward with integrity.” [aside postid='arts_13956575']\u003c/p>\n\u003cp>When asked about issues raised in the Feb. 15 protest, Rettew said YBCA would not join the Palestinian Campaign for an Academic and Cultural Boycott of Israel (PACBI), as artists demanded. (The boycott encourages international institutions to divest from Israeli institutions until Israel ends its siege and occupation of Gaza and the West Bank, among other conditions.)\u003c/p>\n\u003cp>When asked if YBCA would take a different approach to political messages in artists’ work, Rettew didn’t specify any changes. But he said that the censorship allegations “remain one of the most challenging and contentious issues of the past few months,” and underscored the institutions’ need to balance artistic expression with curatorial context.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rettew is now focused on YBCA’s upcoming programming. “I recognize that it is now our job to prove ourselves as a trustworthy partner to the community, and to artists, and the way that we will do that is by doubling down on our commitment to put on engaging and thought-provoking exhibitions, by filling our theater as many nights as possible, by putting together compelling public programs, and by working with our neighbors to continue the important work of bringing people downtown to the Yerba Buena District,” he wrote.\u003c/p>\n\u003cp>YBCA’s next exhibition, a \u003ca href=\"https://ybca.org/ybca-announces-nick-dong-11-to-88-an-immersive-solo-exhibition/\">solo show by Oakland artist Nick Dong\u003c/a>, opens on June 6 and will be on view through Aug. 25. A spring dance festival presented by San Francisco Ballet School is slated for May 22-24; there’s also a free, all-ages art workshop scheduled for May 22.\u003c/p>\n\u003cp>Meanwhile, Remington hopes the Yerba Buena Gardens Conservancy will arrive at a plan of action for YBCA by the fall. The proposed San Francisco Board of Supervisors public hearing on censorship allegations at YBCA has not been scheduled.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Interim CEO Jim Rettew wants to rebuild public trust after the art center's censorship controversies. ","status":"publish","parent":0,"modified":1715980497,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1524},"headData":{"title":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts | KQED","description":"Interim CEO Jim Rettew wants to rebuild public trust after the art center's censorship controversies. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts","datePublished":"2024-05-16T15:18:36-07:00","dateModified":"2024-05-17T14:14:57-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958007","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958007/ybca-new-interim-ceo-jim-rettew","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new CEO has stepped in to lead \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> (YBCA), the embattled San Francisco arts organization whose \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">previous interim CEO abruptly resigned\u003c/a> in March during the fallout of a pro-Palestinian protest.\u003c/p>\n\u003cp>Jim Rettew, the new interim CEO, has previously held five interim leadership roles at various nonprofits. His background as a crisis management expert will be put to the test at YBCA, which has been embroiled in controversy since a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">Feb. 15 protest\u003c/a> during which eight artists spray painted and draped pro-Palestinian messages onto their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13958014\" class=\"wp-caption aligncenter\" style=\"max-width: 906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg\" alt=\"\" width=\"906\" height=\"1155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-768x979.jpg 768w\" sizes=\"(max-width: 906px) 100vw, 906px\">\u003cfigcaption class=\"wp-caption-text\">Jim Rettew is YBCA’s new interim CEO. \u003ccite>(Jim Rettew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the protest, former interim CEO Sara Fenske Bahat and the board closed the galleries, which remained shuttered for a month. In open letters, \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">artists\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">staff\u003c/a> accused YBCA leaders of censorship. Bahat resigned on March 3, citing “antisemitic backlash” and “the actions of some of our own employees” in her letter to the board. (Staff and leadership denied each other’s allegations.) San Francisco Supervisor Hillary Ronen, meanwhile, voiced support for the artists, and proposed an examination of the city’s support of YBCA at an upcoming Board of Supervisors meeting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952460,arts_13953653","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>YBCA reopened in mid-March, but the turmoil continued. At least nine staff members have resigned in protest, according to employee comments during a public meeting. And YBCA now faces scrutiny from San Francisco’s Director of Cultural Affairs, who has proposed changes that would drastically alter how YBCA operates.\u003c/p>\n\u003cp>In an email interview, Rettew told KQED that he sees rebuilding public trust as one of YBCA’s biggest challenges, and that he’s spent his first few weeks on the job listening to employees.\u003c/p>\n\u003cp>“I’m now using those essential conversations to work with our staff to help deliver on the promises and aspirations of our organization,” he wrote. “I think that in many ways, the protest on Feb. 15 was a reflection of people asking the question: what do people expect from a cultural institution in 2024? We are working tirelessly to try to answer that question, and to create a space that is authentic and valuable to the public.”\u003c/p>\n\u003cfigure id=\"attachment_13954248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Artists Against Genocide (B.A.A.A.G.) member Paz G displays design options at a screen-printing event artists organized outside of YBCA while the art center was closed in March 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An art center on taxpayer-funded property\u003c/h2>\n\u003cp>YBCA is under particular scrutiny because the private nonprofit enjoys significant, taxpayer-funded subsidies from the City and County of San Francisco. It occupies a city-owned building, rent free, on public land under a contract that’s subject to renewal through 2094. YBCA has also received tens of millions in taxpayer dollars since its founding in 1993; according to its most recent financial report, for fiscal year 2023, about 6% of its revenue and support came from the City and County of San Francisco. \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>Yerba Buena Gardens Conservancy, another nonprofit, manages the YBCA property, acting as an intermediary between YBCA and the city. In exchange for financial support and subsidies, YBCA is contractually obligated to offer “high-quality artistic programming to San Francisco residents and visitors.”\u003c/p>\n\u003cp>At the Conservancy’s most recent public board meeting on April 10, San Francisco’s Director of Cultural Affairs, Ralph Remington, sharply criticized YBCA for what he considers its failure to do so.\u003c/p>\n\u003cp>“With the level of subsidy YBCA receives … they should have been operating and maintaining the cultural facilities in a way that presents themselves as a world-class performing arts presenting, producing, exhibiting organization,” Remington said. “You’d have to go back into the distant past to see when that actually happened.”\u003c/p>\n\u003cfigure id=\"attachment_13958015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs Ralph Remington said YBCA needs to be ‘reined in’ at a recent board meeting. \u003ccite>(Aminda Villa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, YBCA significantly reduced its film programming in 2018 after \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">laying off the two-person department\u003c/a>. In 2020, it launched the \u003ca href=\"https://www.kqed.org/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists\">Artist Power Center\u003c/a>, an online platform meant to connect artists to grants and job opportunities; it has since sunsetted that project.\u003c/p>\n\u003cp>“It turned into some kind of weird thinktank that should’ve been out in the woods somewhere, maybe,” said Remington at the Conservancy board meeting. “But for the level of public subsidy in the middle of the city … YBCA, in my opinion, needs to be reined in.”\u003c/p>\n\u003cp>At the board meeting, Remington contrasted YBCA with SOMArts, a significantly less resourced nonprofit that’s also located in a city-owned building. While YBCA enjoys a spacious, modern, centrally located facility, SOMArts needs significant seismic improvements, and is in a much less desirable location, below a freeway underpass and away from BART and downtown offices. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955613","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I would put on the table that we could move SOMArts into YBCA to share with SOMA Pilipinas,” said Remington, referring to another vibrant, less resourced arts organization, “and they could activate the building.”\u003c/p>\n\u003cp>In a follow-up interview, Remington told KQED that these proposals are in their “embryonic” stages. He credited the Feb. 15 protesters, who now call themselves Bay Area Artists Against Genocide, with spurring important conversations about reforms at YBCA.\u003c/p>\n\u003cp>“I think the activists ultimately were successful because they drew attention to the issues at YBCA; they drew attention to the issue that they were actually protesting about,” he said in a video call. “And they brought about ultimate change that will happen with that organization as a result of these bold actions. … This is why civil disobedience and protest and having your voice heard is so important.”\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staff members reveal a schism with leadership\u003c/h2>\n\u003cp>During the April 10 Conservancy board meeting, a handful of YBCA staff members spoke out during public comment, painting an image of broken trust between the art center’s leadership and YBCA workers. The employees said that, even amid leadership changes, they’ve spent years building relationships with artists and the public, and they now feel those relationships are in jeopardy due to the actions of the board and former CEO.\u003c/p>\n\u003cp>Rettew told KQED that he sees rebuilding trust with staff as one of his first priorities. (He declined to comment on recent staff resignations.) He also said that he’s working to make sure the art center fulfills its commitment to the city and its visitors.\u003c/p>\n\u003cp>“I cannot undo decisions that were made, or change what happened,” he said. “What I can do is help this organization move forward with integrity.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956575","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When asked about issues raised in the Feb. 15 protest, Rettew said YBCA would not join the Palestinian Campaign for an Academic and Cultural Boycott of Israel (PACBI), as artists demanded. (The boycott encourages international institutions to divest from Israeli institutions until Israel ends its siege and occupation of Gaza and the West Bank, among other conditions.)\u003c/p>\n\u003cp>When asked if YBCA would take a different approach to political messages in artists’ work, Rettew didn’t specify any changes. But he said that the censorship allegations “remain one of the most challenging and contentious issues of the past few months,” and underscored the institutions’ need to balance artistic expression with curatorial context.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rettew is now focused on YBCA’s upcoming programming. “I recognize that it is now our job to prove ourselves as a trustworthy partner to the community, and to artists, and the way that we will do that is by doubling down on our commitment to put on engaging and thought-provoking exhibitions, by filling our theater as many nights as possible, by putting together compelling public programs, and by working with our neighbors to continue the important work of bringing people downtown to the Yerba Buena District,” he wrote.\u003c/p>\n\u003cp>YBCA’s next exhibition, a \u003ca href=\"https://ybca.org/ybca-announces-nick-dong-11-to-88-an-immersive-solo-exhibition/\">solo show by Oakland artist Nick Dong\u003c/a>, opens on June 6 and will be on view through Aug. 25. A spring dance festival presented by San Francisco Ballet School is slated for May 22-24; there’s also a free, all-ages art workshop scheduled for May 22.\u003c/p>\n\u003cp>Meanwhile, Remington hopes the Yerba Buena Gardens Conservancy will arrive at a plan of action for YBCA by the fall. The proposed San Francisco Board of Supervisors public hearing on censorship allegations at YBCA has not been scheduled.\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958007/ybca-new-interim-ceo-jim-rettew","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_10342","arts_10278","arts_3648","arts_1146","arts_1040","arts_1955"],"featImg":"arts_13954250","label":"arts"},"arts_13957394":{"type":"posts","id":"arts_13957394","meta":{"index":"posts_1591205157","site":"arts","id":"13957394","found":true},"guestAuthors":[],"slug":"bay-area-music-festivals-outdoor-concerts-summer-2024","title":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024","publishDate":1715791536,"format":"standard","headTitle":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024 | KQED","labelTerm":{},"content":"\u003cp>There’s something magical about Bay Area summers, with our famously not-too-hot, not-too-cold weather, plus ample access to natural wonders and, of course, too many concerts to choose from.\u003c/p>\n\u003cp>Of these dozen outdoor concerts and festivals, some are in public transit-accessible parks; others require a drive up to wine country. Some are worth the splurge; others are free. The Bay Area is full of curious listeners with eclectic taste, and there’s something for everybody here.\u003c/p>\n\u003cfigure id=\"attachment_13957398\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg\" alt=\"Blxst performs on stage wearing head-to-toe denim, in front of a backdrop with an image of an urban warehouse. \" width=\"1024\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-768x527.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blxst performs at the Outdoor Theatre during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 20, 2024 in Indio, California. \u003ccite>(Arturo Holmes/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/538974/frost-music-arts-festival-with-blxst-tickets\">Blxst\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 18, 2024\u003cbr>\nFrost Amphitheater, Stanford\u003cbr>\n$25-$55\u003c/em>\u003c/p>\n\u003cp>Blxst is the velvety-voiced R&B accompaniment to the big players in LA’s rap scene. On his recent Tupac-sampling single with Tyga and YG, “\u003ca href=\"https://youtu.be/BNUi6botHmw?si=KOEIb233f9ohL_yn\">West Coast Weekend\u003c/a>,” he comes off as a modern-day Nate Dogg with a nostalgic, G-funk feel. He also regularly collaborates with Northern California artists, including Kehlani and Mozzy. Blxst headlines this year’s student-organized Frost Music & Arts Festival at Stanford’s Frost Amphitheater. Joining him is singer-songwriter UMI, who often invites audiences to take a meditative pause in her uplifting live shows, and Alameda, whose eclectic sound blends R&B with indie rock and drum’n’bass.\u003c/p>\n\u003cfigure id=\"attachment_13931358\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg\" alt=\"The facial profile of a young Oakland rapper as he looks away from the camera\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in Oakland on June 9, 2023. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-880542274647\">Town Up Tuesday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 21, 2024\u003cbr>\nLake Merritt Bandstand, Oakland\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Town Up Tuesday is a party with a purpose put on by Urban Peace Movement, a local nonprofit that fights mass incarceration. It seeks to uplift Oakland culture at a time when negative media narratives about the Town abound, and operates under the idea that music and culture can unite neighbors and make communities safer.\u003c/p>\n\u003cp>This year’s intergenerational lineup is full of heavy hitters, not least Too Short, \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a> (Oakland’s premier ’90s female rap group) and a legendary surprise guest. Trunk Boiz (of “\u003ca href=\"https://youtu.be/KCNlDgSQuLg?si=pQlkEdeR5Bpi9Ivq\">Cupcake No Fillin\u003c/a>” fame!) and dance crew Animaniakz will serve up hyphy movement nostalgia. Other artists on the bill represent the diverse sounds of today’s generation, notably the quirky, experimental and soulful Michael Sneed and the darker and more streetwise ALLBLACK and \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a>, among others.\u003c/p>\n\u003cfigure id=\"attachment_13872413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg\" alt=\"Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com\">BottleRock\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24–26, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: $243; three-day GA: sold out\u003c/em>\u003c/p>\n\u003cp>Set in beautiful wine country, BottleRock is a festival with broad appeal. Not only does its lineup feature all-time musical greats like Oakland funk band Tower of Power and Stevie Nicks (who’s enjoying a Gen Z-fueled career resurgence), but it’s also a place to experience pop’s vanguard. That includes Kali Uchis, the bilingual singer-songwriter whose dreamy, Spanish-language 2024 album \u003ci>Orquídeas\u003c/i> envelops listeners in a romantic exaltation of love and beauty. Megan Thee Stallion — who has the hip-hop world watching her every move following her explosive track “Hiss,” dissing basically the entire industry — will also grace the stage amid her highly anticipated Hot Girl Summer tour.\u003c/p>\n\u003cfigure id=\"attachment_13957397\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg\" alt=\"A band performs on a brightly lit studio stage. \" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado band members Brian Tovar, Pedro Tovar, Damian Pacheco and Ulises González perform at “Despierta America” at Univision Studios on May 02, 2023 in Doral, Florida. \u003ccite>(John Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.laondafest.com\">La Onda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–2, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: sold out; two-day GA: $358\u003c/em>\u003c/p>\n\u003cp>If you miss Maná’s set at BottleRock, the good news is that they’ll be back at the same Napa Valley fairgrounds one weekend later, this time headlining new Latin music festival La Onda. On its diverse lineup, you’ll find old-school rock en español acts like Mexican band \u003ca href=\"https://www.kqed.org/arts/13840289/mexican-rockers-cafe-tacvba-stand-in-solidarity-with-stateside-latinx-fans\">Cafe Tacvba\u003c/a>; Farruko, one of today’s hottest reggaetoneros; and rising young regional Mexican music stars Junior H, Fuerza Regida and Eslabón Armado, who combine styles as wide-ranging as trap and corridos.\u003c/p>\n\u003cfigure id=\"attachment_13937341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg\" alt=\"two young boys dance on a deck beneath a pergola while a 29-year-old rapper eggs them on\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs beneath the pergola in his backyard, with two young guests, on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/Goodcompenny\">LaRussell’s Backyard Residency\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 2, July 7 and Aug. 4, 2024\u003cbr>\nThe Pergola, Vallejo\u003cbr>\nPay what you want\u003c/em>\u003c/p>\n\u003cp>LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">done it his way\u003c/a> at every step of his career — notably, building a pergola and stage in his parents’ Vallejo backyard, which has allowed him to essentially bypass the corporate venue ecosystem that can be very \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">disadvantageous to emerging artists\u003c/a>. These intimate shows truly feel like a family affair. When I checked one out last year, the audience was full of LaRussell diehards — even small children — rapping along enthusiastically to every bar. LaRussell’s team passed out ice packs and water bottles to protect fans from the heat. It really felt like a community. To get into one of these shows, you have to name your price for a ticket — and entry is not guaranteed. But that doesn’t mean tickets only go to the highest bidders, as LaRussell has said that he likes to keep his offerings accessible to fans of all income levels.\u003c/p>\n\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zarah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-juneteenth-parade-tickets-895705117117?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">Larry June and Goapele at San Francisco Juneteenth\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 8, 2024\u003cbr>\nFulton Street Plaza, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The day of San Francisco’s Juneteenth Parade, there’s a free concert celebrating Black music and culture at Fulton Plaza. It stars Larry June, whose laidback, luxurious rhymes about real-estate deals and gourmet meals have put a spotlight back on San Francisco rap. He’ll be joined by angel-voiced R&B hitmaker \u003ca href=\"https://www.kqed.org/arts/13932465/goapele-closer-to-hip-hop\">Goapele\u003c/a>, whose classic song “Closer” continues to resonate with a new generation of Bay Area music lovers. \u003ca href=\"https://youtu.be/oJ8oXKYOYGE?si=tR5tLVb3_-96oWiZ\">Stunnaman02\u003c/a>, who’s currently on a major salad kick; Ronski, creator of the Fillmore anthem “\u003ca href=\"https://youtu.be/g2J_xGPGHjI?si=sCyP82bsmo8-MRB9\">That Filthy\u003c/a>”; Zion I collaborator Dustin Sharpe; and DJs Big Von, \u003ca href=\"https://www.kqed.org/arts/13956839/dj-d-sharp\">D Sharp\u003c/a>, Red Corvette, Daghe and World Famous Rick and Russ Show will represent the Bay’s wide-ranging, active hip-hop scene. Hosted by KMEL’s Shay Diddy, the concert also offers much in the way of jazz, soul and gospel, including Martin Luther’s Rebel Soul House Party, The Glide Choir and Fillmore Jazz Ambassadors. SF Poet Laureate Tongo Eisen-Martin will read, and the young Feline Finesse Dance Group will show off their moves.\u003c/p>\n\u003cfigure id=\"attachment_13840060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg\" alt=\"George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City. \u003ccite>(Theo Wargo/Getty Images for SESAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/534076/parliament-funkadelic-feat-george-clinton-tickets?skin=mountainwinery\">Parliament-Funkadelic featuring George Clinton\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jun 12, 2024\u003c/em>\u003cbr>\n\u003cem>Mountain Winery, Saratoga\u003c/em>\u003cbr>\n\u003cem>$49.50–$89.50\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a> is a national treasure. In the ’70s, the funk father and his bands, Parliament and Funkadelic, made hits that altered the course of American popular music. They influenced monumental stars like Prince, and became some of the most sampled acts in hip-hop history, paving the way for ’90s groups like The Coup and Digital Underground as well as more recent artists like Childish Gambino. Clinton pushed Afrofuturism forward — so much so that P-Funk’s spaceship stage prop has been immortalized in the Smithsonian. Though Clinton, now 82 years old, talked about retiring years ago — he said he funked too hard for his pacemaker — he’s continued touring with a new lineup of younger musicians.\u003c/p>\n\u003cfigure id=\"attachment_13916884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916884\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chaka Khan performs at Blue Note Jazz Festival in St. Helena on Friday, July 29, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays June 23-Aug. 25, 2024\u003cbr>\nSigmund Stern Recreation Grove, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Every Sunday this summer, there’s a free concert in the park at \u003ca href=\"https://www.kqed.org/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts\">Stern Grove\u003c/a>. The series’ 87th season opens with a performance from queer indie rock duo Tegan and Sara on June 23. Other lineup highlights include psychedelic pop band Chicano Batman on June 30; R&B singer and saxophonist Masego on July 21; jazz-funk legend Herbie Hancock on Aug. 11 and a Big Picnic closer with queen of funk Chaka Khan on Aug. 25. But before you round up your friends and pack your cooler, make plans: RSVPs open a month before each concert date, and spots are limited.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10820718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">The Mummies perform in Mosswood Park in 2015. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2024/558489?afflky=MosswoodMeltdown\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 6–7, 2024\u003c/em>\u003cbr>\n\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Single day: $99+; two-day: $159+\u003c/em>\u003c/p>\n\u003cp>Punk festival Mosswood Meltdown is truly a family affair: In addition to teenage, 20-something and 30-something-year-old punks, you might see punk grandparents holding punk babies. And that vibe is reflected in its intergenerational lineup of alternative acts. Day one of the festival features ’80s art pop mainstays the B-52’s, and celebrates queer culture with a drag contest hosted by Peaches Christ and sets from Pansy Division and Hunx and His Punx. Day two, with OG garage punks The Mummies headlining, leans into hip-hop culture with a DJ set from 808 mastermind Egyptian Lover and the queen of New Orleans bounce, Big Freedia.\u003c/p>\n\u003cfigure id=\"attachment_13957500\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg\" alt=\"\" width=\"1024\" height=\"779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-768x584.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs during the Times Square New Year’s Eve 2024 Celebration on December 31, 2023 in New York City. \u003ccite>(Noam Galai/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11, 2024\u003c/em>\u003cbr>\n\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Single-day GA: $199+, three-day pass: $449+\u003c/em>\u003c/p>\n\u003cp>You can thank Beyoncé for the fact that Outside Lands is more country than ever this year: Post Malone and Shaboozey, both featured on Beyoncé’s \u003ci>Cowboy Carter\u003c/i>, are performing, and country hitmaker Sturgill Simpson is a headliner alongside Tyler, the Creator and the Killers. On the lineup you’ll also find buzzworthy breakout pop acts like Tyla, Renée Rapp and Victoria Monét. Outside Lands, which attracts tens of thousands of fans each day, prides itself on its wide appeal. In addition to its four main music stages, it features a queer performance zone called Dolores’, the open-air electronic music club SOMA and even a \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">new wedding venue\u003c/a> — and that’s on top of its many culinary and cannabis offerings.\u003c/p>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/khruangbin-240814\">Khruangbin\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 14–16, 2024\u003c/em>\u003cbr>\n\u003cem>Greek Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>$69–$120\u003c/em>\u003c/p>\n\u003cp>No band better represents today’s psychedelic rock revival than Texan trio Khruangbin. Their vintage sound, recorded with warm fuzz as if on a reel-to-reel from the ’70s, combines global influences of Jamaican dub, Southeast Asian funk, surf rock and a country twang from their home state. The result is a soothing mélange that goes down slow — a perfect soundtrack for swaying under the night sky while slightly stoned, if that’s your persuasion. Celebrating their new, bilingual Spanish-English album \u003ci>A La Sala\u003c/i>, Khruangbin performs three nights in a row at Berkeley’s Greek Theatre. The second two are sold out, but Aug. 14 still has tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert Glasper performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/black-radio-experience/\">The Black Radio Experience\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 30–Sept. 1, 2024\u003cbr>\nMeritage Resort & Spa, Napa\u003cbr>\nThree-day passes: $499+\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For jazz, grown-and-sexy R&B, lyrical hip-hop and general musical excellence, the Black Radio Experience is a new, more intimate event from the producers of the Blue Note Jazz Festival in Napa, which is on hiatus until 2025. Jazz pianist and prolific hip-hop collaborator Robert Glasper curated the lineup, which includes John Legend, Jill Scott and Andre 3000 (with his \u003ca href=\"https://www.rollingstone.com/music/music-news/why-andre-3000-stopped-rapping-1234880754/\">wooden flute\u003c/a>) as headliners. Also performing are Nile Rogers & Chic, Ledisi, Madlib, Andra Day, Christian McBride, Common and more, with Oakland-raised Sway Calloway as host.\u003c/p>\n\n","blocks":[],"excerpt":"With big-ticket festivals and free events alike, there’s no shortage of live music options this summer. ","status":"publish","parent":0,"modified":1715797947,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":2050},"headData":{"title":"Summer 2024: Bay Area Music Festivals and Outdoor Concerts | KQED","description":"With big-ticket festivals and free events alike, there’s no shortage of live music options this summer. ","ogTitle":"10 Bay Area Music Festivals and Outdoor Concerts for Summer 2024","ogDescription":"","ogImgId":"","twTitle":"10 Bay Area Music Festivals and Outdoor Concerts for Summer 2024","twDescription":"","twImgId":"","socialTitle":"Summer 2024: Bay Area Music Festivals and Outdoor Concerts %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024","datePublished":"2024-05-15T09:45:36-07:00","dateModified":"2024-05-15T11:32:27-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"nprStoryId":"kqed-13957394","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957394/bay-area-music-festivals-outdoor-concerts-summer-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s something magical about Bay Area summers, with our famously not-too-hot, not-too-cold weather, plus ample access to natural wonders and, of course, too many concerts to choose from.\u003c/p>\n\u003cp>Of these dozen outdoor concerts and festivals, some are in public transit-accessible parks; others require a drive up to wine country. Some are worth the splurge; others are free. The Bay Area is full of curious listeners with eclectic taste, and there’s something for everybody here.\u003c/p>\n\u003cfigure id=\"attachment_13957398\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg\" alt=\"Blxst performs on stage wearing head-to-toe denim, in front of a backdrop with an image of an urban warehouse. \" width=\"1024\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-768x527.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blxst performs at the Outdoor Theatre during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 20, 2024 in Indio, California. \u003ccite>(Arturo Holmes/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/538974/frost-music-arts-festival-with-blxst-tickets\">Blxst\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 18, 2024\u003cbr>\nFrost Amphitheater, Stanford\u003cbr>\n$25-$55\u003c/em>\u003c/p>\n\u003cp>Blxst is the velvety-voiced R&B accompaniment to the big players in LA’s rap scene. On his recent Tupac-sampling single with Tyga and YG, “\u003ca href=\"https://youtu.be/BNUi6botHmw?si=KOEIb233f9ohL_yn\">West Coast Weekend\u003c/a>,” he comes off as a modern-day Nate Dogg with a nostalgic, G-funk feel. He also regularly collaborates with Northern California artists, including Kehlani and Mozzy. Blxst headlines this year’s student-organized Frost Music & Arts Festival at Stanford’s Frost Amphitheater. Joining him is singer-songwriter UMI, who often invites audiences to take a meditative pause in her uplifting live shows, and Alameda, whose eclectic sound blends R&B with indie rock and drum’n’bass.\u003c/p>\n\u003cfigure id=\"attachment_13931358\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg\" alt=\"The facial profile of a young Oakland rapper as he looks away from the camera\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in Oakland on June 9, 2023. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-880542274647\">Town Up Tuesday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 21, 2024\u003cbr>\nLake Merritt Bandstand, Oakland\u003cbr>\nFree with RSVP\u003c/i>\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>Town Up Tuesday is a party with a purpose put on by Urban Peace Movement, a local nonprofit that fights mass incarceration. It seeks to uplift Oakland culture at a time when negative media narratives about the Town abound, and operates under the idea that music and culture can unite neighbors and make communities safer.\u003c/p>\n\u003cp>This year’s intergenerational lineup is full of heavy hitters, not least Too Short, \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a> (Oakland’s premier ’90s female rap group) and a legendary surprise guest. Trunk Boiz (of “\u003ca href=\"https://youtu.be/KCNlDgSQuLg?si=pQlkEdeR5Bpi9Ivq\">Cupcake No Fillin\u003c/a>” fame!) and dance crew Animaniakz will serve up hyphy movement nostalgia. Other artists on the bill represent the diverse sounds of today’s generation, notably the quirky, experimental and soulful Michael Sneed and the darker and more streetwise ALLBLACK and \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a>, among others.\u003c/p>\n\u003cfigure id=\"attachment_13872413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg\" alt=\"Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com\">BottleRock\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24–26, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: $243; three-day GA: sold out\u003c/em>\u003c/p>\n\u003cp>Set in beautiful wine country, BottleRock is a festival with broad appeal. Not only does its lineup feature all-time musical greats like Oakland funk band Tower of Power and Stevie Nicks (who’s enjoying a Gen Z-fueled career resurgence), but it’s also a place to experience pop’s vanguard. That includes Kali Uchis, the bilingual singer-songwriter whose dreamy, Spanish-language 2024 album \u003ci>Orquídeas\u003c/i> envelops listeners in a romantic exaltation of love and beauty. Megan Thee Stallion — who has the hip-hop world watching her every move following her explosive track “Hiss,” dissing basically the entire industry — will also grace the stage amid her highly anticipated Hot Girl Summer tour.\u003c/p>\n\u003cfigure id=\"attachment_13957397\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg\" alt=\"A band performs on a brightly lit studio stage. \" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado band members Brian Tovar, Pedro Tovar, Damian Pacheco and Ulises González perform at “Despierta America” at Univision Studios on May 02, 2023 in Doral, Florida. \u003ccite>(John Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.laondafest.com\">La Onda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–2, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: sold out; two-day GA: $358\u003c/em>\u003c/p>\n\u003cp>If you miss Maná’s set at BottleRock, the good news is that they’ll be back at the same Napa Valley fairgrounds one weekend later, this time headlining new Latin music festival La Onda. On its diverse lineup, you’ll find old-school rock en español acts like Mexican band \u003ca href=\"https://www.kqed.org/arts/13840289/mexican-rockers-cafe-tacvba-stand-in-solidarity-with-stateside-latinx-fans\">Cafe Tacvba\u003c/a>; Farruko, one of today’s hottest reggaetoneros; and rising young regional Mexican music stars Junior H, Fuerza Regida and Eslabón Armado, who combine styles as wide-ranging as trap and corridos.\u003c/p>\n\u003cfigure id=\"attachment_13937341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg\" alt=\"two young boys dance on a deck beneath a pergola while a 29-year-old rapper eggs them on\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs beneath the pergola in his backyard, with two young guests, on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/Goodcompenny\">LaRussell’s Backyard Residency\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 2, July 7 and Aug. 4, 2024\u003cbr>\nThe Pergola, Vallejo\u003cbr>\nPay what you want\u003c/em>\u003c/p>\n\u003cp>LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">done it his way\u003c/a> at every step of his career — notably, building a pergola and stage in his parents’ Vallejo backyard, which has allowed him to essentially bypass the corporate venue ecosystem that can be very \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">disadvantageous to emerging artists\u003c/a>. These intimate shows truly feel like a family affair. When I checked one out last year, the audience was full of LaRussell diehards — even small children — rapping along enthusiastically to every bar. LaRussell’s team passed out ice packs and water bottles to protect fans from the heat. It really felt like a community. To get into one of these shows, you have to name your price for a ticket — and entry is not guaranteed. But that doesn’t mean tickets only go to the highest bidders, as LaRussell has said that he likes to keep his offerings accessible to fans of all income levels.\u003c/p>\n\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zarah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-juneteenth-parade-tickets-895705117117?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">Larry June and Goapele at San Francisco Juneteenth\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 8, 2024\u003cbr>\nFulton Street Plaza, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The day of San Francisco’s Juneteenth Parade, there’s a free concert celebrating Black music and culture at Fulton Plaza. It stars Larry June, whose laidback, luxurious rhymes about real-estate deals and gourmet meals have put a spotlight back on San Francisco rap. He’ll be joined by angel-voiced R&B hitmaker \u003ca href=\"https://www.kqed.org/arts/13932465/goapele-closer-to-hip-hop\">Goapele\u003c/a>, whose classic song “Closer” continues to resonate with a new generation of Bay Area music lovers. \u003ca href=\"https://youtu.be/oJ8oXKYOYGE?si=tR5tLVb3_-96oWiZ\">Stunnaman02\u003c/a>, who’s currently on a major salad kick; Ronski, creator of the Fillmore anthem “\u003ca href=\"https://youtu.be/g2J_xGPGHjI?si=sCyP82bsmo8-MRB9\">That Filthy\u003c/a>”; Zion I collaborator Dustin Sharpe; and DJs Big Von, \u003ca href=\"https://www.kqed.org/arts/13956839/dj-d-sharp\">D Sharp\u003c/a>, Red Corvette, Daghe and World Famous Rick and Russ Show will represent the Bay’s wide-ranging, active hip-hop scene. Hosted by KMEL’s Shay Diddy, the concert also offers much in the way of jazz, soul and gospel, including Martin Luther’s Rebel Soul House Party, The Glide Choir and Fillmore Jazz Ambassadors. SF Poet Laureate Tongo Eisen-Martin will read, and the young Feline Finesse Dance Group will show off their moves.\u003c/p>\n\u003cfigure id=\"attachment_13840060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg\" alt=\"George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City. \u003ccite>(Theo Wargo/Getty Images for SESAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/534076/parliament-funkadelic-feat-george-clinton-tickets?skin=mountainwinery\">Parliament-Funkadelic featuring George Clinton\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jun 12, 2024\u003c/em>\u003cbr>\n\u003cem>Mountain Winery, Saratoga\u003c/em>\u003cbr>\n\u003cem>$49.50–$89.50\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a> is a national treasure. In the ’70s, the funk father and his bands, Parliament and Funkadelic, made hits that altered the course of American popular music. They influenced monumental stars like Prince, and became some of the most sampled acts in hip-hop history, paving the way for ’90s groups like The Coup and Digital Underground as well as more recent artists like Childish Gambino. Clinton pushed Afrofuturism forward — so much so that P-Funk’s spaceship stage prop has been immortalized in the Smithsonian. Though Clinton, now 82 years old, talked about retiring years ago — he said he funked too hard for his pacemaker — he’s continued touring with a new lineup of younger musicians.\u003c/p>\n\u003cfigure id=\"attachment_13916884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916884\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chaka Khan performs at Blue Note Jazz Festival in St. Helena on Friday, July 29, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays June 23-Aug. 25, 2024\u003cbr>\nSigmund Stern Recreation Grove, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Every Sunday this summer, there’s a free concert in the park at \u003ca href=\"https://www.kqed.org/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts\">Stern Grove\u003c/a>. The series’ 87th season opens with a performance from queer indie rock duo Tegan and Sara on June 23. Other lineup highlights include psychedelic pop band Chicano Batman on June 30; R&B singer and saxophonist Masego on July 21; jazz-funk legend Herbie Hancock on Aug. 11 and a Big Picnic closer with queen of funk Chaka Khan on Aug. 25. But before you round up your friends and pack your cooler, make plans: RSVPs open a month before each concert date, and spots are limited.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10820718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">The Mummies perform in Mosswood Park in 2015. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2024/558489?afflky=MosswoodMeltdown\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 6–7, 2024\u003c/em>\u003cbr>\n\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Single day: $99+; two-day: $159+\u003c/em>\u003c/p>\n\u003cp>Punk festival Mosswood Meltdown is truly a family affair: In addition to teenage, 20-something and 30-something-year-old punks, you might see punk grandparents holding punk babies. And that vibe is reflected in its intergenerational lineup of alternative acts. Day one of the festival features ’80s art pop mainstays the B-52’s, and celebrates queer culture with a drag contest hosted by Peaches Christ and sets from Pansy Division and Hunx and His Punx. Day two, with OG garage punks The Mummies headlining, leans into hip-hop culture with a DJ set from 808 mastermind Egyptian Lover and the queen of New Orleans bounce, Big Freedia.\u003c/p>\n\u003cfigure id=\"attachment_13957500\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg\" alt=\"\" width=\"1024\" height=\"779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-768x584.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs during the Times Square New Year’s Eve 2024 Celebration on December 31, 2023 in New York City. \u003ccite>(Noam Galai/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11, 2024\u003c/em>\u003cbr>\n\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Single-day GA: $199+, three-day pass: $449+\u003c/em>\u003c/p>\n\u003cp>You can thank Beyoncé for the fact that Outside Lands is more country than ever this year: Post Malone and Shaboozey, both featured on Beyoncé’s \u003ci>Cowboy Carter\u003c/i>, are performing, and country hitmaker Sturgill Simpson is a headliner alongside Tyler, the Creator and the Killers. On the lineup you’ll also find buzzworthy breakout pop acts like Tyla, Renée Rapp and Victoria Monét. Outside Lands, which attracts tens of thousands of fans each day, prides itself on its wide appeal. In addition to its four main music stages, it features a queer performance zone called Dolores’, the open-air electronic music club SOMA and even a \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">new wedding venue\u003c/a> — and that’s on top of its many culinary and cannabis offerings.\u003c/p>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/khruangbin-240814\">Khruangbin\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 14–16, 2024\u003c/em>\u003cbr>\n\u003cem>Greek Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>$69–$120\u003c/em>\u003c/p>\n\u003cp>No band better represents today’s psychedelic rock revival than Texan trio Khruangbin. Their vintage sound, recorded with warm fuzz as if on a reel-to-reel from the ’70s, combines global influences of Jamaican dub, Southeast Asian funk, surf rock and a country twang from their home state. The result is a soothing mélange that goes down slow — a perfect soundtrack for swaying under the night sky while slightly stoned, if that’s your persuasion. Celebrating their new, bilingual Spanish-English album \u003ci>A La Sala\u003c/i>, Khruangbin performs three nights in a row at Berkeley’s Greek Theatre. The second two are sold out, but Aug. 14 still has tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert Glasper performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/black-radio-experience/\">The Black Radio Experience\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 30–Sept. 1, 2024\u003cbr>\nMeritage Resort & Spa, Napa\u003cbr>\nThree-day passes: $499+\u003c/i>\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>For jazz, grown-and-sexy R&B, lyrical hip-hop and general musical excellence, the Black Radio Experience is a new, more intimate event from the producers of the Blue Note Jazz Festival in Napa, which is on hiatus until 2025. Jazz pianist and prolific hip-hop collaborator Robert Glasper curated the lineup, which includes John Legend, Jill Scott and Andre 3000 (with his \u003ca href=\"https://www.rollingstone.com/music/music-news/why-andre-3000-stopped-rapping-1234880754/\">wooden flute\u003c/a>) as headliners. Also performing are Nile Rogers & Chic, Ledisi, Madlib, Andra Day, Christian McBride, Common and more, with Oakland-raised Sway Calloway as host.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957394/bay-area-music-festivals-outdoor-concerts-summer-2024","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_22150","arts_22140","arts_585"],"featImg":"arts_13938053","label":"source_arts_13957394"},"arts_13958082":{"type":"posts","id":"arts_13958082","meta":{"index":"posts_1591205157","site":"arts","id":"13958082","found":true},"guestAuthors":[],"slug":"galileo-review-theater-berkeley-rep","title":"A Battle Between Science and Religion, With Galileo Caught in the Middle","publishDate":1715972105,"format":"standard","headTitle":"A Battle Between Science and Religion, With Galileo Caught in the Middle | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>During the Renaissance era, the conflicting bedfellows of religion and science had clear delineations, dictated by Earth’s highest stewards to Heaven’s gates. “Science asks questions, but the Bible gives the answers,” thundered Pope Urban VIII, verbalizing the view of many in Europe’s 16th and 17th centuries. \u003c/p>\n\u003cp>While Galileo Galilei fancied himself a strong purveyor of both the scientific and theological, his moral core of truth at the center of his existence faced a brutal reckoning — one that ultimately ripped both his body and soul to shreds.\u003c/p>\n\u003cp>[aside postID='arts_13957684']In the spellbinding yet problematic world premiere musical \u003cem>Galileo\u003c/em>, which opened May 15 at Berkeley Repertory Theatre, discoveries made in both science and religion complicate matters. Its storyline is greatly informed by the modern-day war on truth, loaded with a ceaselessly high-octane rock music score exploited mightily by the wicked talents of director Michael Mayer. \u003c/p>\n\u003cfigure id=\"attachment_13958078\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Kushnier (Bishop Maffeo Barberini) and Raúl Esparza (Galileo Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galileo Galilei (Raúl Esparza) has taken root in his laboratory, a man of 45 who has trouble blindly accepting the religious view that Earth is the center of the universe. After all, that view had been challenged years prior by fellow polymath Nicolaus Copernicus in the famed heliocentric model, where Earth and other planets were shown to revolve around the sun.\u003c/p>\n\u003cp>An affirmation of those teachings, thanks to Galileo’s enhancement of the telescope, has proved unsatisfactory to the dominant biblical divinity of Catholic doctrine, which citizens believe to be infallible. Yet Galileo still carries some support, despite the dominance of Cardinal Morosini (Javier Muñoz), who gives no space for what he perceives as anti-Bible sentiments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13957845']The support of Galileo’s close ally Bishop Barberini (Jeremy Kushnier) contributes greatly to his desire to continue locking horns with the Catholic establishment, and when Barberini is elevated as pontiff and becomes Pope Urban VIII, Galileo is poised to break through and declare truth the victor. Yet an effort by the pope to slow the public acceleration of Galileo’s scientific theories, introduced in Galileo’s book comparing the Copernican system with the accepted and less truthful Ptolemaic system, comes with an offensive slight, accelerating Galileo’s demise. \u003c/p>\n\u003cfigure id=\"attachment_13958080\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei, center) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many elements of spectacle allow the musical to brew and breathe within a white-hot fire, with music thrusting itself to the top of the ticket. Composers Michael Weiner and Zoe Sarnak unleash consecutive bangers, challenging their vocalists with vein-popping verve, melodies and divine harmonies as persistent as Galileo himself. Those compositions are nestled neatly inside Danny Strong’s book. \u003c/p>\n\u003cp>Each challenge is accepted by the cast, led by Broadway stalwart Esparza, who digs mightily into every ounce of his scintillating, grizzled register. A delicious counterpoint to Esparza’s wide-ranging vocals is his commitment to Galileo’s painful and joyous discoveries. His eyes accentuate each arc in every moment, a broken and beaten man who is constantly reminded that power decides truth, not the other way around.\u003c/p>\n\u003cfigure id=\"attachment_13958077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christian Magby (Alessandro Tarantola) and Madalynn Mathews (Virginia Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Kushnier’s mellifluity lives within its own constellation, a buttery-smooth falsetto that spotlights tenderness and admiration for Galileo, especially in his solo “By Thy Light I See.” Muñoz, Esparza’s fellow Broadway star, commands respect as the uncompromising Morosini, and Madelynn Mathews as Galileo’s embattled daughter Virginia, whose illegitimacy thrusts her away from love and into a cloistered life, gives a master class in vocals and empathy. These four craft a narrative that elevates the entire company in a show that gets louder and louder as time passes. \u003c/p>\n\u003cp>Where the piece needs harnessing begins late in the second act, when a certain theme carries on much too long, ultimately diluting the critical nature of its voice. It’s as if the concept of truth and its virtues need constant repeating, which drags the entire narrative down. A piece that moves towards three hours needs to slap incessantly; this is not the case here. \u003c/p>\n\u003cfigure id=\"attachment_13958081\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, the show feels as if it’s hurtling somewhere with no expense spared, especially through the technical design. Scenic work by Tony Award winner Rachel Hauck pairs beautifully with Anita Yavich’s nuanced and sparkly costume plot. Jason H. Thompson, along with Kaitlyn Pietras, go all in on Christian symbolism through their passionate projection design, combined sharply with the lighting of Kevin Adams. \u003c/p>\n\u003cp>There are many morsels that challenge in Strong’s book, and a critical question is posed: “When does the truth cost too much?” Thankfully for Galileo, and in a lesson for the masses, a legacy and the truth are not for sale. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Galileo’ runs through June 23 at Berkeley Repertory Theatre in downtown Berkeley. \u003ca href=\"https://www.berkeleyrep.org/shows/galileo/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n","blocks":[],"excerpt":"The world premiere of 'Galileo' at Berkeley Rep is good, but long, and packed with rock music.","status":"publish","parent":0,"modified":1715972175,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":896},"headData":{"title":"Review: 'Galileo' at Berkeley Rep Is a Long Battle of Science and Religion | KQED","description":"The world premiere of 'Galileo' at Berkeley Rep is good, but long, and packed with rock music.","ogTitle":"A Battle Between Science and Religion, With Galileo Caught in the Middle","ogDescription":"","ogImgId":"","twTitle":"A Battle Between Science and Religion, With Galileo Caught in the Middle","twDescription":"","twImgId":"","socialTitle":"Review: 'Galileo' at Berkeley Rep Is a Long Battle of Science and Religion %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Battle Between Science and Religion, With Galileo Caught in the Middle","datePublished":"2024-05-17T11:55:05-07:00","dateModified":"2024-05-17T11:56:15-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958082","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958082/galileo-review-theater-berkeley-rep","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the Renaissance era, the conflicting bedfellows of religion and science had clear delineations, dictated by Earth’s highest stewards to Heaven’s gates. “Science asks questions, but the Bible gives the answers,” thundered Pope Urban VIII, verbalizing the view of many in Europe’s 16th and 17th centuries. \u003c/p>\n\u003cp>While Galileo Galilei fancied himself a strong purveyor of both the scientific and theological, his moral core of truth at the center of his existence faced a brutal reckoning — one that ultimately ripped both his body and soul to shreds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957684","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In the spellbinding yet problematic world premiere musical \u003cem>Galileo\u003c/em>, which opened May 15 at Berkeley Repertory Theatre, discoveries made in both science and religion complicate matters. Its storyline is greatly informed by the modern-day war on truth, loaded with a ceaselessly high-octane rock music score exploited mightily by the wicked talents of director Michael Mayer. \u003c/p>\n\u003cfigure id=\"attachment_13958078\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Kushnier (Bishop Maffeo Barberini) and Raúl Esparza (Galileo Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galileo Galilei (Raúl Esparza) has taken root in his laboratory, a man of 45 who has trouble blindly accepting the religious view that Earth is the center of the universe. After all, that view had been challenged years prior by fellow polymath Nicolaus Copernicus in the famed heliocentric model, where Earth and other planets were shown to revolve around the sun.\u003c/p>\n\u003cp>An affirmation of those teachings, thanks to Galileo’s enhancement of the telescope, has proved unsatisfactory to the dominant biblical divinity of Catholic doctrine, which citizens believe to be infallible. Yet Galileo still carries some support, despite the dominance of Cardinal Morosini (Javier Muñoz), who gives no space for what he perceives as anti-Bible sentiments.\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957845","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The support of Galileo’s close ally Bishop Barberini (Jeremy Kushnier) contributes greatly to his desire to continue locking horns with the Catholic establishment, and when Barberini is elevated as pontiff and becomes Pope Urban VIII, Galileo is poised to break through and declare truth the victor. Yet an effort by the pope to slow the public acceleration of Galileo’s scientific theories, introduced in Galileo’s book comparing the Copernican system with the accepted and less truthful Ptolemaic system, comes with an offensive slight, accelerating Galileo’s demise. \u003c/p>\n\u003cfigure id=\"attachment_13958080\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei, center) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many elements of spectacle allow the musical to brew and breathe within a white-hot fire, with music thrusting itself to the top of the ticket. Composers Michael Weiner and Zoe Sarnak unleash consecutive bangers, challenging their vocalists with vein-popping verve, melodies and divine harmonies as persistent as Galileo himself. Those compositions are nestled neatly inside Danny Strong’s book. \u003c/p>\n\u003cp>Each challenge is accepted by the cast, led by Broadway stalwart Esparza, who digs mightily into every ounce of his scintillating, grizzled register. A delicious counterpoint to Esparza’s wide-ranging vocals is his commitment to Galileo’s painful and joyous discoveries. His eyes accentuate each arc in every moment, a broken and beaten man who is constantly reminded that power decides truth, not the other way around.\u003c/p>\n\u003cfigure id=\"attachment_13958077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christian Magby (Alessandro Tarantola) and Madalynn Mathews (Virginia Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Kushnier’s mellifluity lives within its own constellation, a buttery-smooth falsetto that spotlights tenderness and admiration for Galileo, especially in his solo “By Thy Light I See.” Muñoz, Esparza’s fellow Broadway star, commands respect as the uncompromising Morosini, and Madelynn Mathews as Galileo’s embattled daughter Virginia, whose illegitimacy thrusts her away from love and into a cloistered life, gives a master class in vocals and empathy. These four craft a narrative that elevates the entire company in a show that gets louder and louder as time passes. \u003c/p>\n\u003cp>Where the piece needs harnessing begins late in the second act, when a certain theme carries on much too long, ultimately diluting the critical nature of its voice. It’s as if the concept of truth and its virtues need constant repeating, which drags the entire narrative down. A piece that moves towards three hours needs to slap incessantly; this is not the case here. \u003c/p>\n\u003cfigure id=\"attachment_13958081\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, the show feels as if it’s hurtling somewhere with no expense spared, especially through the technical design. Scenic work by Tony Award winner Rachel Hauck pairs beautifully with Anita Yavich’s nuanced and sparkly costume plot. Jason H. Thompson, along with Kaitlyn Pietras, go all in on Christian symbolism through their passionate projection design, combined sharply with the lighting of Kevin Adams. \u003c/p>\n\u003cp>There are many morsels that challenge in Strong’s book, and a critical question is posed: “When does the truth cost too much?” Thankfully for Galileo, and in a lesson for the masses, a legacy and the truth are not for sale. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Galileo’ runs through June 23 at Berkeley Repertory Theatre in downtown Berkeley. \u003ca href=\"https://www.berkeleyrep.org/shows/galileo/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958082/galileo-review-theater-berkeley-rep","authors":["11905"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1270","arts_1237","arts_769","arts_585"],"featImg":"arts_13958079","label":"arts_140"},"arts_13958041":{"type":"posts","id":"arts_13958041","meta":{"index":"posts_1591205157","site":"arts","id":"13958041","found":true},"guestAuthors":[],"slug":"original-joes-westlake-red-sauce-italian-steak-late-night-daly-city","title":"Original Joe’s Westlake Is a Time Warp to Red Sauce Heaven","publishDate":1715905147,"format":"aside","headTitle":"Original Joe’s Westlake Is a Time Warp to Red Sauce Heaven | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13958045\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1.jpg\" alt=\"Man devouring a steak while sitting at the counter at a restaurant.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Original Joe’s Westlake is one of the few places where you can get both good steak *and* red sauce Italian. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>I never ate the old Joe’s of Westlake, which opened in 1956. As far as I can gather, the Italian chop house stayed perfectly frozen in time for nearly six decades — serving the same char-broiled steaks and heaping plates of pasta to multiple generations of Daly City families. Eventually, the restaurant was sold to the owners of the North Beach Original Joe’s, who \u003ca href=\"https://www.instagram.com/arcanumarchitecture/p/CxOGBirRWCR/?img_index=1\">lovingly renovated\u003c/a> the place and reopened it \u003ca href=\"https://www.sfchronicle.com/restaurants/article/Joe-s-of-Westlake-returns-in-over-the-top-6838178.php\">to much fanfare\u003c/a> in 2016.\u003c/p>\n\u003cp>But even post-renovation, Original Joe’s Westlake still feels like a bit of a time warp. The handsome, low-slung building, with its neon signage and vaguely space-age, curvilinear architectural design, looks straight out of the ’60s, as do the waiters in tuxedos offering to grind fresh black pepper on your linguine. The whole dining room is full of quaint mid-century details: starburst chandeliers and shiny leather booths.\u003c/p>\n\u003cp>Nor has the restaurant’s popularity diminished. Now, as always, Westlake Joe’s at peak dinner hours is one of the hardest reservations to land on the Peninsula. What I like to do, then, is stroll in at around 10 p.m. on a Friday night, an hour before closing, when it’s usually possible to snag one of the swivel seats at the counter without having to wait. (Prior to the pandemic, the restaurant used to stay open until midnight, but we’ll take what we can get.)\u003c/p>\n\u003cp>As grand as the cushy, classic mid-century green leather booths are, the counter spots are the best seats in the house, with their close-up view of the finely orchestrated chaos of the open kitchen: six or seven line cooks standing shoulder to shoulder, cranking out dish after dish with no wasted motion. One of them, a thickly bearded chef in a black headband, handled the charcoal broiler where most of the meat cooks — the heart of the whole operation — all on his own like a magician, tending to the hot coals and nimbly flipping the seven or eight steaks that he had going at once.\u003c/p>\n\u003cfigure id=\"attachment_13958046\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2.jpg\" alt=\"Illustration: Red facade of Original Joe's Westlake lit up at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">On weekends, the Westlake location of Original Joe’s is open until 11 p.m. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Original Joe’s is your quintessential birthday/anniversary/Father’s Day kind of restaurant, and when I’ve come for big celebratory dinners, I’ve always gotten the 24-ounce bone-in porterhouse: a richly marbled, special occasion-worthy steak. But for a casual, slip-in-for-a-quick-meal-at-the-bar kind of night, the $32 Steak Ala Bruno (one of the old Joe’s signatures) is more my speed. It’s a 10-ounce flat iron steak marinated in garlic, olive oil and rosemary, then char-broiled to a phenomenally tender, juicy medium-rare. It’s fantastic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two of my biggest complaints about the Bay Area dining scene are 1) how few proper steakhouses there are, and 2) how difficult it is to find good red-sauce Italian, which constituted one of the four major food groups of my East Coast upbringing. The beauty of Original Joe’s is that those are precisely the two areas where it excels. You don’t even have to convince your dining partner to go halfsies to have them both in one meal; you just need to opt for the ravioli as your chosen side. Steak \u003ci>and \u003c/i>plump, meat sauce–laden ravioli. Unspeakable luxury.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13957599,arts_13956683,arts_13951914']\u003c/span>\u003c/span>There are, of course also pasta entrees, served on comically oversized plates: rich, oozy bricks of lasagna and a child’s Platonic ideal of spaghetti and meatballs (in large enough a portion to feed five children). There’s an unorthodox version of shrimp scampi linguine that comes tossed in a lemony garlic cream sauce.\u003c/p>\n\u003cp>Even when you’re seated at the bar, Original Joe’s offers the kind of impeccable service that feels both understated and a little bit old-fashioned. To start the meal, we’d ordered a Louie salad to share, and without saying anything, our kindly server had the kitchen split it into two bowls, each one piled high with tiny pink bay shrimp and slices of avocado and hard-boiled egg — the kind of small gesture that made us feel well taken care of.\u003c/p>\n\u003cp>Looking around a happily buzzing dining room, still more than half full well past 10 o’clock, we saw we clearly weren’t the only ones. Maybe my favorite thing about Original Joe’s Westlake is that it’s that rare “fancy” restaurant — along with \u003ca href=\"https://www.youtube.com/watch?v=EkOZPxo3qPM\">House of Prime Rib\u003c/a> and a handful of others — that feels both timeless and oddly democratic. It’s not an inexpensive restaurant, and there’s an Old World kind of formality to the servers in their black vests and starched white shirts. But you’ll find more diversity here than you will at just about any of the trendy hotspots a couple of miles north in San Francisco — diners of all ages (with the over-80 crowd especially well represented). All ethnicities. Folks in T-shirts and sweatpants and folks in full-on power suits.\u003c/p>\n\u003cp>Everyone seemed to be celebrating something. And everyone looked like they were having a good time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.originaljoes.com/westlake\">\u003ci>Original Joe’s Westlake\u003c/i>\u003c/a>\u003ci> is open until 10 p.m. Sunday through Thursday and until 11 p.m. on Fridays and Saturdays. The restaurant is located at 11 Glenwood Ave. in Daly City.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"One of the best ways to experience this Daly City classic? Walk up to the counter late at night.","status":"publish","parent":0,"modified":1715915412,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1012},"headData":{"title":"Original Joe’s Westlake Serves Late-Night Italian in Daly City | KQED","description":"One of the best ways to experience this Daly City classic? Walk up to the counter late at night.","ogTitle":"Original Joe’s Westlake Is a Time Warp to Red Sauce Heaven","ogDescription":"","ogImgId":"","twTitle":"Original Joe’s Westlake Is a Time Warp to Red Sauce Heaven","twDescription":"","twImgId":"","socialTitle":"Original Joe’s Westlake Serves Late-Night Italian in Daly City %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Original Joe’s Westlake Is a Time Warp to Red Sauce Heaven","datePublished":"2024-05-16T17:19:07-07:00","dateModified":"2024-05-16T20:10:12-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"nprStoryId":"kqed-13958041","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958041/original-joes-westlake-red-sauce-italian-steak-late-night-daly-city","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13958045\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1.jpg\" alt=\"Man devouring a steak while sitting at the counter at a restaurant.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/originsljoes1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Original Joe’s Westlake is one of the few places where you can get both good steak *and* red sauce Italian. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>I never ate the old Joe’s of Westlake, which opened in 1956. As far as I can gather, the Italian chop house stayed perfectly frozen in time for nearly six decades — serving the same char-broiled steaks and heaping plates of pasta to multiple generations of Daly City families. Eventually, the restaurant was sold to the owners of the North Beach Original Joe’s, who \u003ca href=\"https://www.instagram.com/arcanumarchitecture/p/CxOGBirRWCR/?img_index=1\">lovingly renovated\u003c/a> the place and reopened it \u003ca href=\"https://www.sfchronicle.com/restaurants/article/Joe-s-of-Westlake-returns-in-over-the-top-6838178.php\">to much fanfare\u003c/a> in 2016.\u003c/p>\n\u003cp>But even post-renovation, Original Joe’s Westlake still feels like a bit of a time warp. The handsome, low-slung building, with its neon signage and vaguely space-age, curvilinear architectural design, looks straight out of the ’60s, as do the waiters in tuxedos offering to grind fresh black pepper on your linguine. The whole dining room is full of quaint mid-century details: starburst chandeliers and shiny leather booths.\u003c/p>\n\u003cp>Nor has the restaurant’s popularity diminished. Now, as always, Westlake Joe’s at peak dinner hours is one of the hardest reservations to land on the Peninsula. What I like to do, then, is stroll in at around 10 p.m. on a Friday night, an hour before closing, when it’s usually possible to snag one of the swivel seats at the counter without having to wait. (Prior to the pandemic, the restaurant used to stay open until midnight, but we’ll take what we can get.)\u003c/p>\n\u003cp>As grand as the cushy, classic mid-century green leather booths are, the counter spots are the best seats in the house, with their close-up view of the finely orchestrated chaos of the open kitchen: six or seven line cooks standing shoulder to shoulder, cranking out dish after dish with no wasted motion. One of them, a thickly bearded chef in a black headband, handled the charcoal broiler where most of the meat cooks — the heart of the whole operation — all on his own like a magician, tending to the hot coals and nimbly flipping the seven or eight steaks that he had going at once.\u003c/p>\n\u003cfigure id=\"attachment_13958046\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2.jpg\" alt=\"Illustration: Red facade of Original Joe's Westlake lit up at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/original-joe2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">On weekends, the Westlake location of Original Joe’s is open until 11 p.m. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Original Joe’s is your quintessential birthday/anniversary/Father’s Day kind of restaurant, and when I’ve come for big celebratory dinners, I’ve always gotten the 24-ounce bone-in porterhouse: a richly marbled, special occasion-worthy steak. But for a casual, slip-in-for-a-quick-meal-at-the-bar kind of night, the $32 Steak Ala Bruno (one of the old Joe’s signatures) is more my speed. It’s a 10-ounce flat iron steak marinated in garlic, olive oil and rosemary, then char-broiled to a phenomenally tender, juicy medium-rare. It’s fantastic.\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>Two of my biggest complaints about the Bay Area dining scene are 1) how few proper steakhouses there are, and 2) how difficult it is to find good red-sauce Italian, which constituted one of the four major food groups of my East Coast upbringing. The beauty of Original Joe’s is that those are precisely the two areas where it excels. You don’t even have to convince your dining partner to go halfsies to have them both in one meal; you just need to opt for the ravioli as your chosen side. Steak \u003ci>and \u003c/i>plump, meat sauce–laden ravioli. Unspeakable luxury.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957599,arts_13956683,arts_13951914","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>There are, of course also pasta entrees, served on comically oversized plates: rich, oozy bricks of lasagna and a child’s Platonic ideal of spaghetti and meatballs (in large enough a portion to feed five children). There’s an unorthodox version of shrimp scampi linguine that comes tossed in a lemony garlic cream sauce.\u003c/p>\n\u003cp>Even when you’re seated at the bar, Original Joe’s offers the kind of impeccable service that feels both understated and a little bit old-fashioned. To start the meal, we’d ordered a Louie salad to share, and without saying anything, our kindly server had the kitchen split it into two bowls, each one piled high with tiny pink bay shrimp and slices of avocado and hard-boiled egg — the kind of small gesture that made us feel well taken care of.\u003c/p>\n\u003cp>Looking around a happily buzzing dining room, still more than half full well past 10 o’clock, we saw we clearly weren’t the only ones. Maybe my favorite thing about Original Joe’s Westlake is that it’s that rare “fancy” restaurant — along with \u003ca href=\"https://www.youtube.com/watch?v=EkOZPxo3qPM\">House of Prime Rib\u003c/a> and a handful of others — that feels both timeless and oddly democratic. It’s not an inexpensive restaurant, and there’s an Old World kind of formality to the servers in their black vests and starched white shirts. But you’ll find more diversity here than you will at just about any of the trendy hotspots a couple of miles north in San Francisco — diners of all ages (with the over-80 crowd especially well represented). All ethnicities. Folks in T-shirts and sweatpants and folks in full-on power suits.\u003c/p>\n\u003cp>Everyone seemed to be celebrating something. And everyone looked like they were having a good time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.originaljoes.com/westlake\">\u003ci>Original Joe’s Westlake\u003c/i>\u003c/a>\u003ci> is open until 10 p.m. Sunday through Thursday and until 11 p.m. on Fridays and Saturdays. The restaurant is located at 11 Glenwood Ave. in Daly City.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958041/original-joes-westlake-red-sauce-italian-steak-late-night-daly-city","authors":["11743","11753"],"categories":["arts_1","arts_12276"],"tags":["arts_2854","arts_10278","arts_1297","arts_8805","arts_21928"],"featImg":"arts_13958043","label":"source_arts_13958041"},"arts_13957727":{"type":"posts","id":"arts_13957727","meta":{"index":"posts_1591205157","site":"arts","id":"13957727","found":true},"guestAuthors":[],"slug":"bay-area-northern-california-road-trips","title":"Seals, Foraging and Buffalo Soft Serve: 5 NorCal Summer Day Trips","publishDate":1715875209,"format":"standard","headTitle":"Seals, Foraging and Buffalo Soft Serve: 5 NorCal Summer Day Trips | KQED","labelTerm":{},"content":"\u003cp>I have over a century of family history in the Bay, which is good for two things: knowing the fastest route to everything, and day trip recommendations. When I take people around Northern California, it’s important to me that we end the day feeling love for each other, this place and its history. So in my pantheon of day trip criteria, food and ecology are where it’s at. My go-to is \u003ca href=\"https://www.kqed.org/arts/13951449/purple-sea-urchin-uni-foraging-guide-northern-california\">sea urchin foraging\u003c/a>, which never ceases to fill people with profound wonder. But when sea urchin roe is scarce in the heat of summer, there’s still plenty to eat and marvel over.\u003c/p>\n\u003cp>Please be advised: You will need access to a car, rental or otherwise, for most of these trips.\u003c/p>\n\u003cfigure id=\"attachment_13957927\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957927\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A male elephant seal lounges on the shore at Año Nuevo State Park. \u003ccite>(Jessica Christian/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Artichoke bread and 5,000-pound seals\u003c/h2>\n\u003cp>This is pretty much as good as it gets: You’re eating steamy artichokes kneaded into fresh bread from \u003ca href=\"https://www.normsmarket.com/buy-local\">Arcangeli Grocery Co.\u003c/a> in Pescadero, and you’re on route to see some of the most wondrous creatures on earth. Just 20 minutes down the coast from Arcangeli is Año Nuevo State Park. In the summer, you can take self-guided walks from the visitor center to the beach, where elephant seals of all shapes and sizes — but mostly large and rotund — are sunbathing, brawling and giving you massive side eye.\u003c/p>\n\u003cp>Now alive and well in the hundreds of thousands, these seals were once on the brink of extinction after being hunted relentlessly for their blubber. For \u003ca href=\"https://www.nytimes.com/2023/03/16/us/how-californias-elephant-seals-made-a-remarkable-recovery.html\">eight years in the late 1800s\u003c/a>, not one northern elephant seal was seen anywhere in the world. So their comeback is huge. And as you look out over a horizon of squabbling marine sausages that could crush you with one roll, you may even shed a tear over the harrowing journey these creatures have been on. For folks who need mobile assistance, the park offers \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSe6pOuKotjmDBBe0cpUvVFqchkUGcn0YaZRmUa6Ql1sCJdaJA/viewform\">Equal Access tours\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957914\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957914\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424.jpg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424-768x576.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blackberries abound in Northern California in late summer, especially in Point Reyes. \u003ccite>(Creative Touch Imaging Ltd./NurPhoto via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Blackberry picking and buffalo milk gelato\u003c/h2>\n\u003cp>In the summer, my dad and I like to can blackberry jam, which burnishes our morning toast and engulfs our vanilla ice cream for the rest of the year. Blackberries are everywhere in the Bay in July, but Point Reyes is especially teeming with jammy berries, so much so that you’ll fill a small basket in 20 minutes. Be sure to refuel post-picking at \u003ca href=\"https://palacemarket.com/\">Palace Market\u003c/a> with a swirly dollop of buffalo milk soft serve from the buffalos at Double 8 Dairy in Petaluma. These buffalos make a mean serve that’s denser and creamier than the cow stuff. This day trip itinerary comes with an obligatory reading of Seamus Heaney’s poem “\u003ca href=\"https://www.poetryfoundation.org/poems/50981/blackberry-picking\">Blackberry Picking\u003c/a>” about the transience of blackberries, summer and life, too.\u003c/p>\n\u003cfigure id=\"attachment_13957916\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162.jpg\" alt=\"\" width=\"1500\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162-768x536.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Two Mexican free-tailed bats find a roost at a barn in Yolo County near Woodland. \u003ccite>(Michael Macor/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Thousands of teeny, tiny bats\u003c/h2>\n\u003cp>Something magical happens on a stretch of Interstate 80 just a little over an hour northeast of San Francisco. Lil bats, so lil they could fit in your palm, roost at Yolo Causeway in the hundreds of thousands — because there’s strength in numbers when you’re the size of a tangerine. Mexican free-tailed bats, which are the kind of bat we’re talking about, are cute the way your great-aunt’s ancient pug is cute — which is to say they’re cute, but puggish. At dusk, visitors can see the bats take to the sky, swirling around in huge numbers like aerial calligraphy. The Yolo Basin Foundation offers a \u003ca href=\"https://yolobasin.org/battalkandtour/\">bat talk and tour\u003c/a> that’s $15 for adults, $5 for youth and free for kids.\u003c/p>\n\u003cfigure id=\"attachment_13957920\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k.jpg\" alt=\"\" width=\"2048\" height=\"1541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-1536x1156.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-1920x1445.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The Sea Ranch chapel. \u003ccite>(Ingrid Taylar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A chapel and a crab roll\u003c/h2>\n\u003cp>Tucked into the hillside at Sea Ranch, there’s a little structure like a giant acorn cap or the hat of a forest witch — the cool, D.I.Y. kind of witch, not the scary kind. This non-denominational chapel and architectural marvel was created by artist James Hubbell in 1985. The inside of the \u003ca href=\"https://thesearanchchapel.org/chapel-2/\">Sea Ranch Chapel\u003c/a> is otherworldly like a seashell, carefully inlaid with husks of sea creatures. Whenever I’ve brought folks here, a hush falls over the group as we take in the slant of light and the smooth wood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.cafeaquatica.com/#/\">Cafe Aquatica\u003c/a> along Highway One is a great place to grab lunch on the way up. You can eat a decent crab roll and listen to live music there with an unbeatable backdrop: right where the Russian River meets the Pacific.\u003c/p>\n\u003cp>Once you’re in Sea Ranch — and pretty much anywhere along this stretch of Highway One — there’s plenty of hiking, foraging and sea-shoring to be done.\u003c/p>\n\u003cfigure id=\"attachment_13957919\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148.jpg\" alt=\"\" width=\"1024\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148-768x557.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Siskiyou, a female gray wolf, wanders through her habitat in the California Trail exhibit at the Oakland Zoo in Oakland, Calif. on Friday, May 4, 2018. \u003ccite>(Paul Chinn/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The wolves from ‘Game of Thrones,’ basically\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Seeing a pack of wolves roam the Oakland Hills isn’t just rare — it’s only possible at one place. Everytime a friend or a friend of a friend visits the East Bay for a super limited time and asks me what they should do with their day, I tell them to go to the Oakland Zoo. Are zoos a little sad? Yes. Is this one pretty cool, though? Also yes. In 2018, the zoo added a new California wing and welcomed a whole bunch of regional animals including bald eagles, mountain lions and a six-member pack of gray wolves. They’re beautiful, they’re massive and they’re totally worth staring at for hours as they roam the hillside and wrestle each other.\u003c/p>\n\n","blocks":[],"excerpt":"Architectural marvels, natural wonders and tasty treats are just a short drive from the Bay Area. ","status":"publish","parent":0,"modified":1715804007,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1031},"headData":{"title":"Seals, Foraging and Buffalo Soft Serve: 5 NorCal Summer Day Trips | KQED","description":"Architectural marvels, natural wonders and tasty treats are just a short drive from the Bay Area. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Seals, Foraging and Buffalo Soft Serve: 5 NorCal Summer Day Trips","datePublished":"2024-05-16T09:00:09-07:00","dateModified":"2024-05-15T13:13:27-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957727/bay-area-northern-california-road-trips","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have over a century of family history in the Bay, which is good for two things: knowing the fastest route to everything, and day trip recommendations. When I take people around Northern California, it’s important to me that we end the day feeling love for each other, this place and its history. So in my pantheon of day trip criteria, food and ecology are where it’s at. My go-to is \u003ca href=\"https://www.kqed.org/arts/13951449/purple-sea-urchin-uni-foraging-guide-northern-california\">sea urchin foraging\u003c/a>, which never ceases to fill people with profound wonder. But when sea urchin roe is scarce in the heat of summer, there’s still plenty to eat and marvel over.\u003c/p>\n\u003cp>Please be advised: You will need access to a car, rental or otherwise, for most of these trips.\u003c/p>\n\u003cfigure id=\"attachment_13957927\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957927\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1368708538-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A male elephant seal lounges on the shore at Año Nuevo State Park. \u003ccite>(Jessica Christian/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Artichoke bread and 5,000-pound seals\u003c/h2>\n\u003cp>This is pretty much as good as it gets: You’re eating steamy artichokes kneaded into fresh bread from \u003ca href=\"https://www.normsmarket.com/buy-local\">Arcangeli Grocery Co.\u003c/a> in Pescadero, and you’re on route to see some of the most wondrous creatures on earth. Just 20 minutes down the coast from Arcangeli is Año Nuevo State Park. In the summer, you can take self-guided walks from the visitor center to the beach, where elephant seals of all shapes and sizes — but mostly large and rotund — are sunbathing, brawling and giving you massive side eye.\u003c/p>\n\u003cp>Now alive and well in the hundreds of thousands, these seals were once on the brink of extinction after being hunted relentlessly for their blubber. For \u003ca href=\"https://www.nytimes.com/2023/03/16/us/how-californias-elephant-seals-made-a-remarkable-recovery.html\">eight years in the late 1800s\u003c/a>, not one northern elephant seal was seen anywhere in the world. So their comeback is huge. And as you look out over a horizon of squabbling marine sausages that could crush you with one roll, you may even shed a tear over the harrowing journey these creatures have been on. For folks who need mobile assistance, the park offers \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSe6pOuKotjmDBBe0cpUvVFqchkUGcn0YaZRmUa6Ql1sCJdaJA/viewform\">Equal Access tours\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13957914\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957914\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424.jpg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1509704424-768x576.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blackberries abound in Northern California in late summer, especially in Point Reyes. \u003ccite>(Creative Touch Imaging Ltd./NurPhoto via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Blackberry picking and buffalo milk gelato\u003c/h2>\n\u003cp>In the summer, my dad and I like to can blackberry jam, which burnishes our morning toast and engulfs our vanilla ice cream for the rest of the year. Blackberries are everywhere in the Bay in July, but Point Reyes is especially teeming with jammy berries, so much so that you’ll fill a small basket in 20 minutes. Be sure to refuel post-picking at \u003ca href=\"https://palacemarket.com/\">Palace Market\u003c/a> with a swirly dollop of buffalo milk soft serve from the buffalos at Double 8 Dairy in Petaluma. These buffalos make a mean serve that’s denser and creamier than the cow stuff. This day trip itinerary comes with an obligatory reading of Seamus Heaney’s poem “\u003ca href=\"https://www.poetryfoundation.org/poems/50981/blackberry-picking\">Blackberry Picking\u003c/a>” about the transience of blackberries, summer and life, too.\u003c/p>\n\u003cfigure id=\"attachment_13957916\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162.jpg\" alt=\"\" width=\"1500\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1321930162-768x536.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Two Mexican free-tailed bats find a roost at a barn in Yolo County near Woodland. \u003ccite>(Michael Macor/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Thousands of teeny, tiny bats\u003c/h2>\n\u003cp>Something magical happens on a stretch of Interstate 80 just a little over an hour northeast of San Francisco. Lil bats, so lil they could fit in your palm, roost at Yolo Causeway in the hundreds of thousands — because there’s strength in numbers when you’re the size of a tangerine. Mexican free-tailed bats, which are the kind of bat we’re talking about, are cute the way your great-aunt’s ancient pug is cute — which is to say they’re cute, but puggish. At dusk, visitors can see the bats take to the sky, swirling around in huge numbers like aerial calligraphy. The Yolo Basin Foundation offers a \u003ca href=\"https://yolobasin.org/battalkandtour/\">bat talk and tour\u003c/a> that’s $15 for adults, $5 for youth and free for kids.\u003c/p>\n\u003cfigure id=\"attachment_13957920\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k.jpg\" alt=\"\" width=\"2048\" height=\"1541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-1536x1156.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/3664191718_96c1544578_k-1920x1445.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The Sea Ranch chapel. \u003ccite>(Ingrid Taylar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A chapel and a crab roll\u003c/h2>\n\u003cp>Tucked into the hillside at Sea Ranch, there’s a little structure like a giant acorn cap or the hat of a forest witch — the cool, D.I.Y. kind of witch, not the scary kind. This non-denominational chapel and architectural marvel was created by artist James Hubbell in 1985. The inside of the \u003ca href=\"https://thesearanchchapel.org/chapel-2/\">Sea Ranch Chapel\u003c/a> is otherworldly like a seashell, carefully inlaid with husks of sea creatures. Whenever I’ve brought folks here, a hush falls over the group as we take in the slant of light and the smooth wood.\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>\u003ca href=\"https://www.cafeaquatica.com/#/\">Cafe Aquatica\u003c/a> along Highway One is a great place to grab lunch on the way up. You can eat a decent crab roll and listen to live music there with an unbeatable backdrop: right where the Russian River meets the Pacific.\u003c/p>\n\u003cp>Once you’re in Sea Ranch — and pretty much anywhere along this stretch of Highway One — there’s plenty of hiking, foraging and sea-shoring to be done.\u003c/p>\n\u003cfigure id=\"attachment_13957919\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148.jpg\" alt=\"\" width=\"1024\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1408780148-768x557.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Siskiyou, a female gray wolf, wanders through her habitat in the California Trail exhibit at the Oakland Zoo in Oakland, Calif. on Friday, May 4, 2018. \u003ccite>(Paul Chinn/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The wolves from ‘Game of Thrones,’ basically\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Seeing a pack of wolves roam the Oakland Hills isn’t just rare — it’s only possible at one place. Everytime a friend or a friend of a friend visits the East Bay for a super limited time and asks me what they should do with their day, I tell them to go to the Oakland Zoo. Are zoos a little sad? Yes. Is this one pretty cool, though? Also yes. In 2018, the zoo added a new California wing and welcomed a whole bunch of regional animals including bald eagles, mountain lions and a six-member pack of gray wolves. They’re beautiful, they’re massive and they’re totally worth staring at for hours as they roam the hillside and wrestle each other.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957727/bay-area-northern-california-road-trips","authors":["11872"],"categories":["arts_1"],"tags":["arts_10278","arts_22150","arts_22140","arts_585","arts_7085"],"featImg":"arts_13957931","label":"source_arts_13957727"},"arts_13957776":{"type":"posts","id":"arts_13957776","meta":{"index":"posts_1591205157","site":"arts","id":"13957776","found":true},"guestAuthors":[],"slug":"spacey-unmasked-documentary-review-hbo-max-channel-4","title":"‘Spacey Unmasked’ Demonstrates How Sexual Harassers Get Away With It","publishDate":1715720332,"format":"standard","headTitle":"‘Spacey Unmasked’ Demonstrates How Sexual Harassers Get Away With It | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>At the conclusion of new documentary \u003cem>Spacey Unmasked\u003c/em>, the prevailing feeling is one of distressed resignation.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> — about the personal conduct of Kevin Spacey, spanning five decades — is not the first documentary to chronicle a public figure’s sexual misconduct after they’d avoided or been released early from civil or criminal charges. \u003ca href=\"https://www.kqed.org/arts/13848980/what-took-sony-music-so-long-to-drop-r-kelly\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13908728/we-need-to-talk-about-bill-cosby-showtime-documentary-w-kamau-bell\">\u003cem>We Need to Talk About Cosby\u003c/em>\u003c/a> all did just that.\u003c/p>\n\u003cp>But each of those series also left viewers with the sense that the subjects in question — R. Kelly, Woody Allen and Bill Cosby — would not be able to successfully resume their careers, in part because of the documentaries themselves.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> leaves no such sense about Kevin Spacey.\u003c/p>\n\u003cp>The two-part documentary relies upon 10 men — nine of whom have never spoken out publicly against Spacey before — describing disturbing encounters they each had with the actor. These incidents start from the time Spacey was in high school, and come from Spacey’s former coworkers and students, as well as aspiring actors who believed Spacey could help their careers. Additional voices include \u003cem>House of Cards\u003c/em> crew members who describe a toxic work environment, and Spacey’s brother Randall Fowler, who alleges that he was sexually and physically abused by their Nazi-sympathizing father. (Randall is unclear if Spacey himself was ever abused in similar ways, but says that “acting was a way for [Spacey] to escape where he came from” — a home that “was creepy, cold and violent.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13954740']The men in the documentary suggest that Spacey has little comprehension of consent and zero qualms about using his own status to get what he wants. They describe being inappropriately groped and touched by Spacey in both private and remarkably public spaces, including on active sets. (One man even says he was assaulted in the lobby of London’s Savoy Hotel, not far from a bank of photographers.) Some of the men describe Spacey as a public masturbator. Other incidents are described in which the actor presses his body just a little too hard against someone, or whispers just a little too closely in their ear.\u003c/p>\n\u003cp>Many of the men describe feelings of guilt and shame after their run-ins with Spacey. Some describe negative consequences for their careers. Many have difficulty coming to terms with feeling sexually violated. The hyper-masculine men in \u003cem>Unmasked\u003c/em> in particular — two of the speakers here served as Marines — seem to struggle with that the most. Not feeling in control of their own personal space simply isn’t something they had ever anticipated dealing with. One tries to strike an optimistic note, saying that he hopes by coming forward, it will help other men speak honestly about matters relating to sexual harassment and abuse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NFbiev0MNls\u003c/p>\n\u003cp>Early in both installments, \u003cem>Unmasked\u003c/em> is careful to emphasize that \u003ca href=\"https://apnews.com/article/kevin-spacey-sexual-assault-trial-london-jury-deliberations-85cb3957c60de1a7b1e03a26dc278d95\">Spacey has been found not guilty\u003c/a> in a British court of nine different sexual assault charges, and that \u003ca href=\"https://variety.com/2022/tv/news/anthony-rapp-kevin-spacey-trial-reaction-1235432621/\">Anthony Rapp’s case against Spacey\u003c/a> was dismissed by an American court. (Rapp made accusations against Spacey during the peak of 2017’s #MeToo movement.)\u003c/p>\n\u003cp>And yet the overarching portrait \u003cem>Unmasked\u003c/em> paints of Spacey is one of a cold, sexually aggressive manipulator who pushes against normal physical and social boundaries, but also knows exactly where to draw the line in order to get away with it. The stories in \u003cem>Unmasked\u003c/em> suggest that Spacey was restrained enough to never verbally spell out quid pro quo sexual propositions, but that he was able to propose such arrangements to aspiring actors around him in more subtle ways.\u003c/p>\n\u003cp>[aside postid='arts_13956667']Harvey Weinstein’s accusers frequently talked of his outright threats to destroy their careers if they didn’t do what he wanted. The testimonies in \u003cem>Unmasked\u003c/em> suggest that Spacey’s propositions were infinitely more subtle, and less committal. Perhaps it’s that subtlety that has kept Spacey safe from prosecution. As the documentary notes, the actor regularly dismisses accusations against him by citing his “inappropriate drunken behavior,” making a “clumsy pass” and being “a big flirt.” While it’s impossible to know if Spacey believes this version of reality, it’s one that’s been effective at keeping him out of jail.\u003c/p>\n\u003cp>At the close of the documentary, words flash on the screen from Spacey himself:\u003c/p>\n\u003cblockquote>\u003cp>Kevin Spacey said that he had been provided with insufficient time and detail to respond to the testimonies in this film. He said, ‘I have consistently denied — and now successfully defended — numerous allegations made both in the US and the UK, both criminal and civil, and each time have been able to source evidence undermining the allegations and have been believed by a jury of my peers.’\u003c/p>\u003c/blockquote>\n\u003cp>Given how \u003ca href=\"https://www.kqed.org/arts/13956667/weinstein-overturned-conviction-me-too-misogyny-commentary\">few #MeToo era villains have suffered legal consequences\u003c/a>, one can’t help but feel resigned to the fact that at this point, Spacey probably never will either. Having that slowly spelled out over \u003cem>Spacey Unmasked\u003c/em>’s two hours of heart-wrenching testimonies makes for a bleak and frustrating conclusion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spacey Unmasked’ is streaming now on Max.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A disturbing two-part documentary brings new allegations of sexual impropriety against Kevin Spacey.","status":"publish","parent":0,"modified":1715723621,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":886},"headData":{"title":"‘Spacey Unmasked’ Paints the Actor as a Cunning Manipulator | KQED","description":"A disturbing two-part documentary brings new allegations of sexual impropriety against Kevin Spacey.","ogTitle":"‘Spacey Unmasked’ Thoroughly Demonstrates How Sexual Harassers Get Away With it","ogDescription":"","ogImgId":"","twTitle":"‘Spacey Unmasked’ Thoroughly Demonstrates How Sexual Harassers Get Away With it","twDescription":"","twImgId":"","socialTitle":"‘Spacey Unmasked’ Paints the Actor as a Cunning Manipulator %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Spacey Unmasked’ Demonstrates How Sexual Harassers Get Away With It","datePublished":"2024-05-14T13:58:52-07:00","dateModified":"2024-05-14T14:53:41-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957776","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957776/spacey-unmasked-documentary-review-hbo-max-channel-4","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the conclusion of new documentary \u003cem>Spacey Unmasked\u003c/em>, the prevailing feeling is one of distressed resignation.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> — about the personal conduct of Kevin Spacey, spanning five decades — is not the first documentary to chronicle a public figure’s sexual misconduct after they’d avoided or been released early from civil or criminal charges. \u003ca href=\"https://www.kqed.org/arts/13848980/what-took-sony-music-so-long-to-drop-r-kelly\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13908728/we-need-to-talk-about-bill-cosby-showtime-documentary-w-kamau-bell\">\u003cem>We Need to Talk About Cosby\u003c/em>\u003c/a> all did just that.\u003c/p>\n\u003cp>But each of those series also left viewers with the sense that the subjects in question — R. Kelly, Woody Allen and Bill Cosby — would not be able to successfully resume their careers, in part because of the documentaries themselves.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> leaves no such sense about Kevin Spacey.\u003c/p>\n\u003cp>The two-part documentary relies upon 10 men — nine of whom have never spoken out publicly against Spacey before — describing disturbing encounters they each had with the actor. These incidents start from the time Spacey was in high school, and come from Spacey’s former coworkers and students, as well as aspiring actors who believed Spacey could help their careers. Additional voices include \u003cem>House of Cards\u003c/em> crew members who describe a toxic work environment, and Spacey’s brother Randall Fowler, who alleges that he was sexually and physically abused by their Nazi-sympathizing father. (Randall is unclear if Spacey himself was ever abused in similar ways, but says that “acting was a way for [Spacey] to escape where he came from” — a home that “was creepy, cold and violent.”)\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954740","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The men in the documentary suggest that Spacey has little comprehension of consent and zero qualms about using his own status to get what he wants. They describe being inappropriately groped and touched by Spacey in both private and remarkably public spaces, including on active sets. (One man even says he was assaulted in the lobby of London’s Savoy Hotel, not far from a bank of photographers.) Some of the men describe Spacey as a public masturbator. Other incidents are described in which the actor presses his body just a little too hard against someone, or whispers just a little too closely in their ear.\u003c/p>\n\u003cp>Many of the men describe feelings of guilt and shame after their run-ins with Spacey. Some describe negative consequences for their careers. Many have difficulty coming to terms with feeling sexually violated. The hyper-masculine men in \u003cem>Unmasked\u003c/em> in particular — two of the speakers here served as Marines — seem to struggle with that the most. Not feeling in control of their own personal space simply isn’t something they had ever anticipated dealing with. One tries to strike an optimistic note, saying that he hopes by coming forward, it will help other men speak honestly about matters relating to sexual harassment and abuse.\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/NFbiev0MNls'\n title='//www.youtube.com/embed/NFbiev0MNls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Early in both installments, \u003cem>Unmasked\u003c/em> is careful to emphasize that \u003ca href=\"https://apnews.com/article/kevin-spacey-sexual-assault-trial-london-jury-deliberations-85cb3957c60de1a7b1e03a26dc278d95\">Spacey has been found not guilty\u003c/a> in a British court of nine different sexual assault charges, and that \u003ca href=\"https://variety.com/2022/tv/news/anthony-rapp-kevin-spacey-trial-reaction-1235432621/\">Anthony Rapp’s case against Spacey\u003c/a> was dismissed by an American court. (Rapp made accusations against Spacey during the peak of 2017’s #MeToo movement.)\u003c/p>\n\u003cp>And yet the overarching portrait \u003cem>Unmasked\u003c/em> paints of Spacey is one of a cold, sexually aggressive manipulator who pushes against normal physical and social boundaries, but also knows exactly where to draw the line in order to get away with it. The stories in \u003cem>Unmasked\u003c/em> suggest that Spacey was restrained enough to never verbally spell out quid pro quo sexual propositions, but that he was able to propose such arrangements to aspiring actors around him in more subtle ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956667","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Harvey Weinstein’s accusers frequently talked of his outright threats to destroy their careers if they didn’t do what he wanted. The testimonies in \u003cem>Unmasked\u003c/em> suggest that Spacey’s propositions were infinitely more subtle, and less committal. Perhaps it’s that subtlety that has kept Spacey safe from prosecution. As the documentary notes, the actor regularly dismisses accusations against him by citing his “inappropriate drunken behavior,” making a “clumsy pass” and being “a big flirt.” While it’s impossible to know if Spacey believes this version of reality, it’s one that’s been effective at keeping him out of jail.\u003c/p>\n\u003cp>At the close of the documentary, words flash on the screen from Spacey himself:\u003c/p>\n\u003cblockquote>\u003cp>Kevin Spacey said that he had been provided with insufficient time and detail to respond to the testimonies in this film. He said, ‘I have consistently denied — and now successfully defended — numerous allegations made both in the US and the UK, both criminal and civil, and each time have been able to source evidence undermining the allegations and have been believed by a jury of my peers.’\u003c/p>\u003c/blockquote>\n\u003cp>Given how \u003ca href=\"https://www.kqed.org/arts/13956667/weinstein-overturned-conviction-me-too-misogyny-commentary\">few #MeToo era villains have suffered legal consequences\u003c/a>, one can’t help but feel resigned to the fact that at this point, Spacey probably never will either. Having that slowly spelled out over \u003cem>Spacey Unmasked\u003c/em>’s two hours of heart-wrenching testimonies makes for a bleak and frustrating conclusion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spacey Unmasked’ is streaming now on Max.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957776/spacey-unmasked-documentary-review-hbo-max-channel-4","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_990"],"tags":["arts_2798","arts_13672","arts_8350","arts_20624","arts_5676","arts_585"],"featImg":"arts_13957800","label":"arts_140"},"arts_13956931":{"type":"posts","id":"arts_13956931","meta":{"index":"posts_1591205157","site":"arts","id":"13956931","found":true},"guestAuthors":[],"slug":"8-bay-area-sports-teams-and-games-to-see-this-summer-without-giving-john-fisher-a-dime","title":"8 Bay Area Sports Teams to See This Summer (Without Giving John Fisher a Dime)","publishDate":1715799619,"format":"standard","headTitle":"8 Bay Area Sports Teams to See This Summer (Without Giving John Fisher a Dime) | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In what might be the most heartbreaking, multi-league exodus in modern sports history, the Bay Area — and in particular, Oakland — has recently suffered more than its fair share of hometown woes. Between \u003ca href=\"https://www.espn.com/mlb/story/_/id/39908731/oakland-sacramento-meetings-moves-john-fisher\">the bumbling soullessness of Oakland Athletics owner John Fisher\u003c/a>, the departure of the Raiders and the not-so-distant transplanting of the Golden State Warriors in recent seasons, \u003ca href=\"https://www.kqed.org/arts/13955419/oakland-as-athletics-booker-ruiz-wristbandgate\">fanbases have experienced no shortage of rage and disappointment\u003c/a>.\u003c/p>\n\u003cp>The Bay Area’s response? To gather an eclectic and boisterous assemblage of fans and community members, and organize with a grassroots ferocity rarely seen in the sports world. The past few months have seen the Bay creating new teams — separate from the level of the Giants, 49ers, Warriors and \u003ca href=\"https://www.kqed.org/arts/13957833/golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo\">the newly minted Valkyries\u003c/a> — garnering independent support and marching downfield with an unwavering appreciation for the underdog.\u003c/p>\n\u003cp>The upshot is that, this summer, there are more ways than ever to enjoy an affordable sports outing with your family — and, in doing so, proving that Bay Area sports fans are resilient and loyal. Here’s a brief rundown on how to support the Bay’s most exciting teams (without putting any money in Fisher’s feeble hands).\u003c/p>\n\u003cfigure id=\"attachment_13956942\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956942\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-scaled.jpg\" alt=\"a baseball player shows off his Oakland Ballers jersey at a local tryout\" width=\"2560\" height=\"1833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Ballers recently held a tryout for local players to showcase their skills at Laney College. \u003ccite>(Oakland Ballers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oakland.ballers/?hl=en\">\u003cb>Oakland Ballers\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>In search of a locally rooted organization committed to preserving Oakland’s storied baseball identity? Look no further than\u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\"> the B’s — short for Ballers\u003c/a> — whose \u003ca href=\"https://www.kqed.org/arts/13938668/meet-the-designer-for-the-bs-oaklands-new-homegrown-baseball-team\">snazzy, historically-forward logo\u003c/a> and uniforms harken back to \u003ca href=\"https://twitter.com/OaklandBallers/status/1781387456836981054\">the city’s prolific baseball legacy among shipyard workers and Black unions\u003c/a>. The brand new team will play at Raimondi Park in West Oakland and compete in the Pioneer League — an independent collection of minor league franchises with no Major League Baseball affiliations. Though their season doesn’t start until late May, the organization has already hit a home run by signing \u003ca href=\"https://www.instagram.com/kelsie_whitmore/?hl=en\">the league’s first-ever female pitcher, Kelsie Whitmore\u003c/a>. \u003cem>\u003ca href=\"https://uspst.clappit.com/tickets-oakland-ballers/showProductList.html\">Tickets here\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13956939\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956939\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-scaled.jpg\" alt=\"a group of women soccer players celebrate after a goal is scored\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay FC players celebrate after a goal. The NWSL is considered among the best leagues in the world. \u003ccite>(Bay FC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/wearebayfc/?hl=en\">\u003cb>Bay FC\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>We’re witnessing the largest surge for women’s sports in history — and we can be proud that the Bay Area is at its forefront. In addition to \u003ca href=\"https://www.kqed.org/news/11963547/wnba-team-in-the-bay-a-slam-dunk-for-bay-area-basketball\">the WNBA’s announcement of a Golden State expansion franchise\u003c/a> in 2025, the region scored extra points by introducing their \u003ca href=\"https://www.kqed.org/news/11980330/a-new-pro-womens-soccer-team-kicks-off-in-the-bay\">newest women’s soccer team\u003c/a>: \u003ca href=\"https://www.instagram.com/wearebayfc/?hl=en\">Bay FC\u003c/a>, who made a splash by signing six-time African Women’s Footballer of the Year, Asisat Oshoala. Their \u003ca href=\"https://www.espn.com/soccer/story/_/id/39585552/nwsl-new-nike-kits-laying-foundation-commercial-growth\">Nike-designed kits and Old English crest\u003c/a> have elicited much excitement, and the schedule promises a variety of celebratory nights, including Pride and Latino Heritage. The team’s inaugural season is already underway as the newest members of the National Women’s Soccer League, which \u003cem>The Guardia\u003c/em>n recently dubbed “\u003ca href=\"https://amp.theguardian.com/football/2024/may/01/nwsl-commissioner-interview-us-soccer-expansion-value\">the world’s most innovative league\u003c/a>.” With home games costing as low as $13 at San Jose’s PayPal Park (a fun venue with the world’s largest outdoor bar), there’s no excuse for missing out on any summer kicks. \u003cem>\u003ca href=\"https://bayfc.com/schedule/\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957862\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957862\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg\" alt=\"A man in a gray and blue baseball uniform that reads 'Stockton' is in the middle of throwing the ball from somewhere in the infield\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stockton Ports shortstop Franklin Barreto throws to first base during the game between the Stockton Ports and the Bakersfield Blaze at Sam Lynn in Bakersfield, CA. \u003ccite>( David Dennis/Icon Sportswire/Corbis/Icon Sportswire via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/stocktonports/\">\u003cb>Stockton Ports\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Not for meant for the casual bandwagoner, this sports excursion will require a day trip to Stockton. But, as the A’s official single-A affiliate, who have shown nothing but support to fans amid MLB’s failure to keep the green-and-gold in town, our neighboring franchise deserves some love. For years, the Ports have been overlooked as an out-of-market afterthought: Why watch minor leaguers when you have major leaguers nearby? Well, that reality has shifted: Why continue supporting a vapid owner when you have a friendly alternative nearby? Earlier this season, when Oakland sports fans held their own Fan Fest,\u003ca href=\"https://www.kqed.org/arts/13952437/oakland-as-fans-fest-jack-london-square-2024\"> the Ports became official sponsors\u003c/a> and provided donations to help make it happen. If that’s not the definition of being 10 toes down, I’m not sure what is. \u003cem>\u003ca href=\"https://www.milb.com/stockton/schedule/2024-04\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957863\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg\" alt=\"two soccer players sign a colorful flag for fans in the stands after winning a nighttime game\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neveal Hackshaw and Johnny Rodriguez of the Oakland Roots sign a flag for fans after the U.S. Open Cup third round game between the Oakland Roots and El Farolito on April 16, 2024 at Pioneer Stadium in Hayward, California. \u003ccite>(Doug Zimmerman/ISI Photos/USSF/Getty Images for USSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oaklandroots/?hl=en\">\u003cb>Oakland Roots\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Perhaps the most socially conscious squad in all of professional U.S. sports, the Roots have \u003ca href=\"https://www.sfgate.com/sports/article/Are-the-Oakland-Roots-the-most-civic-minded-team-15661728.php\">put the community first since their 2018 formation in the Town\u003c/a>. Whether it’s collaborating with local artists and small businesses or cultivating a development team known as \u003ca href=\"https://www.instagram.com/project51o/\">Project 510\u003c/a>, the \u003ca href=\"https://www.kqed.org/news/11961286/oakland-roots-pro-soccer-team-raises-nearly-2-million-in-first-4-days-of-crowdfunding\">crowdfunded club\u003c/a> (which includes Jason Kidd, Marshawn Lynch, G Eazy and Billie Joe Armstrong as well as everyday Bay Area sports fans as part-owners) have been all in on hometown pride. You’re just as likely to see one of your favorite rappers performing at halftime, or casually attending a game on AAPI Heritage or Town Biz Night. Meanwhile CSU East Bay’s Pioneer Stadium is gorgeous, providing sweeping views of the Bay Area as an extra benefit to whatever’s going on between the sidelines. \u003cem>\u003ca href=\"https://seatgeek.com/oakland-roots-sc-tickets\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13956937\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-scaled.jpg\" alt=\"a woman soccer player jogs during warm ups before a game\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Soul have been heralded for their play on the field, and their style off the field. \u003ccite>(Oakland Soul SC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oaklandsoulsc/?hl=en\">\u003cb>Oakland Soul\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Not to be outdone, the Soul are \u003ca href=\"https://www.kqed.org/news/11915080/oakland-roots-soccer-club-to-start-new-amateur-womens-team\">the amateur women’s branch of the Roots\u003c/a> — with a growing buzz and fanbase of their own. Their funky, retro-inspired uniforms are worth snagging from Oaklandish. Currently, the team plays in the United Soccer League Network, with home games hosted at Merritt College, and will play one double header with the Roots at CSUEB. Unlike Bay FC, the Soul play in the USL W, a second-division women’s league one tier beneath the NWSL — in other words, the two leading women’s soccer teams of the region aren’t directly in competition with one another, so you can guiltlessly cheer on both at once. In 2025, \u003ca href=\"https://www.cbsnews.com/sanfrancisco/news/oakland-coliseum-roots-soul-soccer-teams-2025-officials-approve-deal/\">the Soul (along with the Roots) will be housed at the Oakland Coliseum\u003c/a>. \u003cem>\u003ca href=\"https://seatgeek.com/oakland-soul-sc-tickets\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957864\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg\" alt=\"Lionel Messi of Argentina holds a giant trophy while smiling surrounded by his team after winning the Copa America Brazil 2021.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lionel Messi of Argentina smiles with the trophy as he celebrates with teammates after winning the final of Copa America Brazil 2021 between Brazil and Argentina at Maracana Stadium on July 10, 2021 in Rio de Janeiro, Brazil. \u003ccite>(Buda Mendes/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/copaamerica/?hl=en\">\u003cb>Copa América\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>This isn’t a \u003cem>team\u003c/em>, per se — it’s a global phenomenon. Every four years, the biggest soccer tournament in the Western Hemisphere takes place in rotating host nations throughout the Americas. This year, the United States has been selected as the home of the famed cup — and Levi’s Stadium in Santa Clara has been deemed a national site for two games. With teams playing in cities across the country, Bay Area fans will be gifted with rare appearances from Brazil, Colombia, Ecuador and Venezuela for the oldest soccer tournament in the world (yes, older than the World Cup itself). \u003cem>\u003ca href=\"https://copaamerica.com/entradas/\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13956934\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956934\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--scaled.jpg\" alt=\"an ultimate frisbee player runs for a score with frisbee in hand\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Spiders are an ultimate frisbee team that play at Fremont High School in East Oakland. \u003ccite>(Julien Dagan @juliendaganphoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/bayareafalcons/?hl=en&img_index=1\">\u003cb>Bay Area Falcons\u003c/b>\u003c/a>\u003cb> and \u003c/b>\u003ca href=\"https://www.instagram.com/oaklandspiders/?hl=en\">\u003cb>Oakland Spiders\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>If the venerable spring-and-summer sports of baseball and soccer aren’t your jam, or you’re looking for a new spin on sunny weather outings, check out the Falcons (women’s and non-binary) and Spiders (men’s) professional ultimate frisbee teams. Both squads compete at East Oakland’s Fremont High School for home games. The Spiders — two-time national champs, currently led by rookie frisbeer, \u003ca href=\"https://www.youtube.com/watch?v=Ghz9Qey4Of8\">Raekwon Adkins\u003c/a> — have also graciously provided \u003ca href=\"https://www.instagram.com/p/C5mcdH-PWoa/?hl=en\">an ultimate frisbee explainer video\u003c/a> for the uninitiated. Admittedly, I’ve never attended a pro frisbee game, but with my favorite summertime team — formerly known as the Oakland Athletics — about to vacate the area, I’ll certainly be looking elsewhere to provide my loyal fandom. \u003cem>\u003ca href=\"https://www.falconsultimate.com/tickets\">Tickets here\u003c/a> (Falcons) and\u003ca href=\"https://oaklandspiders.com/collections/tickets_memberships\"> here\u003c/a> (Spiders).\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Yes, we're still mad about the A's — but there's never been a better time to catch the Oakland Roots or Bay FC. ","status":"publish","parent":0,"modified":1715959693,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1393},"headData":{"title":"8 Bay Area Sports Teams to See This Summer (Without Giving John Fisher a Dime) | KQED","description":"Yes, we're still mad about the A's — but there's never been a better time to catch the Oakland Roots or Bay FC. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"8 Bay Area Sports Teams to See This Summer (Without Giving John Fisher a Dime)","datePublished":"2024-05-15T12:00:19-07:00","dateModified":"2024-05-17T08:28:13-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956931","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956931/8-bay-area-sports-teams-and-games-to-see-this-summer-without-giving-john-fisher-a-dime","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In what might be the most heartbreaking, multi-league exodus in modern sports history, the Bay Area — and in particular, Oakland — has recently suffered more than its fair share of hometown woes. Between \u003ca href=\"https://www.espn.com/mlb/story/_/id/39908731/oakland-sacramento-meetings-moves-john-fisher\">the bumbling soullessness of Oakland Athletics owner John Fisher\u003c/a>, the departure of the Raiders and the not-so-distant transplanting of the Golden State Warriors in recent seasons, \u003ca href=\"https://www.kqed.org/arts/13955419/oakland-as-athletics-booker-ruiz-wristbandgate\">fanbases have experienced no shortage of rage and disappointment\u003c/a>.\u003c/p>\n\u003cp>The Bay Area’s response? To gather an eclectic and boisterous assemblage of fans and community members, and organize with a grassroots ferocity rarely seen in the sports world. The past few months have seen the Bay creating new teams — separate from the level of the Giants, 49ers, Warriors and \u003ca href=\"https://www.kqed.org/arts/13957833/golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo\">the newly minted Valkyries\u003c/a> — garnering independent support and marching downfield with an unwavering appreciation for the underdog.\u003c/p>\n\u003cp>The upshot is that, this summer, there are more ways than ever to enjoy an affordable sports outing with your family — and, in doing so, proving that Bay Area sports fans are resilient and loyal. Here’s a brief rundown on how to support the Bay’s most exciting teams (without putting any money in Fisher’s feeble hands).\u003c/p>\n\u003cfigure id=\"attachment_13956942\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956942\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-scaled.jpg\" alt=\"a baseball player shows off his Oakland Ballers jersey at a local tryout\" width=\"2560\" height=\"1833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ballers1-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Ballers recently held a tryout for local players to showcase their skills at Laney College. \u003ccite>(Oakland Ballers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oakland.ballers/?hl=en\">\u003cb>Oakland Ballers\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>In search of a locally rooted organization committed to preserving Oakland’s storied baseball identity? Look no further than\u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\"> the B’s — short for Ballers\u003c/a> — whose \u003ca href=\"https://www.kqed.org/arts/13938668/meet-the-designer-for-the-bs-oaklands-new-homegrown-baseball-team\">snazzy, historically-forward logo\u003c/a> and uniforms harken back to \u003ca href=\"https://twitter.com/OaklandBallers/status/1781387456836981054\">the city’s prolific baseball legacy among shipyard workers and Black unions\u003c/a>. The brand new team will play at Raimondi Park in West Oakland and compete in the Pioneer League — an independent collection of minor league franchises with no Major League Baseball affiliations. Though their season doesn’t start until late May, the organization has already hit a home run by signing \u003ca href=\"https://www.instagram.com/kelsie_whitmore/?hl=en\">the league’s first-ever female pitcher, Kelsie Whitmore\u003c/a>. \u003cem>\u003ca href=\"https://uspst.clappit.com/tickets-oakland-ballers/showProductList.html\">Tickets here\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13956939\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956939\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-scaled.jpg\" alt=\"a group of women soccer players celebrate after a goal is scored\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JT401019-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay FC players celebrate after a goal. The NWSL is considered among the best leagues in the world. \u003ccite>(Bay FC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/wearebayfc/?hl=en\">\u003cb>Bay FC\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>We’re witnessing the largest surge for women’s sports in history — and we can be proud that the Bay Area is at its forefront. In addition to \u003ca href=\"https://www.kqed.org/news/11963547/wnba-team-in-the-bay-a-slam-dunk-for-bay-area-basketball\">the WNBA’s announcement of a Golden State expansion franchise\u003c/a> in 2025, the region scored extra points by introducing their \u003ca href=\"https://www.kqed.org/news/11980330/a-new-pro-womens-soccer-team-kicks-off-in-the-bay\">newest women’s soccer team\u003c/a>: \u003ca href=\"https://www.instagram.com/wearebayfc/?hl=en\">Bay FC\u003c/a>, who made a splash by signing six-time African Women’s Footballer of the Year, Asisat Oshoala. Their \u003ca href=\"https://www.espn.com/soccer/story/_/id/39585552/nwsl-new-nike-kits-laying-foundation-commercial-growth\">Nike-designed kits and Old English crest\u003c/a> have elicited much excitement, and the schedule promises a variety of celebratory nights, including Pride and Latino Heritage. The team’s inaugural season is already underway as the newest members of the National Women’s Soccer League, which \u003cem>The Guardia\u003c/em>n recently dubbed “\u003ca href=\"https://amp.theguardian.com/football/2024/may/01/nwsl-commissioner-interview-us-soccer-expansion-value\">the world’s most innovative league\u003c/a>.” With home games costing as low as $13 at San Jose’s PayPal Park (a fun venue with the world’s largest outdoor bar), there’s no excuse for missing out on any summer kicks. \u003cem>\u003ca href=\"https://bayfc.com/schedule/\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957862\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957862\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg\" alt=\"A man in a gray and blue baseball uniform that reads 'Stockton' is in the middle of throwing the ball from somewhere in the infield\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-579843848-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stockton Ports shortstop Franklin Barreto throws to first base during the game between the Stockton Ports and the Bakersfield Blaze at Sam Lynn in Bakersfield, CA. \u003ccite>( David Dennis/Icon Sportswire/Corbis/Icon Sportswire via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/stocktonports/\">\u003cb>Stockton Ports\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Not for meant for the casual bandwagoner, this sports excursion will require a day trip to Stockton. But, as the A’s official single-A affiliate, who have shown nothing but support to fans amid MLB’s failure to keep the green-and-gold in town, our neighboring franchise deserves some love. For years, the Ports have been overlooked as an out-of-market afterthought: Why watch minor leaguers when you have major leaguers nearby? Well, that reality has shifted: Why continue supporting a vapid owner when you have a friendly alternative nearby? Earlier this season, when Oakland sports fans held their own Fan Fest,\u003ca href=\"https://www.kqed.org/arts/13952437/oakland-as-fans-fest-jack-london-square-2024\"> the Ports became official sponsors\u003c/a> and provided donations to help make it happen. If that’s not the definition of being 10 toes down, I’m not sure what is. \u003cem>\u003ca href=\"https://www.milb.com/stockton/schedule/2024-04\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957863\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg\" alt=\"two soccer players sign a colorful flag for fans in the stands after winning a nighttime game\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2148930700-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Neveal Hackshaw and Johnny Rodriguez of the Oakland Roots sign a flag for fans after the U.S. Open Cup third round game between the Oakland Roots and El Farolito on April 16, 2024 at Pioneer Stadium in Hayward, California. \u003ccite>(Doug Zimmerman/ISI Photos/USSF/Getty Images for USSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oaklandroots/?hl=en\">\u003cb>Oakland Roots\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Perhaps the most socially conscious squad in all of professional U.S. sports, the Roots have \u003ca href=\"https://www.sfgate.com/sports/article/Are-the-Oakland-Roots-the-most-civic-minded-team-15661728.php\">put the community first since their 2018 formation in the Town\u003c/a>. Whether it’s collaborating with local artists and small businesses or cultivating a development team known as \u003ca href=\"https://www.instagram.com/project51o/\">Project 510\u003c/a>, the \u003ca href=\"https://www.kqed.org/news/11961286/oakland-roots-pro-soccer-team-raises-nearly-2-million-in-first-4-days-of-crowdfunding\">crowdfunded club\u003c/a> (which includes Jason Kidd, Marshawn Lynch, G Eazy and Billie Joe Armstrong as well as everyday Bay Area sports fans as part-owners) have been all in on hometown pride. You’re just as likely to see one of your favorite rappers performing at halftime, or casually attending a game on AAPI Heritage or Town Biz Night. Meanwhile CSU East Bay’s Pioneer Stadium is gorgeous, providing sweeping views of the Bay Area as an extra benefit to whatever’s going on between the sidelines. \u003cem>\u003ca href=\"https://seatgeek.com/oakland-roots-sc-tickets\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13956937\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-scaled.jpg\" alt=\"a woman soccer player jogs during warm ups before a game\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/cedwx-26693-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Soul have been heralded for their play on the field, and their style off the field. \u003ccite>(Oakland Soul SC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/oaklandsoulsc/?hl=en\">\u003cb>Oakland Soul\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>Not to be outdone, the Soul are \u003ca href=\"https://www.kqed.org/news/11915080/oakland-roots-soccer-club-to-start-new-amateur-womens-team\">the amateur women’s branch of the Roots\u003c/a> — with a growing buzz and fanbase of their own. Their funky, retro-inspired uniforms are worth snagging from Oaklandish. Currently, the team plays in the United Soccer League Network, with home games hosted at Merritt College, and will play one double header with the Roots at CSUEB. Unlike Bay FC, the Soul play in the USL W, a second-division women’s league one tier beneath the NWSL — in other words, the two leading women’s soccer teams of the region aren’t directly in competition with one another, so you can guiltlessly cheer on both at once. In 2025, \u003ca href=\"https://www.cbsnews.com/sanfrancisco/news/oakland-coliseum-roots-soul-soccer-teams-2025-officials-approve-deal/\">the Soul (along with the Roots) will be housed at the Oakland Coliseum\u003c/a>. \u003cem>\u003ca href=\"https://seatgeek.com/oakland-soul-sc-tickets\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13957864\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957864\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg\" alt=\"Lionel Messi of Argentina holds a giant trophy while smiling surrounded by his team after winning the Copa America Brazil 2021.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1328080443-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lionel Messi of Argentina smiles with the trophy as he celebrates with teammates after winning the final of Copa America Brazil 2021 between Brazil and Argentina at Maracana Stadium on July 10, 2021 in Rio de Janeiro, Brazil. \u003ccite>(Buda Mendes/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/copaamerica/?hl=en\">\u003cb>Copa América\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>This isn’t a \u003cem>team\u003c/em>, per se — it’s a global phenomenon. Every four years, the biggest soccer tournament in the Western Hemisphere takes place in rotating host nations throughout the Americas. This year, the United States has been selected as the home of the famed cup — and Levi’s Stadium in Santa Clara has been deemed a national site for two games. With teams playing in cities across the country, Bay Area fans will be gifted with rare appearances from Brazil, Colombia, Ecuador and Venezuela for the oldest soccer tournament in the world (yes, older than the World Cup itself). \u003cem>\u003ca href=\"https://copaamerica.com/entradas/\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13956934\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956934\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--scaled.jpg\" alt=\"an ultimate frisbee player runs for a score with frisbee in hand\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/2023.06.10-22-LindsayBaloun-OaklandSpiders-_MG_00043--1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Spiders are an ultimate frisbee team that play at Fremont High School in East Oakland. \u003ccite>(Julien Dagan @juliendaganphoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/bayareafalcons/?hl=en&img_index=1\">\u003cb>Bay Area Falcons\u003c/b>\u003c/a>\u003cb> and \u003c/b>\u003ca href=\"https://www.instagram.com/oaklandspiders/?hl=en\">\u003cb>Oakland Spiders\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>If the venerable spring-and-summer sports of baseball and soccer aren’t your jam, or you’re looking for a new spin on sunny weather outings, check out the Falcons (women’s and non-binary) and Spiders (men’s) professional ultimate frisbee teams. Both squads compete at East Oakland’s Fremont High School for home games. The Spiders — two-time national champs, currently led by rookie frisbeer, \u003ca href=\"https://www.youtube.com/watch?v=Ghz9Qey4Of8\">Raekwon Adkins\u003c/a> — have also graciously provided \u003ca href=\"https://www.instagram.com/p/C5mcdH-PWoa/?hl=en\">an ultimate frisbee explainer video\u003c/a> for the uninitiated. Admittedly, I’ve never attended a pro frisbee game, but with my favorite summertime team — formerly known as the Oakland Athletics — about to vacate the area, I’ll certainly be looking elsewhere to provide my loyal fandom. \u003cem>\u003ca href=\"https://www.falconsultimate.com/tickets\">Tickets here\u003c/a> (Falcons) and\u003ca href=\"https://oaklandspiders.com/collections/tickets_memberships\"> here\u003c/a> (Spiders).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956931/8-bay-area-sports-teams-and-games-to-see-this-summer-without-giving-john-fisher-a-dime","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_13238"],"tags":["arts_10092","arts_1331","arts_9346","arts_16908","arts_1551","arts_21764","arts_5489","arts_1084","arts_21960","arts_4506","arts_22150","arts_585"],"featImg":"arts_13956941","label":"arts_140"},"arts_13957666":{"type":"posts","id":"arts_13957666","meta":{"index":"posts_1591205157","site":"arts","id":"13957666","found":true},"guestAuthors":[],"slug":"best-boba-shops-bay-area-berkeley-cupertino-sf","title":"8 Refreshing Bay Area Boba Shops to Help Beat the Summer Heat","publishDate":1715720422,"format":"standard","headTitle":"8 Refreshing Bay Area Boba Shops to Help Beat the Summer Heat | KQED","labelTerm":{},"content":"\u003cp>We are living in a golden age of boba in the Bay Area. In certain swaths of Berkeley, San Jose and Cupertino, you can find a boba shop literally on every block, and the sheer variety of drinks — from the cheese foam–topped to the nitro-chilled — has never been more robust.\u003c/p>\n\u003cp>Still, any true bubble tea connoisseur will tell you that beverage quality varies wildly from boba shop to boba shop — and, if I can say the quiet part out loud, the vast majority of Bay Area spots are mediocre at best. Unless you \u003ci>like\u003c/i> stale tapioca balls and excruciatingly sweet, watered-down tea made from powder mixes.\u003c/p>\n\u003cp>But listen: Friends don’t let friends drink bad boba. And because I care about you, dear reader, I’ve decided to share my running list of the best the Bay Area has to offer. As the parched, sun-soaked days of summer draw near, these are the spots where I’ll be posting up to quench my thirst.\u003c/p>\n\u003cfigure id=\"attachment_13957737\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea.jpg\" alt=\"Two boba drinks on a wooden table.\" width=\"1920\" height=\"1482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-1536x1186.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">TP Tea is a good choice for boba drinkers who want to be able to taste the tea. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>TP Tea\u003c/b>\u003c/h2>\n\u003cp>\u003cem>2383 Telegraph Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>Here’s where I’ll remind you that the boba balls themselves are merely a \u003ci>topping\u003c/i>, and an optional one at that. A boba shop serving tea that doesn’t taste good on its own would never survive in Taiwan (or any serious tea-drinking country). And so the highest praise I can give to \u003ca href=\"https://www.instagram.com/tptea.california/\">TP Tea\u003c/a> is that it’s the kind of boba shop where you can order the most basic-sounding tea (say, the “Signature Black Tea”) with minimal (30%) sugar added and no toppings whatsoever — and the drink will taste good as hell. The tea drinks here actually taste like tea, including the elegantly smooth Tie Guan Yin milk tea, a contender for my favorite milk tea in the Bay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s for good reason, then, that TP’s UC Berkeley location is by far the busiest boba shop on a couple-block stretch of Telegraph Avenue packed with six or seven others. (Also, “Taiwan Professional Tea” is the best name for a boba chain, hands down.)\u003c/p>\n\u003ch2>\u003cb>Asha Tea House\u003c/b>\u003c/h2>\n\u003cp>\u003cem>2086 University Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://eastbayexpress.com/two-local-teashops-that-could-make-you-care-about-tea-1/\">As the story goes\u003c/a>, this Berkeley institution opened as a vehicle for evangelizing the pleasures of fine Asian teas, and offered a simple boba menu as just one part of that mission. But the boba drinks were so wildly popular, they quickly overshadowed all of the shop’s higher-end offerings. More than probably any other Bay Area boba shop, the focus at \u003ca href=\"https://www.instagram.com/ashateahouse/?hl=en\">Asha\u003c/a> rests squarely on the quality of the tea itself rather than on any bells and whistles. All of my favorites have been on the menu from day one: the potent, condensed milk–sweetened Hong Kong milk tea, which is delicious hot or cold, with or without boba. Or any of the seasonal fruit teas, which rely on no artificial flavorings. Instead, they’re just pure tea, supplemented with one of Asha’s pulpy housemade fruit purees. When available, the strawberry black tea and the Asian pear oolong are especially elite.\u003c/p>\n\u003cfigure id=\"attachment_13957738\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957738\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango.jpg\" alt=\"A mango smoothie topped with whipped cream.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi sells standard boba drinks, but its boba-adjacent Thai beverages — like the “Mango Sunset” — are where the Piedmont Avenue shop really shines. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Dek Doi Cafe\u003c/b>\u003c/h2>\n\u003cp>\u003cem>4125 Piedmont Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>It’s a testament to the beverage’s mainstream universal appeal these days that this little Thai cafe has a whole section of its menu dedicated to boba, which doesn’t have any traditional roots in Thailand. That said, \u003ca href=\"https://www.instagram.com/dekdoicafe/\">Dek Doi’s\u003c/a> boba drink selection is fairly basic, so you’d be better off choosing one of its boba-adjacent Thai drinks — like the “Mango Sunset,” which is just an S-tier exemplar of the kind of slushie mango smoothie that many shops sell. This version comes topped with whipped cream and crispy mung beans. Or try Thailand’s famous “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">pink milk\u003c/a>,” or nom chompuu, which is made with red palm fruit syrup and resembles, and vaguely tastes similar to, a retro diner–style strawberry milk with tropical undertones. Note that the drinks here run sweet, but, like at any respectable boba shop, the sweetness level is customizable: For me, 50% was just right.\u003c/p>\n\u003cfigure id=\"attachment_13957746\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee.jpg\" alt=\"A creamy boba drink sits on a table in front of a pillow.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crème brûlée milk tea is one of Urban Ritual’s many excellent toppings-forward drinks. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Urban Ritual\u003c/b>\u003c/h2>\n\u003cp>\u003cem>488 Fell St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Just when I got done saying boba isn’t all about all the toppings, here comes a boba shop that is, to a large extent, \u003ci>all about the toppings\u003c/i>. And yet I love it, unreservedly. Actually, the tea at \u003ca href=\"https://www.instagram.com/urbanritualcafe/?hl=en\">Urban Ritual\u003c/a> tastes quite good, and the texture of the boba itself is unimpeachable. But what sets the shop apart is its next-generation approach to creative flavor and topping combinations. The most obvious example is its signature crème brûlée milk tea, which combines black tea, cream, tapioca balls and crème brûlée — both the eggy pudding and the crunchy-smoky torched sugar bits. This is Urban Ritual’s greatest innovation: the way it introduces textures other than the classic “\u003ca href=\"https://www.kqed.org/arts/13897410/taiwanese-food-texture-q-boba-love-boat\">QQ\u003c/a>” chew of the boba.\u003c/p>\n\u003cp>And if you want to tell me that some of these drinks are more of a dessert than a beverage? You would be correct — but who is going to complain as long as they know that going in?\u003c/p>\n\u003cfigure id=\"attachment_13957748\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957748\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1.jpg\" alt=\"Two boba drinks — one green and fruity, the other one creamy — on a wooden picnic table.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Teaspoon’s Corte Madera location might be the best boba option in the North Bay. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Teaspoon\u003c/b>\u003c/h2>\n\u003cp>\u003cem>132 Corte Madera Town Center, Corte Madera\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13915004,arts_13957599']\u003c/span>\u003c/span>Marin County has long been a bit of a boba wasteland, as the big, trendy brands from Taiwan haven’t, to this point, seen the region’s \u003ca href=\"https://www.kqed.org/news/11307601/why-is-marin-county-so-white\">small Asian population\u003c/a> as a worthwhile market. It was a happy day, then, when Teaspoon, one of the more well-regarded local (and now \u003ca href=\"https://order.teaspoonlife.com/\">national\u003c/a>) chains, opened a branch in a Corte Madera shopping plaza. Teaspoon’s offerings tend toward sweet and aesthetically pleasing, with creative flavor combinations that only occasionally veer into stunt beverage territory (there’s a line of Red Bull boba drinks??). They’re also undeniably tasty: The creamy, caramelly Black Sugar Assam is a well-executed take on the black sugar boba trend. And the “Grasshopper,” which combines lychee green tea and fresh cucumber juice, is fun and refreshing — a nod, perhaps, toward the kind of pepino agua fresca you might find at a local taqueria.\u003c/p>\n\u003ch2>\u003cb>Yifang Taiwan Fruit Tea \u003c/b>\u003c/h2>\n\u003cp>\u003cem>34133 Fremont Blvd., Fremont\u003c/em>\u003c/p>\n\u003cp>In some ways this may feel like a basic pick: This Taiwanese chain has had a foothold in Northern California for years now, with more than a dozen locations, and it’s been a minute since the brand was super-relevant on the Taipei scene. But what \u003ca href=\"https://www.instagram.com/yifang.cal/?hl=en\">Yifang\u003c/a> still does better than any other Bay Area chain is its fruit-flavored teas — whether it’s pineapple teas (made with housemade pineapple jam), old-school Taiwanese tastes like winter melon tea or lemon aiyu or, best of all, the shop’s signature Yifang Fruit Tea, which comes loaded fresh apple, orange and passion fruit, like a beverage and fruit salad all in one.\u003c/p>\n\u003cp>This is another spot where you’ll want to be careful about the sweetness levels, which vary widely from drink to drink. I’ve ordered the Yifang Fruit Tea at 0% sweetness and still found it to be plenty sweet enough!\u003c/p>\n\u003cfigure id=\"attachment_13957754\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes.jpg\" alt=\"Close-up of a man holding two boba drinks using boba totes made of twine.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chicha San Chen’s hallmark is that it brews the tea for each individual boba drink to order. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Chicha San Chen\u003c/b>\u003c/h2>\n\u003cp>\u003cem>20688 Stevens Creek Blvd., Cupertino\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13904913,arts_13929494']\u003c/span>\u003c/span>This one is for the diehards — or at least for tea lovers who have about an hour to kill. The current title holder in the contest for buzziest Bay Area boba shop, \u003ca href=\"https://www.instagram.com/chichasanchen.norcal/?hl=en\">Chicha San Chen\u003c/a> touts its award-winning tea drinks, which are individually brewed to order using the company’s patented, very Third-Wave-esque “teaspresso” machines. Is it all a little bit precious? Sure. But it does make for tasty tea. Word to the wise: If you’re going to go through all the trouble of waiting in line for half an hour (and then \u003ci>another\u003c/i> half hour for them to make your drink), then you’d better be a person who appreciates the flavor of tea for tea’s sake — and you’d be well-advised to order one of the simpler drinks, so the taste of that tea actually shines through. I love the floral, slightly tannic, minimally sweetened honey osmanthus oolong in particular.\u003c/p>\n\u003cp>Bonus points for packaging that’s cute \u003ci>and\u003c/i> convenient: Every cup comes with a disposable \u003ca href=\"https://www.instagram.com/p/C13nPlqLXle/?hl=en\">boba tote\u003c/a> made of twine. But if you want to wait another six months for the hype to die down a bit, I wouldn’t blame you in the least.\u003c/p>\n\u003cfigure id=\"attachment_13957757\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957757\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful.jpg\" alt=\"A soy pudding drink with many colorful toppings.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The #8 combination at Soyful desserts is a hybrid of boba, soy pudding and chè. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Soyful Desserts\u003c/b>\u003c/h2>\n\u003cp>\u003cem>999 Story Rd., San Jose\u003c/em>\u003c/p>\n\u003cp>One of the joys of \u003ca href=\"https://www.kqed.org/arts/13904913/vietnamese-drinks-boba-che-guide-san-jose\">San Jose’s vibrant, colorful drinks scene\u003c/a> is the way that Taiwanese, Chinese and Vietnamese influences have fused together to create their own unique, hybridized thing. \u003ca href=\"https://www.instagram.com/soyfuldesserts/\">Soyful Desserts\u003c/a> is probably the peak example of that synthesis, with its concise menu of Hong Kong-style milk teas, soy pudding drinks and shaved ice–laden Vietnamese chè. As the shop’s name indicates, the star here is the soy pudding (aka tofu pudding), a silky, refreshing treat equally beloved in Hong Kong, Taiwan and Vietnam. To experience this fusion in all its glory, try the #8 soy pudding combination, which comes filled to the brim with ginger syrup–soaked tofu pudding, shaved ice, basil seeds, pandan jelly, grass jelly, sweet red beans and probably a handful of other toppings I’m forgetting.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m well aware that this is a “drink” that’s more solid than liquid — that it, in fact, constitutes a full meal in itself. But that doesn’t make it any less fun or delicious.\u003c/p>\n\n","blocks":[],"excerpt":"Because friends don’t let friends drink bad boba.","status":"publish","parent":0,"modified":1715724893,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1779},"headData":{"title":"The 8 Best Boba Shops in the Bay Area | KQED","description":"Because friends don’t let friends drink bad boba.","ogTitle":"8 Refreshing Bay Area Boba Shops to Help Beat the Summer Heat","ogDescription":"","ogImgId":"","twTitle":"8 Refreshing Bay Area Boba Shops to Help Beat the Summer Heat","twDescription":"","twImgId":"","socialTitle":"The 8 Best Boba Shops in the Bay Area%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"8 Refreshing Bay Area Boba Shops to Help Beat the Summer Heat","datePublished":"2024-05-14T14:00:22-07:00","dateModified":"2024-05-14T15:14:53-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"nprStoryId":"kqed-13957666","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957666/best-boba-shops-bay-area-berkeley-cupertino-sf","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We are living in a golden age of boba in the Bay Area. In certain swaths of Berkeley, San Jose and Cupertino, you can find a boba shop literally on every block, and the sheer variety of drinks — from the cheese foam–topped to the nitro-chilled — has never been more robust.\u003c/p>\n\u003cp>Still, any true bubble tea connoisseur will tell you that beverage quality varies wildly from boba shop to boba shop — and, if I can say the quiet part out loud, the vast majority of Bay Area spots are mediocre at best. Unless you \u003ci>like\u003c/i> stale tapioca balls and excruciatingly sweet, watered-down tea made from powder mixes.\u003c/p>\n\u003cp>But listen: Friends don’t let friends drink bad boba. And because I care about you, dear reader, I’ve decided to share my running list of the best the Bay Area has to offer. As the parched, sun-soaked days of summer draw near, these are the spots where I’ll be posting up to quench my thirst.\u003c/p>\n\u003cfigure id=\"attachment_13957737\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea.jpg\" alt=\"Two boba drinks on a wooden table.\" width=\"1920\" height=\"1482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tp-tea-1536x1186.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">TP Tea is a good choice for boba drinkers who want to be able to taste the tea. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>TP Tea\u003c/b>\u003c/h2>\n\u003cp>\u003cem>2383 Telegraph Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>Here’s where I’ll remind you that the boba balls themselves are merely a \u003ci>topping\u003c/i>, and an optional one at that. A boba shop serving tea that doesn’t taste good on its own would never survive in Taiwan (or any serious tea-drinking country). And so the highest praise I can give to \u003ca href=\"https://www.instagram.com/tptea.california/\">TP Tea\u003c/a> is that it’s the kind of boba shop where you can order the most basic-sounding tea (say, the “Signature Black Tea”) with minimal (30%) sugar added and no toppings whatsoever — and the drink will taste good as hell. The tea drinks here actually taste like tea, including the elegantly smooth Tie Guan Yin milk tea, a contender for my favorite milk tea in the Bay.\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>It’s for good reason, then, that TP’s UC Berkeley location is by far the busiest boba shop on a couple-block stretch of Telegraph Avenue packed with six or seven others. (Also, “Taiwan Professional Tea” is the best name for a boba chain, hands down.)\u003c/p>\n\u003ch2>\u003cb>Asha Tea House\u003c/b>\u003c/h2>\n\u003cp>\u003cem>2086 University Ave., Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://eastbayexpress.com/two-local-teashops-that-could-make-you-care-about-tea-1/\">As the story goes\u003c/a>, this Berkeley institution opened as a vehicle for evangelizing the pleasures of fine Asian teas, and offered a simple boba menu as just one part of that mission. But the boba drinks were so wildly popular, they quickly overshadowed all of the shop’s higher-end offerings. More than probably any other Bay Area boba shop, the focus at \u003ca href=\"https://www.instagram.com/ashateahouse/?hl=en\">Asha\u003c/a> rests squarely on the quality of the tea itself rather than on any bells and whistles. All of my favorites have been on the menu from day one: the potent, condensed milk–sweetened Hong Kong milk tea, which is delicious hot or cold, with or without boba. Or any of the seasonal fruit teas, which rely on no artificial flavorings. Instead, they’re just pure tea, supplemented with one of Asha’s pulpy housemade fruit purees. When available, the strawberry black tea and the Asian pear oolong are especially elite.\u003c/p>\n\u003cfigure id=\"attachment_13957738\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957738\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango.jpg\" alt=\"A mango smoothie topped with whipped cream.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/dek-doi-mango-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi sells standard boba drinks, but its boba-adjacent Thai beverages — like the “Mango Sunset” — are where the Piedmont Avenue shop really shines. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Dek Doi Cafe\u003c/b>\u003c/h2>\n\u003cp>\u003cem>4125 Piedmont Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>It’s a testament to the beverage’s mainstream universal appeal these days that this little Thai cafe has a whole section of its menu dedicated to boba, which doesn’t have any traditional roots in Thailand. That said, \u003ca href=\"https://www.instagram.com/dekdoicafe/\">Dek Doi’s\u003c/a> boba drink selection is fairly basic, so you’d be better off choosing one of its boba-adjacent Thai drinks — like the “Mango Sunset,” which is just an S-tier exemplar of the kind of slushie mango smoothie that many shops sell. This version comes topped with whipped cream and crispy mung beans. Or try Thailand’s famous “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">pink milk\u003c/a>,” or nom chompuu, which is made with red palm fruit syrup and resembles, and vaguely tastes similar to, a retro diner–style strawberry milk with tropical undertones. Note that the drinks here run sweet, but, like at any respectable boba shop, the sweetness level is customizable: For me, 50% was just right.\u003c/p>\n\u003cfigure id=\"attachment_13957746\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee.jpg\" alt=\"A creamy boba drink sits on a table in front of a pillow.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/urban-ritual-creme-brulee-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crème brûlée milk tea is one of Urban Ritual’s many excellent toppings-forward drinks. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Urban Ritual\u003c/b>\u003c/h2>\n\u003cp>\u003cem>488 Fell St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Just when I got done saying boba isn’t all about all the toppings, here comes a boba shop that is, to a large extent, \u003ci>all about the toppings\u003c/i>. And yet I love it, unreservedly. Actually, the tea at \u003ca href=\"https://www.instagram.com/urbanritualcafe/?hl=en\">Urban Ritual\u003c/a> tastes quite good, and the texture of the boba itself is unimpeachable. But what sets the shop apart is its next-generation approach to creative flavor and topping combinations. The most obvious example is its signature crème brûlée milk tea, which combines black tea, cream, tapioca balls and crème brûlée — both the eggy pudding and the crunchy-smoky torched sugar bits. This is Urban Ritual’s greatest innovation: the way it introduces textures other than the classic “\u003ca href=\"https://www.kqed.org/arts/13897410/taiwanese-food-texture-q-boba-love-boat\">QQ\u003c/a>” chew of the boba.\u003c/p>\n\u003cp>And if you want to tell me that some of these drinks are more of a dessert than a beverage? You would be correct — but who is going to complain as long as they know that going in?\u003c/p>\n\u003cfigure id=\"attachment_13957748\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957748\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1.jpg\" alt=\"Two boba drinks — one green and fruity, the other one creamy — on a wooden picnic table.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/teaspoon-1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Teaspoon’s Corte Madera location might be the best boba option in the North Bay. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Teaspoon\u003c/b>\u003c/h2>\n\u003cp>\u003cem>132 Corte Madera Town Center, Corte Madera\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13915004,arts_13957599","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Marin County has long been a bit of a boba wasteland, as the big, trendy brands from Taiwan haven’t, to this point, seen the region’s \u003ca href=\"https://www.kqed.org/news/11307601/why-is-marin-county-so-white\">small Asian population\u003c/a> as a worthwhile market. It was a happy day, then, when Teaspoon, one of the more well-regarded local (and now \u003ca href=\"https://order.teaspoonlife.com/\">national\u003c/a>) chains, opened a branch in a Corte Madera shopping plaza. Teaspoon’s offerings tend toward sweet and aesthetically pleasing, with creative flavor combinations that only occasionally veer into stunt beverage territory (there’s a line of Red Bull boba drinks??). They’re also undeniably tasty: The creamy, caramelly Black Sugar Assam is a well-executed take on the black sugar boba trend. And the “Grasshopper,” which combines lychee green tea and fresh cucumber juice, is fun and refreshing — a nod, perhaps, toward the kind of pepino agua fresca you might find at a local taqueria.\u003c/p>\n\u003ch2>\u003cb>Yifang Taiwan Fruit Tea \u003c/b>\u003c/h2>\n\u003cp>\u003cem>34133 Fremont Blvd., Fremont\u003c/em>\u003c/p>\n\u003cp>In some ways this may feel like a basic pick: This Taiwanese chain has had a foothold in Northern California for years now, with more than a dozen locations, and it’s been a minute since the brand was super-relevant on the Taipei scene. But what \u003ca href=\"https://www.instagram.com/yifang.cal/?hl=en\">Yifang\u003c/a> still does better than any other Bay Area chain is its fruit-flavored teas — whether it’s pineapple teas (made with housemade pineapple jam), old-school Taiwanese tastes like winter melon tea or lemon aiyu or, best of all, the shop’s signature Yifang Fruit Tea, which comes loaded fresh apple, orange and passion fruit, like a beverage and fruit salad all in one.\u003c/p>\n\u003cp>This is another spot where you’ll want to be careful about the sweetness levels, which vary widely from drink to drink. I’ve ordered the Yifang Fruit Tea at 0% sweetness and still found it to be plenty sweet enough!\u003c/p>\n\u003cfigure id=\"attachment_13957754\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes.jpg\" alt=\"Close-up of a man holding two boba drinks using boba totes made of twine.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chicha-san-chen_totes-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chicha San Chen’s hallmark is that it brews the tea for each individual boba drink to order. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Chicha San Chen\u003c/b>\u003c/h2>\n\u003cp>\u003cem>20688 Stevens Creek Blvd., Cupertino\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904913,arts_13929494","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>This one is for the diehards — or at least for tea lovers who have about an hour to kill. The current title holder in the contest for buzziest Bay Area boba shop, \u003ca href=\"https://www.instagram.com/chichasanchen.norcal/?hl=en\">Chicha San Chen\u003c/a> touts its award-winning tea drinks, which are individually brewed to order using the company’s patented, very Third-Wave-esque “teaspresso” machines. Is it all a little bit precious? Sure. But it does make for tasty tea. Word to the wise: If you’re going to go through all the trouble of waiting in line for half an hour (and then \u003ci>another\u003c/i> half hour for them to make your drink), then you’d better be a person who appreciates the flavor of tea for tea’s sake — and you’d be well-advised to order one of the simpler drinks, so the taste of that tea actually shines through. I love the floral, slightly tannic, minimally sweetened honey osmanthus oolong in particular.\u003c/p>\n\u003cp>Bonus points for packaging that’s cute \u003ci>and\u003c/i> convenient: Every cup comes with a disposable \u003ca href=\"https://www.instagram.com/p/C13nPlqLXle/?hl=en\">boba tote\u003c/a> made of twine. But if you want to wait another six months for the hype to die down a bit, I wouldn’t blame you in the least.\u003c/p>\n\u003cfigure id=\"attachment_13957757\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957757\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful.jpg\" alt=\"A soy pudding drink with many colorful toppings.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/soyful-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The #8 combination at Soyful desserts is a hybrid of boba, soy pudding and chè. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>Soyful Desserts\u003c/b>\u003c/h2>\n\u003cp>\u003cem>999 Story Rd., San Jose\u003c/em>\u003c/p>\n\u003cp>One of the joys of \u003ca href=\"https://www.kqed.org/arts/13904913/vietnamese-drinks-boba-che-guide-san-jose\">San Jose’s vibrant, colorful drinks scene\u003c/a> is the way that Taiwanese, Chinese and Vietnamese influences have fused together to create their own unique, hybridized thing. \u003ca href=\"https://www.instagram.com/soyfuldesserts/\">Soyful Desserts\u003c/a> is probably the peak example of that synthesis, with its concise menu of Hong Kong-style milk teas, soy pudding drinks and shaved ice–laden Vietnamese chè. As the shop’s name indicates, the star here is the soy pudding (aka tofu pudding), a silky, refreshing treat equally beloved in Hong Kong, Taiwan and Vietnam. To experience this fusion in all its glory, try the #8 soy pudding combination, which comes filled to the brim with ginger syrup–soaked tofu pudding, shaved ice, basil seeds, pandan jelly, grass jelly, sweet red beans and probably a handful of other toppings I’m forgetting.\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’m well aware that this is a “drink” that’s more solid than liquid — that it, in fact, constitutes a full meal in itself. But that doesn’t make it any less fun or delicious.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957666/best-boba-shops-bay-area-berkeley-cupertino-sf","authors":["11743"],"categories":["arts_1","arts_12276"],"tags":["arts_1270","arts_14423","arts_6902","arts_10278","arts_1297","arts_1084","arts_22150","arts_22140"],"featImg":"arts_13957736","label":"source_arts_13957666"},"arts_13455395":{"type":"posts","id":"arts_13455395","meta":{"index":"posts_1591205157","site":"arts","id":"13455395","found":true},"guestAuthors":[],"slug":"taking-dad-to-oldchella-desert-trip-fathers-day","title":"Before We Get Much Older","publishDate":1497790854,"format":"image","headTitle":"Before We Get Much Older | KQED","labelTerm":{"term":1839,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> remember the night clearly: I was 12, had just started listening to the Sex Pistols and the Dead Kennedys as 12-year-olds do, and had utterly confused my dad in the process.\u003c/p>\n\u003cp>“What,” he asked, in the living room after dinner, “do you \u003cem>like\u003c/em> about this music?”\u003c/p>\n\u003cp>I wasn’t about to say the lyrics, which fed into my inexperienced fascination with political and cultural subversion. I dithered. “Oh, you know,” I told my dad, lamely. “The loud guitars and crashing cymbals. The energy.”\u003c/p>\n\u003cp>He paused, thought for a second, and then uttered seven words that changed our relationship forever.\u003c/p>\n\u003cp>“I’ve got a record you might like.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He went to the shelf and slowly slid out what looked like a plain brown album. He dropped the needle. And there I sat for the next half hour with my dad, in 1987, in our living room with its 10-inch Sony TV and brown carpet and upright piano, taking in a primordial sound like nothing I’d heard before.\u003c/p>\n\u003cp>The songs were defiant, full of yearning and rage. The music thundered with a gale force, rumbling like a train in danger of careening off its tracks. It was a sound that repeatedly refused to die, some songs ending and then starting up again three or four separate times.\u003c/p>\n\u003cp>The Who’s \u003cem>Live at Leeds\u003c/em> had entered my life. My dad knew something I didn’t, and I vowed to figure out what it was.\u003c/p>\n\u003cfigure id=\"attachment_13461773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-800x489.jpg\" alt=\"The Who's 'Live at Leeds' LP.\" width=\"800\" height=\"489\" class=\"size-medium wp-image-13461773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-1180x721.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-960x587.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-520x318.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Who’s ‘Live at Leeds’ LP. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2016, when the organizers of Coachella announced \u003ca href=\"http://deserttrip.com/\" target=\"_blank\" rel=\"noopener\">Desert Trip\u003c/a>, a three-day festival with the Who, the Rolling Stones, Paul McCartney, Bob Dylan, Neil Young and Roger Waters, two things happened. It was instantly dubbed “Oldchella” by the music press. Also, I knew I had to go, and that I had to bring my dad. \u003c/p>\n\u003cp>The night of listening to \u003cem>Live at Leeds\u003c/em> was no grand musical reconciliation, mind you. Up until I left home (early, at age 16), I still cautiously closed my bedroom door when I listened to any music that could be construed as a problem: Nomeansno, D.R.I., Christ on Parade, the Subhumans, Dayglo Abortions, Born Against. We were, at the time, a Mormon household. I’d sat through maddening lectures at Mormon boys’ camp by high-ranking apostles about the evils of punk and hardcore, confounded at their misunderstanding of this music that had given me so much positive energy and inspiration. I assumed my parents felt it was evil too. When there was a knock at my bedroom door, I’d always lift the needle or pause the tape before opening it.\u003c/p>\n\u003cp>There was other trouble. My grades dipped. My mom and dad scraped together the money to send me to a Catholic school, where, with a wealthy student population, there were more drugs and booze than ever. I snuck out of the house to go to shows. I stole copies from the local Kinko’s to make \u003ca href=\"http://library.duke.edu/digitalcollections/zines_bwzdd0014/\" target=\"_blank\" rel=\"noopener\">my zine\u003c/a> about how much I hated high school. I had questionable relationships and an even more questionable wardrobe. I felt perfectly normal and productive, and to this day I believe I was doing just fine in those years, but I also know my parents were worried sick over me.\u003c/p>\n\u003cp>Through it all—the screaming, the ultimatums, the day I packed a duffel bag and sneaked out, the years afterward of being broke and unhealthy, and slowly but dangerously finding my place in the world—my dad and I always had the Who. We could talk for hours about them. It was more than just the music. The Who represented, to me, the knowledge that no matter how distant we got from each other, we still had a connection. \u003c/p>\n\u003cfigure id=\"attachment_13461775\" class=\"wp-caption aligncenter\" style=\"max-width: 549px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster.jpg\" alt=\"The official poster for the Desert Trip festival in Indio, Calif.\" width=\"549\" height=\"392\" class=\"size-full wp-image-13461775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster.jpg 549w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster-520x371.jpg 520w\" sizes=\"(max-width: 549px) 100vw, 549px\">\u003cfigcaption class=\"wp-caption-text\">The official poster for the Desert Trip festival in Indio, Calif. \u003ccite>(Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I often joke that if you want me to understand something, you’ll have to make it about records. I’m a parent now, so I know firsthand what it’s like to love your child unconditionally. But in those trying years, long before I’d ever imagine being a father myself, the best way I understood my dad’s unconditional love was this: \u003cem>We’ll always have the Who\u003c/em>.\u003c/p>\n\u003cp>A few months before the festival, I called him and asked if he’d be my +1 to Desert Trip. He said yes. We rented a car, booked a trailer in a mobile home park in the Palm Springs desert, and when the big weekend came, we started driving south on the father-son road trip of a lifetime.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“H\u003c/span>ere’s where the road was filled with stopped cars,” my dad says, as we drive along Hwy. 580 near Altamont. “It was like a parking lot. Everybody just left their cars in the road and started walking.”\u003c/p>\n\u003cp>I guess I’ve been leaving out the fact that my dad has always been as rabid about music as me. Yes, my dad went to Altamont, the infamous free concert in 1969 headlined by the Rolling Stones. He frequented the Fillmore in high school, seeing the Dead, Janis, the Doors, the Animals and countless others. (He swears he never did drugs; I believe it.) He still has his ticket stubs, posters, handbills—including some that he passed out at school so he could get into shows for free.\u003c/p>\n\u003cp>He even once saw Elvis Presley, bringing along a slender brunette from his school who’d captured his attention. On the way back, they parked at the vista point north of the Golden Gate Bridge and, with the lights of San Francisco twinkling through the fog and the fervor of “Love Me Tender” still lingering, he kissed her for the first time. When he proposed a year later, she said yes, and that’s how he married my mom.\u003c/p>\n\u003cfigure id=\"attachment_13461777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SoundsOfNight-800x653.jpg\" alt=\"My dad's first band, the Sounds of Night, circa mid-1960s. My dad played bass (left), just like I'd do when he handed his bass guitar down to me.\" width=\"800\" height=\"653\" class=\"size-medium wp-image-13461777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-1180x963.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-960x784.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-520x424.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My dad’s first band, the Sounds of Night, circa mid-1960s. My dad (at left) played bass, just like I’d do when he handed his bass guitar down to me. \u003ccite>(Ken Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once my sisters and I were born, the new responsibilities we brought didn’t kill my dad’s love of music. He still played bass in his band at local dances and pizza parlors. He still bought records on a weekly basis. He worked construction from dawn ’til 5pm or 6pm to support his family, so he didn’t get out as much, though I do have distinct childhood memories of waiting with him at Ticketron kiosks and BASS outlets to buy concert tickets. He installed new speakers and premium cassette decks in all our cars, and pretended not to love it when my mom would crank the volume up to 10, and sing out the car window at the top of her lungs.\u003c/p>\n\u003cp>But I’m getting ahead of myself. My dad also went to Altamont.\u003c/p>\n\u003cp>The actual concert site of Altamont doesn’t look like anything from the freeway now, and as we drive past it, I relish my dad’s retelling of that day’s events. He and a buddy took a Greyhound, he tells me, from Santa Rosa to San Francisco; they transferred to a bus toward Livermore, and then hitchhiked with strangers into the concert. The bands were distant, the sound was bad. He didn’t pick up on the festival’s bad vibes, let alone witness what came to be the defining moment of Altamont: the \u003ca href=\"https://en.wikipedia.org/wiki/Death_of_Meredith_Hunter\" target=\"_blank\" rel=\"noopener\">stabbing and beating to death\u003c/a> of Meredith Hunter, a black 18-year-old fan, by the Hell’s Angels. \u003c/p>\n\u003cfigure id=\"attachment_13461780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SideofHighway-800x570.jpg\" alt=\"On the side of the road, somewhere in California.\" width=\"800\" height=\"570\" class=\"size-medium wp-image-13461780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-1180x841.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-960x684.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the side of the road, somewhere in California. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, after the Rolling Stones finished, he hitchhiked back to Livermore in the back of a pickup truck driven by a likely very drunk and/or high teenager doing 80mph on bumpy dirt backroads, bussed back to San Francisco and then Santa Rosa, and got home at 4:30 in the morning. \u003c/p>\n\u003cp>Hearing this story now, on the way to Southern California, my mind is blown. I knew he’d gone to Altamont. But hitchhiking? Riding with drunk drivers? Coming home at 4:30am? These are details of the story he’d conveniently left out when I was younger—and, truth be told, secretly doing all of those same things myself. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he rest of the drive toward Oldchella is filled with similar stories. We reminisce about the time in 1989 that our family went to see Paul McCartney at UC Berkeley’s Memorial Stadium. We talk about the several times he took my mom to see the Stones, the ticket prices getting higher and higher each time until it was untenable to keep seeing them.\u003c/p>\n\u003cp>In the 10 years since my mom died, my dad and I have gotten closer. We’ve gone on other journeys together: a week-long baseball trip of stadiums on the east coast; a trip to the Masters golf tournament in Georgia. We’ve seen a \u003cem>lot\u003c/em> of music together. But being in a car with nothing to see for miles has a way of opening up conversation. It goes beyond talking about music, or telling stories, or confirming memories; you can think more deeply about what all of these things actually mean, and how they affect your life. \u003c/p>\n\u003cp>For example, somewhere along the endless, unchanging stretch of I-5, he tells me again about seeing the Who, at the Cow Palace in 1967. Their out-of-place appearance on a lineup with the Association and the Everly Brothers was part of a “new generation” showcase sponsored by White Front department stores. They played six songs, destroyed their equipment, and left. My dad was amazed. It would be the only time he’d see the Who—until this weekend, now, almost 50 years later.\u003c/p>\n\u003cfigure id=\"attachment_13461776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/TicketStubs-800x335.jpg\" alt=\"My dad's ticket stubs for Elvis Presley (left), the night he first kissed my mom; and the Who (right), in 1967, almost 50 years before our road trip.\" width=\"800\" height=\"335\" class=\"size-medium wp-image-13461776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-1180x495.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-960x403.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My dad’s ticket stubs for Elvis Presley (left), the night he first kissed my mom; and the Who (right), in 1967, almost 50 years before our road trip.\u003c/figcaption>\u003c/figure>\n\u003cp>Whenever he retells how the Who smashed their instruments that night at the Cow Palace, my dad never fails to mention the role played by bassist John Entwistle. While Roger Daltrey swung his microphone around by its cord; while Pete Townshend obliterated his guitar and thrust it through the speakers of his Vox amplifier; while Keith Moon upended his drums off their riser, throwing them all over the stage—amidst this post-musical anarchy there stood Entwistle, nicknamed “The Ox,” stoic and unmoved, still playing the bass.\u003c/p>\n\u003cp>“He was like a rock, just this anchor for all the chaos going on around him,” my dad says, still awestruck. “No matter what happened, he stayed with the song. He was the glue.”\u003c/p>\n\u003cp>My dad has never made the obvious connection here, but growing up, we gave him a lot of tumult to deal with. We threw our teenage drama and emotional upheaval and reckless actions and stupid anger at each other—me, my sisters, my mom, all of us. All it took was a few words from my dad to remind us what was important. Even after my mom was killed in the car crash, when we were all utterly destroyed, when he of all people should have been destroyed the most, he kept us rooted. He was our ox. Our John Entwistle.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen we finally get to Desert Trip and ride the Ferris wheel for a bird’s-eye view of where we’ll spend the next three evenings, we realize that the festival grounds are huge. My dad, who’s either worked on or led construction crews all of his adult life, can’t help but hypothesize about the logistics of putting on something this size. “This is like a city! How long did it take them to set everything up?” he asks. “How many people do you think are working here? How much \u003cem>money\u003c/em> do you think this place makes every day?” \u003c/p>\n\u003cp>I have no clue, honestly. As we make our way to watch Bob Dylan, I’m busy thinking about my dad’s old boxes of 45s.\u003c/p>\n\u003cfigure id=\"attachment_13461778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/45Boxes-800x600.jpg\" alt=\"My dad's 45 boxes, a Rosetta Stone of music in our house.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13461778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My dad’s 45 boxes, a Rosetta Stone of music in our house. \u003ccite>(Photo: Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first found them when I was eight, maybe nine. The two avocado-green boxes were falling apart. The lids had come off their hinges years ago; masking tape from the tool drawer in my dad’s construction van held the corners together. But for me, those two boxes contained the whole world. Records by the Beatles, the Vanilla Fudge, the Count Five, the Stones, the Small Faces, Hendrix. I could randomly pull out any 45 and be hit with either a seminal ’60s anthem the world knew by heart but I’d not yet heard, or an obscure garage-rock gem that would feed my burgeoning music nerd-dom. I’d sit with those boxes at our living-room record player for hours, and let my imagination run wild.\u003c/p>\n\u003cp>To a curious young kid, those boxes held creativity, wild abandon, freedom. They also held no records at all by Bob Dylan.\u003c/p>\n\u003cp>I own dozens of Dylan albums now, but my dad had just one when I was growing up: Hugo Montenegro’s \u003cem>Dawn of Dylan\u003c/em>, a schlocky orchestral LP of Dylan songs, filed on his shelf between the Doors and the Eagles. I don’t know how he wound up with it. “I could never stand his voice,” he’d told me when I was 13, and had asked him why he didn’t have any others. Fair enough.\u003c/p>\n\u003cp>At the festival, we find our seats for Dylan, who’s been in the news for the past day as a “voice of a generation” for winning the Nobel Prize for Literature. Ironically, on this road trip, he’s not someone my dad and I can really bond over. When I was 16, partly out of concession to my fandom and partly just to tick off the box, he bought tickets for the family to see Bob Dylan in Santa Rosa. I’m pretty sure he hated it. My mom definitely hated it. (Years later, I would even have the chance to talk with Tom Waits about being at this show, and even \u003cem>he\u003c/em> hated it. It was a bad era for Dylan.)\u003c/p>\n\u003cfigure id=\"attachment_13461781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-800x534.jpg\" alt=\"A crowd slowly fills the Polo Fields at Indio for the Desert Trip music festival.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13461781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd slowly fills the Polo Fields at Indio for the Desert Trip music festival. \u003ccite>(Photo: Andrew Jorgensen/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as baffled as I was that evening in 1992—by his drastic rearrangements, and reptilian voice—I was also intrigued. Now, 25 years later in the stands at Desert Trip, that same wonder comes back as Dylan takes the stage and plays song after song, resurrecting vignettes from my life: The time I played “Don’t Think Twice, It’s Alright” on the guitar in class after breaking up with my first major girlfriend, \u003cem>who’d introduced me to Bob Dylan\u003c/em>. How every line of “It’s All Over Now, Baby Blue” directly correlated to a moment in our relationship. How we both hated “Rainy Day Women #12 and 35” and “Highway 61 Revisited.”\u003c/p>\n\u003cp>How I took time off from Dylan, but discovered \u003cem>Blood on the Tracks\u003c/em> at age 22 while living in a garage and playing “Simple Twist of Fate” and “Tangled Up in Blue.” How I once dated a girl who loved Barry Manilow and only knew “To Make You Feel My Love” because Garth Brooks had covered it. How I used to close the record store I worked at by putting on “Desolation Row” at 4:50pm, every single shift, eventually listening to it hundreds of times. How, the night before moving into the house my wife and I have now lived in for 14 years, I set up the stereo in the empty living room alone and played \u003cem>Time Out of Mind\u003c/em>, with “Love Sick” reverberating off the walls and hardwood floors, an eerie welcome to a new home.\u003c/p>\n\u003cfigure id=\"attachment_13461782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-800x499.jpg\" alt=\"Bob Dylan, mysterious as ever at Desert Trip, where he only allowed the screens to show him from behind or above.\" width=\"800\" height=\"499\" class=\"size-medium wp-image-13461782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-1180x736.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-960x599.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-520x324.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Dylan, mysterious as ever at Desert Trip, only allowing the cameras to show him from behind or above.\u003c/figcaption>\u003c/figure>\n\u003cp>The morning of the Nobel Prize announcement, I’d woken up to a storm of denigrating, snarky comments on Twitter, mostly from people younger than me. I know that for my age, I have a higher-than-average attachment to Dylan, but I truly couldn’t understand it. Wasn’t Dylan, like, unilaterally recognized as a songwriting titan? How could anyone feel resentful about him winning an award?\u003c/p>\n\u003cp>Ah, but then. I remembered. The same impulse is in me, too, just a slightly different strain. It’s always been there, this nagging thing that I’ve wrestled with for years. I don’t know if it has a name, but these are the words I blurt out when it consumes me:\u003c/p>\n\u003cp>\u003cem>I hate the stupid Baby Boomer generation\u003c/em>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ere is where I clarify that I don’t actually hate the Baby Boomer generation. \u003c/p>\n\u003cp>But anyone who grew up in the shadow of the Boomers knows this feeling. It’s simple math: in the ’80s, the Baby Boomers took up a lot of space. Their huge, unprecedented population was both the coveted demographic for advertisers, \u003cem>and\u003c/em> in charge of doing the advertising. They made the decisions that shaped mainstream culture at large in the Reagan era.\u003c/p>\n\u003cp>You remember, probably, how this affected music. Sixties bands had big comebacks as pop stars. The Moody Blues had “Wildest Dreams.” The Grateful Dead had “Touch of Grey.” Starship, the neon-wearing, synthesizer-playing, hairspray-laden ’80s incarnation of Jefferson Airplane, had “\u003ca href=\"http://www.rollingstone.com/music/pictures/readers-poll-the-10-worst-songs-of-the-1980s-20111006/1-starship-we-built-this-city-0260875\" target=\"_blank\" rel=\"noopener\">We Built This City\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13461795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Starship-800x435.jpg\" alt=\"It all came to this: Starship, the 1980s incarnation of Jefferson Airplane, in a photo for their smash album 'Knee Deep in the Hoopla.'\" width=\"800\" height=\"435\" class=\"size-medium wp-image-13461795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-1020x555.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-1180x642.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-960x523.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-375x204.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-520x283.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Starship, the 1980s incarnation of Jefferson Airplane, in a photo for their smash album ‘Knee Deep in the Hoopla.’\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, acts like the Replacements and the Smiths were making some of the most important and interesting rock music in the world, to say nothing of the many boundary-pushing punk and independent-label bands (let alone hip-hop, then blossoming as an art). But with Boomers in charge at radio, working A&R at labels, and—let’s be real—fueled by a cocaine self-importance, there was no room for these vibrant new artists in the mainstream. You’d turn on MTV and see Glenn Frey trying to go new wave, or Phil Collins crooning over electronic drums, all while incredible evolutions in modern rock and punk and rap were happening in America, not only unnoticed but completely shut out, relegated to low-watt college radio and fanzines and niche record stores.\u003c/p>\n\u003cp>Even after Nirvana broke, Boomers clung stridently to “their” music, insisting that Eric Clapton and the Rolling Stones were The All-Time Most Important Rock Institutions on Earth (see: every \u003cem>Rolling Stone\u003c/em> list circa 1992-1999). I know this, because I worked at a record store for 14 years, and some days I felt like I was paid to have the same conversation about the Beatles over and over again all day long.\u003c/p>\n\u003cp>These days, not only have most of the Boomers aged out of positions of influence in the music industry, but the old channels for influence have been broken up, reclaimed by the internet, and placed in the hands of teens. That’s how influence should work: from the bottom up.\u003c/p>\n\u003cp>For my formative years, though, when Boomers were in power? Influence was top-down. As a result, I can sing you the entirety of “Kokomo” by the Beach Boys, and I’m not happy about it.\u003c/p>\n\u003cfigure id=\"attachment_13462487\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-800x533.jpg\" alt=\"Two women sing along at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13462487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two women sing along at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Tod Seelie/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o the Rolling Stones play. They do their thing. They do it well. There are no surprises.\u003c/p>\n\u003cp>I can very vividly recall, as a kid, seeing the Rolling Stones’ video for “Start Me Up” on our 10-inch Sony television. \u003ca href=\"https://www.youtube.com/watch?v=SGyOaCXr8Lw\" target=\"_blank\" rel=\"noopener\">Watching it now\u003c/a> is like a college course in the awkwardness of the then-nascent art form of the music video: it’s really cringeworthy. But what I remember most from watching it when I was six is my mom in complete shock, shrieking quasi-hysterically to my dad: “They’re so OLD! Look at them! Look at their grey hair!”\u003c/p>\n\u003cp>My dad was unmoved. “Well,” he replied, “\u003cem>we’re\u003c/em> old.”\u003c/p>\n\u003cp>They were 30.\u003c/p>\n\u003cp>Despite the many great Rolling Stones songs from my dad’s 45 boxes, and the entire \u003cem>Their Satanic Majesties Request\u003c/em> album rearranging my young brain, the Rolling Stones never gave me a reason to go see them live. With their abhorrently expensive ticket prices, I’d worn it as a badge of pride that I hadn’t been suckered to one of their shows. But: if you really love the Stones, and you happen to have thousands of dollars you could light on fire with no fundamental impact on your life, then Mick Jagger will be happy to take your money.\u003c/p>\n\u003cfigure id=\"attachment_13462005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-800x533.jpg\" alt=\"The Rolling Stones perform at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13462005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rolling Stones perform at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Photo: Kevin Mazur/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometime during opener “Jumpin’ Jack Flash,” I hear a guy near us loudly tell his friend, “I can’t believe this! These guys are legends!” That’s what the Stones are selling these days: brief, vicarious access to their “legend” status.\u003c/p>\n\u003cp>Meanwhile, I keep thinking that the Rolling Stones couldn’t happen in today’s world. For that matter, the entire British Invasion—built on the notion that American audiences had little to no access to their own country’s blues music and, even if they had, would prefer it played by white people—couldn’t happen in today’s world. Look at \u003ca href=\"http://www.thedailybeast.com/the-cultural-crimes-of-iggy-azalea\" target=\"_blank\" rel=\"noopener\">what’s happened\u003c/a> to the Australian rapper Iggy Azalea in the internet era of outrage over cultural appropriation, and get back to me.\u003c/p>\n\u003cp>Or better yet: imagine Iggy Azalea 50 years from now, launching into “Fancy” in front of 80,000 people, all of them having forked over a whole paycheck to be in her presence. That’s how surreal the Rolling Stones are to me in this moment.\u003c/p>\n\u003cp>A guitar lick starts the next song and knocks me out of my thoughts. I instantly go a little weak. It’s “Tumblin’ Dice,” and my dad has played this song dozens of times, and I can’t help but feel transported. “Man, I love this song,” I shout to my dad. \u003c/p>\n\u003cp>He nods, smiling a big, carefree smile. He loves it too.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he next day, we leave our trailer and drive north to Pioneertown. We have no idea what’s there, other than a tiny bar in the middle of nowhere called Pappy & Harriet’s where Paul McCartney played a \u003ca href=\"http://www.latimes.com/entertainment/music/la-et-ms-paul-mccartney-pappy-20161013-snap-story.html\" target=\"_blank\" rel=\"noopener\">surprise show\u003c/a> two nights before. \u003c/p>\n\u003cfigure id=\"attachment_13462017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-800x565.jpg\" alt=\"Checking out Pappy and Harriet's, two days after Paul McCartney performed on its tiny stage.\" width=\"800\" height=\"565\" class=\"size-medium wp-image-13462017\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-520x367.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Checking out Pappy and Harriet’s, two days after Paul McCartney performed on its tiny stage. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out “in the middle of nowhere” isn’t just a phrase. There’s nothing for miles. Pioneertown is a old-west ghost town, built for Roy Rogers westerns, with fake wooden storefronts and scattered spitoons. Then, at the end of the dirt street, there’s the place where a living Beatle performed for 300 people on a ramshackle stage no taller than a sidewalk curb.\u003c/p>\n\u003cp>We talk to a local woman; she tells us that prior to the show, McCartney and his band warmed up inside an empty building across the street marked “Likker Barn,” and that she and some others stood outside, ears to the wall, eavesdropping on rock ‘n’ roll royalty. Can you imagine?\u003c/p>\n\u003cp>This turns out to be one of several diversions on our trip, including a) seeing Frank Sinatra’s gravesite, b) seeing Elvis Presley’s honeymoon house, and c) seeing Tower of Power in concert. We spend the rest of the day driving through Joshua Tree National Forest, with a brief stop beforehand at the Joshua Tree Inn, where Gram Parsons died. (My wife and I fell in love listening to a lot of Gram Parsons, and eventually danced to his desolate, sad song “$1,000 Wedding” at our own $1,000 wedding. It feels nice to pay respects.)\u003c/p>\n\u003cfigure id=\"attachment_13462018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-800x561.jpg\" alt=\"Driving through Joshua Tree National Park.\" width=\"800\" height=\"561\" class=\"size-medium wp-image-13462018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-1180x828.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-960x674.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-520x365.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Driving through Joshua Tree National Park. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside Joshua Tree, I survey the barren, eroded landscape and decide to play a hypnotic album by Stars of the Lid, essentially an indie new age duo. The soft music swells and fades, a strangely fitting soundtrack. My dad is surprised that I would even like such music.\u003c/p>\n\u003cp>I laugh. I tell him about the odd new age revival currently happening, and how loving noise acts like Yellow Swans and Merzbow led me to push further into the abstract, which led me to Kreng and Sylvain Chauveau and Jóhann Jóhannsson, and then to the music of Caretaker, which, like William Basinski’s ‘Disintegration Loops,’ repeats fragments of old music until they’re destroyed, and how, to me, Caretaker, Basinski and Stars of the Lid’s cyclical repetition of destruction eerily mimics the centuries of nature’s toil which created the rock formations around us in the desert. \u003c/p>\n\u003cp>“I am always so amazed at how much music you know about,” he says.\u003c/p>\n\u003cp>I laugh again. I’ll say it here, for posterity: It all started with him.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>eil Young and Roger Waters are the two outliers on the festival, for me and my dad, at least. My dad had \u003cem>Harvest\u003c/em> and \u003cem>After the Gold Rush\u003c/em> when I began diving into his record collection, but they didn’t do anything for me. Later, at 16, when grunge bands cited him as a godfather? I hated grunge, and if Neil Young was responsible for any of it, well, I held him in contempt.\u003c/p>\n\u003cp>It wasn’t until years later, at about 21, that I heard \u003cem>Tonight’s the Night\u003c/em> and I understood Neil Young’s thing. The emotional weariness, the ragged playing, the unadorned storytelling and intoxicated sadness—it still affects me. \u003c/p>\n\u003cfigure id=\"attachment_13462020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-800x546.jpg\" alt=\"Neil Young performs at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13462020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-520x355.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neil Young performs at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Photo: Kevin Mazur/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neil Young is great. He moves from piano to pump organ to guitar, to slowly building a whole band behind him, and he plays all the songs you’d want him to play. “Old Man” resonates on this trip with my dad, as does hearing “Harvest Moon” while an actual harvest moon rises behind the Polo Grounds’ palm trees. But does it convert me into a Neil Young fanatic? No.\u003c/p>\n\u003cp>I’ll get Roger Waters out of the way here, too—aside from one very stoned afternoon at a rich Catholic school kid’s house listening to \u003cem>Dark Side of the Moon\u003c/em>, Pink Floyd has meant little to me and even less to my dad. I can’t overestimate their sonic influence on sound production and engineering at large, but they were never my thing. Onstage, Waters leads a large crew of musicians, the world’s greatest Pink Floyd cover band, in a greatest-hits set, and though the surround-sound effects are dazzling, your imagination can probably fill in the rest. If you’ve just read a billion words so far to get to the epic Pink Floyd section, I apologize. \u003c/p>\n\u003cp>That leaves McCartney and the Who. They both surprise me more than I could imagine.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I was 10, I listened to the Beatles in the same way that others read the Bible. I listened and re-listened to their albums until I felt like I understood every musical parable being conveyed. I pored over every lyric like it was scripture, every chord structure like it was a commandment. I learned to play the songs on piano and guitar for others, a missionary spreading the gospel. I dove headlong into books about them, serving as theological sermons about the divine meaning of it all.\u003c/p>\n\u003cp>And then? After two immersive years, I graduated from Bible school. The Beatles were in my blood, a deeply imbued part of me that I could never extract. And hence, I didn’t need to keep listening to them, or obsessing over them; in ways, I simply \u003cem>was\u003c/em> them. I was ready for that which was built upon the solid rock of their foundation. \u003c/p>\n\u003cfigure id=\"attachment_13462021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-800x534.jpg\" alt=\"A woman takes in the music at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13462021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman takes in the music at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Photo: Neil Husvar / Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not everyone graduated, I would learn. I try very hard not to be a snob or to denigrate others’ musical preferences, but I really, really do not need to have another conversation about the greatness of the Beatles. Being a superfan of the Beatles is like decorating your apartment exclusively in \u003cem>Star Wars\u003c/em> décor, or owning a kitchen full of “I ♥ Chocolate” accessories. The goodness of these things is so self-evident that to celebrate them openly and fanatically feels eerie and suspect: “Air! It’s great! Everyone should breathe it!”\u003c/p>\n\u003cp>Nevertheless, I have hooked myself back up to the oxygen tank over the years. After seeing him in 1989 with the family, I saw McCartney again in 2014 at Outside Lands in Golden Gate Park, an experience I loved perhaps even more. That’s because after years of fighting with the world’s unending worship of the Beatles and disavowing them in Joe Strummer-esque “phony Beatlemania” fashion, it felt good to make amends in person. To realize that I could still sing along with every single word, and be reminded of why they mattered to me.\u003c/p>\n\u003cp>Only one thing was missing. There was an important name on all those Beatles records I devoured at age 10, and it wasn’t John, Paul, George or Ringo, or even George Martin: it was “Robert J. Meline,” followed by my dad’s home address, “2717 Magowan Dr., Santa Rosa”—the house of \u003cem>his\u003c/em> dad, a mailman and WWII veteran—written on the record sleeve in his unmistakable blocky handwriting. Watching McCartney play “Lady Madonna” and “Paperback Writer” and tell stories about Clapton and Hendrix and perform the entire finale of \u003cem>Abbey Road\u003c/em>, I kept thinking, that night in Golden Gate Park, “I wish my dad were here.”\u003c/p>\n\u003cp>So here with him in Indio, the wish is finally coming true. McCartney comes out, strums the opening chord of “A Hard Day’s Night,” and we’re off: “Day Tripper,” “I’ve Just Seen a Face,” “Ob-La-Di, Ob-La-Da,” “And I Love Her.” He plays “Birthday” and “We Can Work It Out,” both songs my dad and I have played; he brings out Rihanna for “FourFiveSeconds” and Neil Young for “Why Don’t We Do It In the Road?” and “A Day in the Life”; he even throws in “Being for the Benefit of Mr. Kite.”\u003c/p>\n\u003cfigure id=\"attachment_13462022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-800x568.jpg\" alt=\"Paul McCartney performs at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"568\" class=\"size-medium wp-image-13462022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-1180x837.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-960x681.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul McCartney performs at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Photo: Kevin Mazur/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But something is off. It’s not the grand reunion of myself, Paul, and my dad that I’d built up in my mind. McCartney is stiff, telling the same exact stories he’d told the last time I saw him, and playing the same songs. May dad and I sing parts of songs here and there, but it’s not… \u003cem>ecstatic\u003c/em>. The rest of the people in our section sit down in their seats the whole time, and part of me doesn’t blame them.\u003c/p>\n\u003cp>Ever since I first read the sermon on the mount in the Bible, I’ve imagined in my mind a specific scene, a specific mountain, and a specific crowd of people. And while McCartney plays, I realize the scene I’ve always had in mind for the sermon on the mount looks a lot like this concert, with one man in front of 80,000 people in a huge field. John Lennon once quipped that the Beatles were bigger than Jesus. What if Jesus had lived to be 74? What if he returned to the mount for the ‘Blessed Are The Meek Reunion Tour,’ reciting the Beatitudes and other hits, for $399 plus convenience fees per ticket? How weird would that be? Is that what I’m witnessing with Paul McCartney?\u003c/p>\n\u003cp>Jesus had the right idea, long before “My Generation.” Now \u003cem>there’s\u003c/em> a guy who died before he got old.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he scream in “Won’t Get Fooled Again” is the greatest rock and roll scream of all time. \u003c/p>\n\u003cp>This is wisdom imparted to me by my dad. This is also not up for debate. Many have tried to match the scream. All have failed. I have listened to upwards of 20,000 albums in my life, scouring along the way for a better scream like an archaeologist searching for the lost ark, and have come up empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13462023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-800x560.jpg\" alt=\"Roger Daltrey of the Who performs at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"560\" class=\"size-medium wp-image-13462023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-960x672.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-520x364.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Daltrey of the Who performs at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Kevin Mazur/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I formed my first band, I demanded we cover “Won’t Get Fooled Again” for the sole purpose of trying my hand at the scream. The closer I could get to Roger Daltrey’s holy eruption, I surmised, the closer I would be to God. There are dusty videotapes in my dad’s attic, containing the results. They are disastrous. When I was on tour constantly for the next seven years in other bands—playing bass, just like my dad, in fact playing the same 1972 Fender Jazz Bass that he handed down to me—I would warm up my voice by attempting the scream. To the backstage staff at venues all over America and Europe: I’m sorry.\u003c/p>\n\u003cp>So as my dad and I find our seats to watch the Who, I’m a little nervous. I want the Who to be great. I want this so I can be reassured that with age and the passing of time, relationships can retain their magic. This is the wholly asinine promise of nostalgia, and I openly admit that I fall for it. I need Daltrey and Pete Townshend to be alright so I’ll know that me and my dad will be alright.\u003c/p>\n\u003cp>But mostly, I want the scream.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> know what you might be thinking. The Who is gonna play “My Generation,” right, and me and my dad will look at each other knowingly during the line “I hope I die before I get old,” silently acknowledging our age. We’ll share a poignant understanding that despite our generation’s differences we’re all still human, all of us gathered here under the palm trees in a huge Polo field. \u003c/p>\n\u003cp>But “My Generation” comes and goes with scant notice, let alone fanfare, tucked within a barrage of the band’s early hits, one after another. “I Can’t Explain,” “The Seeker,” “The Kids are Alright,” “I Can See for Miles”—\u003cem>holy shit, this band’s songs are so good\u003c/em>—then songs from \u003cem>Who’s Next\u003c/em>, like “Behind Blue Eyes” and “Bargain.”\u003c/p>\n\u003cfigure id=\"attachment_13462026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-800x534.jpg\" alt=\"The crowd at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13462026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Andrew Jorgensen/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then something happens. During “The Rock,” from \u003cem>Quadrophenia\u003c/em>, scenes from 50 years of global upheaval are projected on the stage’s enormous screens. The Paris shooting, the Great Recession, 9-11, Tiannamen Square, the L.A. riots, Nixon’s resignation, the Iran hostage crisis, Chernobyl, John Lennon’s death, and on and on and on. Much of the footage is from Vietnam. Lots and lots of Vietnam.\u003c/p>\n\u003cp>I can’t ever know what it was like to live through Vietnam. I remember being eight, in 1983, and being pulled up by my mother to stand and applaud when a group of grizzled-looking Vietnam veterans walked in our hometown parade, and being told that they were heroes, and that people dumped buckets of sewage on them when they came home from the war, which was a terrible, stupid war, and for that reason, I should clap for them now. I did not know at such a young age what to make of these mixed messages—“applaud these good people who fought a bad war”—but I understood that Vietnam was a complicated thing.\u003c/p>\n\u003cp>It hits me, watching this montage, how a complicated thing like Vietnam would be so much different today. In 1968, there weren’t cameras in everyone’s pocket, and no ability to transmit information instantaneously, no social media. There were three TV channels and about as many magazines with resources enough to send journalists to the front lines. Today, everybody’s story is told instantly, but the story during Vietnam was littered with gaps: censorship, spin, classified information, oversights, untold experiences, unspoken tragedies, and whole swaths of war experience ignored.\u003c/p>\n\u003cp>Rock ‘n’ roll filled in those gaps. It gave a voice to the disenfranchisement, the unrest, the disillusionment. It spoke not only for my dad—who nervously picked up a newspaper with the local draft lottery results one afternoon and returned home, relieved, when his number was high—but for millions of others who were drafted, or had loved ones who were. It certainly spoke for the hundreds of thousands who were wounded or killed. \u003c/p>\n\u003cfigure id=\"attachment_13462024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-800x575.jpg\" alt=\"Roger Daltrey and Pete Townshend of the Who perform at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"575\" class=\"size-medium wp-image-13462024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-960x690.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-520x374.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Daltrey and Pete Townshend of the Who perform at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Kevin Mazur/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Generation Xers and Millennials like to say they got a raw deal, and they’re right. Baby Boomers took all the jobs, and then ruined the economy. There is nothing but a dismal future for young people right now.\u003c/p>\n\u003cp>But rock ‘n’ roll—or at least the kind of rock ‘n’ roll that told the untold story of the 1960s—also reminds us that the Boomers were literally \u003cem>sent off to die\u003c/em>. For no good reason. For over a decade. Sent to war by their own parents, the “greatest generation.” We have student-loan debt. They had body bags.\u003c/p>\n\u003cp>That’s an oversimplification, I know. But I’m here watching the Who just trying to have a good time with my dad, and next thing I know I’m making peace with my entire disdain and resentment for an imaginary culture war between generations that in reality doesn’t exist. \u003c/p>\n\u003cp>Just as all this love is reigning over me, the band plays the opening notes of the next song, “Love Reign O’er Me,” and it’s so ridiculously perfect, and the chorus so majestic, that I get tiny goosebumps all over. Later, during “Baba O’Riley,” Daltrey sings the words “Let’s get together before we get much older,” and the sentiment fills me with gratitude for my dad and I deciding to take this four-day road trip together, now, before we get much older. \u003c/p>\n\u003cfigure id=\"attachment_13462025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-800x599.jpg\" alt=\"My dad, on the last night of Desert Trip.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13462025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My dad, on the last night of Desert Trip. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And of course, the Who ends their set with “Won’t Get Fooled Again.” \u003c/p>\n\u003cp>At this point—after heavy realizations about age, the passing of time, political upheaval, generational empathy—the scream is almost an afterthought. But during the long synthesizer break right before the scream, my hands are twitching. I even hold them up to my dad: “I’m worried!” I say, nervously. “What if it sucks?!”\u003c/p>\n\u003cp>The drum fill starts. The high synthesizer notes ring out. The stage lights pulse as the whole thing builds.\u003c/p>\n\u003cp>\u003cstrong>AND THE SCREAM IS AWESOME\u003c/strong>.\u003c/p>\n\u003cp>By which I mean that the scream ricochets around the entire field, up to the skies, and in that moment it feels like it covers the entire world. Daltrey is writhing and Townshend is sliding on his knees across the stage and me and my dad are just so, so giddy and bonkers with stupid excitement, and we can’t stop grinning like 12-year-olds, a father and his son filled with crazy elation for hours afterwards.\u003c/p>\n\u003cp>And I can’t stop repeating a still, quiet mantra in my head:\u003c/p>\n\u003cp>\u003cem>The scream is awesome. Rock ‘n’ roll is transcendent. My dad is here. Everything’s gonna be alright\u003c/em>. \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":"How I took my dad on a four-day road trip to Oldchella, saw the icons of 1960s rock 'n' roll, and found a strange sort of peace and harmony.","status":"publish","parent":0,"modified":1705030309,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":103,"wordCount":7029},"headData":{"title":"Before We Get Much Older | KQED","description":"How I took my dad on a four-day road trip to Oldchella, saw the icons of 1960s rock 'n' roll, and found a strange sort of peace and harmony.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Before We Get Much Older","datePublished":"2017-06-18T06:00:54-07:00","dateModified":"2024-01-11T19:31:49-08:00","image":"https://ww2.kqed.org/app/uploads/sites/2/2017/06/DesertTrip.MAIN_Take2-1020x611.jpg","author":{"@type":"Person","name":"Gabe Meline","jobTitle":"Senior Editor, KQED Arts & Culture","url":"https://www.kqed.org/author/gmeline"}},"authorsData":[{"type":"authors","id":"185","meta":{"index":"authors_1591205172","id":"185","found":true},"name":"Gabe Meline","firstName":"Gabe","lastName":"Meline","slug":"gmeline","email":"gmeline@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Senior Editor, KQED Arts & Culture","bio":"Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.","avatar":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twitter":"gmeline","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"artschool","roles":["editor"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"liveblog","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Gabe Meline | KQED","description":"Senior Editor, KQED Arts & Culture","ogImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/gmeline"}],"imageData":{"ogImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2017/06/DesertTrip.MAIN_Take2-1020x611.jpg","width":1020,"height":611,"mimeType":"image/jpeg"},"ogImageWidth":"1020","ogImageHeight":"611","twitterImageUrl":"https://ww2.kqed.org/app/uploads/sites/2/2017/06/DesertTrip.MAIN_Take2-1020x611.jpg","twImageSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2017/06/DesertTrip.MAIN_Take2-1020x611.jpg","width":1020,"height":611,"mimeType":"image/jpeg"},"twitterCard":"summary_large_image"},"tagData":{"tags":["Bob Dylan","Essay","father's day","featured","longreads","rock"]}},"sticky":false,"path":"/arts/13455395/taking-dad-to-oldchella-desert-trip-fathers-day","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> remember the night clearly: I was 12, had just started listening to the Sex Pistols and the Dead Kennedys as 12-year-olds do, and had utterly confused my dad in the process.\u003c/p>\n\u003cp>“What,” he asked, in the living room after dinner, “do you \u003cem>like\u003c/em> about this music?”\u003c/p>\n\u003cp>I wasn’t about to say the lyrics, which fed into my inexperienced fascination with political and cultural subversion. I dithered. “Oh, you know,” I told my dad, lamely. “The loud guitars and crashing cymbals. The energy.”\u003c/p>\n\u003cp>He paused, thought for a second, and then uttered seven words that changed our relationship forever.\u003c/p>\n\u003cp>“I’ve got a record you might like.”\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>He went to the shelf and slowly slid out what looked like a plain brown album. He dropped the needle. And there I sat for the next half hour with my dad, in 1987, in our living room with its 10-inch Sony TV and brown carpet and upright piano, taking in a primordial sound like nothing I’d heard before.\u003c/p>\n\u003cp>The songs were defiant, full of yearning and rage. The music thundered with a gale force, rumbling like a train in danger of careening off its tracks. It was a sound that repeatedly refused to die, some songs ending and then starting up again three or four separate times.\u003c/p>\n\u003cp>The Who’s \u003cem>Live at Leeds\u003c/em> had entered my life. My dad knew something I didn’t, and I vowed to figure out what it was.\u003c/p>\n\u003cfigure id=\"attachment_13461773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-800x489.jpg\" alt=\"The Who's 'Live at Leeds' LP.\" width=\"800\" height=\"489\" class=\"size-medium wp-image-13461773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-1180x721.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-960x587.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WhoLP.jpg-520x318.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Who’s ‘Live at Leeds’ LP. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2016, when the organizers of Coachella announced \u003ca href=\"http://deserttrip.com/\" target=\"_blank\" rel=\"noopener\">Desert Trip\u003c/a>, a three-day festival with the Who, the Rolling Stones, Paul McCartney, Bob Dylan, Neil Young and Roger Waters, two things happened. It was instantly dubbed “Oldchella” by the music press. Also, I knew I had to go, and that I had to bring my dad. \u003c/p>\n\u003cp>The night of listening to \u003cem>Live at Leeds\u003c/em> was no grand musical reconciliation, mind you. Up until I left home (early, at age 16), I still cautiously closed my bedroom door when I listened to any music that could be construed as a problem: Nomeansno, D.R.I., Christ on Parade, the Subhumans, Dayglo Abortions, Born Against. We were, at the time, a Mormon household. I’d sat through maddening lectures at Mormon boys’ camp by high-ranking apostles about the evils of punk and hardcore, confounded at their misunderstanding of this music that had given me so much positive energy and inspiration. I assumed my parents felt it was evil too. When there was a knock at my bedroom door, I’d always lift the needle or pause the tape before opening it.\u003c/p>\n\u003cp>There was other trouble. My grades dipped. My mom and dad scraped together the money to send me to a Catholic school, where, with a wealthy student population, there were more drugs and booze than ever. I snuck out of the house to go to shows. I stole copies from the local Kinko’s to make \u003ca href=\"http://library.duke.edu/digitalcollections/zines_bwzdd0014/\" target=\"_blank\" rel=\"noopener\">my zine\u003c/a> about how much I hated high school. I had questionable relationships and an even more questionable wardrobe. I felt perfectly normal and productive, and to this day I believe I was doing just fine in those years, but I also know my parents were worried sick over me.\u003c/p>\n\u003cp>Through it all—the screaming, the ultimatums, the day I packed a duffel bag and sneaked out, the years afterward of being broke and unhealthy, and slowly but dangerously finding my place in the world—my dad and I always had the Who. We could talk for hours about them. It was more than just the music. The Who represented, to me, the knowledge that no matter how distant we got from each other, we still had a connection. \u003c/p>\n\u003cfigure id=\"attachment_13461775\" class=\"wp-caption aligncenter\" style=\"max-width: 549px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster.jpg\" alt=\"The official poster for the Desert Trip festival in Indio, Calif.\" width=\"549\" height=\"392\" class=\"size-full wp-image-13461775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster.jpg 549w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.Poster-520x371.jpg 520w\" sizes=\"(max-width: 549px) 100vw, 549px\">\u003cfigcaption class=\"wp-caption-text\">The official poster for the Desert Trip festival in Indio, Calif. \u003ccite>(Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I often joke that if you want me to understand something, you’ll have to make it about records. I’m a parent now, so I know firsthand what it’s like to love your child unconditionally. But in those trying years, long before I’d ever imagine being a father myself, the best way I understood my dad’s unconditional love was this: \u003cem>We’ll always have the Who\u003c/em>.\u003c/p>\n\u003cp>A few months before the festival, I called him and asked if he’d be my +1 to Desert Trip. He said yes. We rented a car, booked a trailer in a mobile home park in the Palm Springs desert, and when the big weekend came, we started driving south on the father-son road trip of a lifetime.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“H\u003c/span>ere’s where the road was filled with stopped cars,” my dad says, as we drive along Hwy. 580 near Altamont. “It was like a parking lot. Everybody just left their cars in the road and started walking.”\u003c/p>\n\u003cp>I guess I’ve been leaving out the fact that my dad has always been as rabid about music as me. Yes, my dad went to Altamont, the infamous free concert in 1969 headlined by the Rolling Stones. He frequented the Fillmore in high school, seeing the Dead, Janis, the Doors, the Animals and countless others. (He swears he never did drugs; I believe it.) He still has his ticket stubs, posters, handbills—including some that he passed out at school so he could get into shows for free.\u003c/p>\n\u003cp>He even once saw Elvis Presley, bringing along a slender brunette from his school who’d captured his attention. On the way back, they parked at the vista point north of the Golden Gate Bridge and, with the lights of San Francisco twinkling through the fog and the fervor of “Love Me Tender” still lingering, he kissed her for the first time. When he proposed a year later, she said yes, and that’s how he married my mom.\u003c/p>\n\u003cfigure id=\"attachment_13461777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SoundsOfNight-800x653.jpg\" alt=\"My dad's first band, the Sounds of Night, circa mid-1960s. My dad played bass (left), just like I'd do when he handed his bass guitar down to me.\" width=\"800\" height=\"653\" class=\"size-medium wp-image-13461777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-800x653.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-1020x832.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-1180x963.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-960x784.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-375x306.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SoundsOfNight-520x424.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My dad’s first band, the Sounds of Night, circa mid-1960s. My dad (at left) played bass, just like I’d do when he handed his bass guitar down to me. \u003ccite>(Ken Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once my sisters and I were born, the new responsibilities we brought didn’t kill my dad’s love of music. He still played bass in his band at local dances and pizza parlors. He still bought records on a weekly basis. He worked construction from dawn ’til 5pm or 6pm to support his family, so he didn’t get out as much, though I do have distinct childhood memories of waiting with him at Ticketron kiosks and BASS outlets to buy concert tickets. He installed new speakers and premium cassette decks in all our cars, and pretended not to love it when my mom would crank the volume up to 10, and sing out the car window at the top of her lungs.\u003c/p>\n\u003cp>But I’m getting ahead of myself. My dad also went to Altamont.\u003c/p>\n\u003cp>The actual concert site of Altamont doesn’t look like anything from the freeway now, and as we drive past it, I relish my dad’s retelling of that day’s events. He and a buddy took a Greyhound, he tells me, from Santa Rosa to San Francisco; they transferred to a bus toward Livermore, and then hitchhiked with strangers into the concert. The bands were distant, the sound was bad. He didn’t pick up on the festival’s bad vibes, let alone witness what came to be the defining moment of Altamont: the \u003ca href=\"https://en.wikipedia.org/wiki/Death_of_Meredith_Hunter\" target=\"_blank\" rel=\"noopener\">stabbing and beating to death\u003c/a> of Meredith Hunter, a black 18-year-old fan, by the Hell’s Angels. \u003c/p>\n\u003cfigure id=\"attachment_13461780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SideofHighway-800x570.jpg\" alt=\"On the side of the road, somewhere in California.\" width=\"800\" height=\"570\" class=\"size-medium wp-image-13461780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-1180x841.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-960x684.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SideofHighway-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the side of the road, somewhere in California. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, after the Rolling Stones finished, he hitchhiked back to Livermore in the back of a pickup truck driven by a likely very drunk and/or high teenager doing 80mph on bumpy dirt backroads, bussed back to San Francisco and then Santa Rosa, and got home at 4:30 in the morning. \u003c/p>\n\u003cp>Hearing this story now, on the way to Southern California, my mind is blown. I knew he’d gone to Altamont. But hitchhiking? Riding with drunk drivers? Coming home at 4:30am? These are details of the story he’d conveniently left out when I was younger—and, truth be told, secretly doing all of those same things myself. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he rest of the drive toward Oldchella is filled with similar stories. We reminisce about the time in 1989 that our family went to see Paul McCartney at UC Berkeley’s Memorial Stadium. We talk about the several times he took my mom to see the Stones, the ticket prices getting higher and higher each time until it was untenable to keep seeing them.\u003c/p>\n\u003cp>In the 10 years since my mom died, my dad and I have gotten closer. We’ve gone on other journeys together: a week-long baseball trip of stadiums on the east coast; a trip to the Masters golf tournament in Georgia. We’ve seen a \u003cem>lot\u003c/em> of music together. But being in a car with nothing to see for miles has a way of opening up conversation. It goes beyond talking about music, or telling stories, or confirming memories; you can think more deeply about what all of these things actually mean, and how they affect your life. \u003c/p>\n\u003cp>For example, somewhere along the endless, unchanging stretch of I-5, he tells me again about seeing the Who, at the Cow Palace in 1967. Their out-of-place appearance on a lineup with the Association and the Everly Brothers was part of a “new generation” showcase sponsored by White Front department stores. They played six songs, destroyed their equipment, and left. My dad was amazed. It would be the only time he’d see the Who—until this weekend, now, almost 50 years later.\u003c/p>\n\u003cfigure id=\"attachment_13461776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/TicketStubs-800x335.jpg\" alt=\"My dad's ticket stubs for Elvis Presley (left), the night he first kissed my mom; and the Who (right), in 1967, almost 50 years before our road trip.\" width=\"800\" height=\"335\" class=\"size-medium wp-image-13461776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-1180x495.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-960x403.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TicketStubs-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My dad’s ticket stubs for Elvis Presley (left), the night he first kissed my mom; and the Who (right), in 1967, almost 50 years before our road trip.\u003c/figcaption>\u003c/figure>\n\u003cp>Whenever he retells how the Who smashed their instruments that night at the Cow Palace, my dad never fails to mention the role played by bassist John Entwistle. While Roger Daltrey swung his microphone around by its cord; while Pete Townshend obliterated his guitar and thrust it through the speakers of his Vox amplifier; while Keith Moon upended his drums off their riser, throwing them all over the stage—amidst this post-musical anarchy there stood Entwistle, nicknamed “The Ox,” stoic and unmoved, still playing the bass.\u003c/p>\n\u003cp>“He was like a rock, just this anchor for all the chaos going on around him,” my dad says, still awestruck. “No matter what happened, he stayed with the song. He was the glue.”\u003c/p>\n\u003cp>My dad has never made the obvious connection here, but growing up, we gave him a lot of tumult to deal with. We threw our teenage drama and emotional upheaval and reckless actions and stupid anger at each other—me, my sisters, my mom, all of us. All it took was a few words from my dad to remind us what was important. Even after my mom was killed in the car crash, when we were all utterly destroyed, when he of all people should have been destroyed the most, he kept us rooted. He was our ox. Our John Entwistle.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen we finally get to Desert Trip and ride the Ferris wheel for a bird’s-eye view of where we’ll spend the next three evenings, we realize that the festival grounds are huge. My dad, who’s either worked on or led construction crews all of his adult life, can’t help but hypothesize about the logistics of putting on something this size. “This is like a city! How long did it take them to set everything up?” he asks. “How many people do you think are working here? How much \u003cem>money\u003c/em> do you think this place makes every day?” \u003c/p>\n\u003cp>I have no clue, honestly. As we make our way to watch Bob Dylan, I’m busy thinking about my dad’s old boxes of 45s.\u003c/p>\n\u003cfigure id=\"attachment_13461778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/45Boxes-800x600.jpg\" alt=\"My dad's 45 boxes, a Rosetta Stone of music in our house.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13461778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/45Boxes-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My dad’s 45 boxes, a Rosetta Stone of music in our house. \u003ccite>(Photo: Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first found them when I was eight, maybe nine. The two avocado-green boxes were falling apart. The lids had come off their hinges years ago; masking tape from the tool drawer in my dad’s construction van held the corners together. But for me, those two boxes contained the whole world. Records by the Beatles, the Vanilla Fudge, the Count Five, the Stones, the Small Faces, Hendrix. I could randomly pull out any 45 and be hit with either a seminal ’60s anthem the world knew by heart but I’d not yet heard, or an obscure garage-rock gem that would feed my burgeoning music nerd-dom. I’d sit with those boxes at our living-room record player for hours, and let my imagination run wild.\u003c/p>\n\u003cp>To a curious young kid, those boxes held creativity, wild abandon, freedom. They also held no records at all by Bob Dylan.\u003c/p>\n\u003cp>I own dozens of Dylan albums now, but my dad had just one when I was growing up: Hugo Montenegro’s \u003cem>Dawn of Dylan\u003c/em>, a schlocky orchestral LP of Dylan songs, filed on his shelf between the Doors and the Eagles. I don’t know how he wound up with it. “I could never stand his voice,” he’d told me when I was 13, and had asked him why he didn’t have any others. Fair enough.\u003c/p>\n\u003cp>At the festival, we find our seats for Dylan, who’s been in the news for the past day as a “voice of a generation” for winning the Nobel Prize for Literature. Ironically, on this road trip, he’s not someone my dad and I can really bond over. When I was 16, partly out of concession to my fandom and partly just to tick off the box, he bought tickets for the family to see Bob Dylan in Santa Rosa. I’m pretty sure he hated it. My mom definitely hated it. (Years later, I would even have the chance to talk with Tom Waits about being at this show, and even \u003cem>he\u003c/em> hated it. It was a bad era for Dylan.)\u003c/p>\n\u003cfigure id=\"attachment_13461781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-800x534.jpg\" alt=\"A crowd slowly fills the Polo Fields at Indio for the Desert Trip music festival.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13461781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.DesertTrip-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd slowly fills the Polo Fields at Indio for the Desert Trip music festival. \u003ccite>(Photo: Andrew Jorgensen/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as baffled as I was that evening in 1992—by his drastic rearrangements, and reptilian voice—I was also intrigued. Now, 25 years later in the stands at Desert Trip, that same wonder comes back as Dylan takes the stage and plays song after song, resurrecting vignettes from my life: The time I played “Don’t Think Twice, It’s Alright” on the guitar in class after breaking up with my first major girlfriend, \u003cem>who’d introduced me to Bob Dylan\u003c/em>. How every line of “It’s All Over Now, Baby Blue” directly correlated to a moment in our relationship. How we both hated “Rainy Day Women #12 and 35” and “Highway 61 Revisited.”\u003c/p>\n\u003cp>How I took time off from Dylan, but discovered \u003cem>Blood on the Tracks\u003c/em> at age 22 while living in a garage and playing “Simple Twist of Fate” and “Tangled Up in Blue.” How I once dated a girl who loved Barry Manilow and only knew “To Make You Feel My Love” because Garth Brooks had covered it. How I used to close the record store I worked at by putting on “Desolation Row” at 4:50pm, every single shift, eventually listening to it hundreds of times. How, the night before moving into the house my wife and I have now lived in for 14 years, I set up the stereo in the empty living room alone and played \u003cem>Time Out of Mind\u003c/em>, with “Love Sick” reverberating off the walls and hardwood floors, an eerie welcome to a new home.\u003c/p>\n\u003cfigure id=\"attachment_13461782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-800x499.jpg\" alt=\"Bob Dylan, mysterious as ever at Desert Trip, where he only allowed the screens to show him from behind or above.\" width=\"800\" height=\"499\" class=\"size-medium wp-image-13461782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-1180x736.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-960x599.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dylan.Jumbotron-520x324.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Dylan, mysterious as ever at Desert Trip, only allowing the cameras to show him from behind or above.\u003c/figcaption>\u003c/figure>\n\u003cp>The morning of the Nobel Prize announcement, I’d woken up to a storm of denigrating, snarky comments on Twitter, mostly from people younger than me. I know that for my age, I have a higher-than-average attachment to Dylan, but I truly couldn’t understand it. Wasn’t Dylan, like, unilaterally recognized as a songwriting titan? How could anyone feel resentful about him winning an award?\u003c/p>\n\u003cp>Ah, but then. I remembered. The same impulse is in me, too, just a slightly different strain. It’s always been there, this nagging thing that I’ve wrestled with for years. I don’t know if it has a name, but these are the words I blurt out when it consumes me:\u003c/p>\n\u003cp>\u003cem>I hate the stupid Baby Boomer generation\u003c/em>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ere is where I clarify that I don’t actually hate the Baby Boomer generation. \u003c/p>\n\u003cp>But anyone who grew up in the shadow of the Boomers knows this feeling. It’s simple math: in the ’80s, the Baby Boomers took up a lot of space. Their huge, unprecedented population was both the coveted demographic for advertisers, \u003cem>and\u003c/em> in charge of doing the advertising. They made the decisions that shaped mainstream culture at large in the Reagan era.\u003c/p>\n\u003cp>You remember, probably, how this affected music. Sixties bands had big comebacks as pop stars. The Moody Blues had “Wildest Dreams.” The Grateful Dead had “Touch of Grey.” Starship, the neon-wearing, synthesizer-playing, hairspray-laden ’80s incarnation of Jefferson Airplane, had “\u003ca href=\"http://www.rollingstone.com/music/pictures/readers-poll-the-10-worst-songs-of-the-1980s-20111006/1-starship-we-built-this-city-0260875\" target=\"_blank\" rel=\"noopener\">We Built This City\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13461795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Starship-800x435.jpg\" alt=\"It all came to this: Starship, the 1980s incarnation of Jefferson Airplane, in a photo for their smash album 'Knee Deep in the Hoopla.'\" width=\"800\" height=\"435\" class=\"size-medium wp-image-13461795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-1020x555.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-1180x642.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-960x523.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-375x204.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Starship-520x283.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Starship, the 1980s incarnation of Jefferson Airplane, in a photo for their smash album ‘Knee Deep in the Hoopla.’\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, acts like the Replacements and the Smiths were making some of the most important and interesting rock music in the world, to say nothing of the many boundary-pushing punk and independent-label bands (let alone hip-hop, then blossoming as an art). But with Boomers in charge at radio, working A&R at labels, and—let’s be real—fueled by a cocaine self-importance, there was no room for these vibrant new artists in the mainstream. You’d turn on MTV and see Glenn Frey trying to go new wave, or Phil Collins crooning over electronic drums, all while incredible evolutions in modern rock and punk and rap were happening in America, not only unnoticed but completely shut out, relegated to low-watt college radio and fanzines and niche record stores.\u003c/p>\n\u003cp>Even after Nirvana broke, Boomers clung stridently to “their” music, insisting that Eric Clapton and the Rolling Stones were The All-Time Most Important Rock Institutions on Earth (see: every \u003cem>Rolling Stone\u003c/em> list circa 1992-1999). I know this, because I worked at a record store for 14 years, and some days I felt like I was paid to have the same conversation about the Beatles over and over again all day long.\u003c/p>\n\u003cp>These days, not only have most of the Boomers aged out of positions of influence in the music industry, but the old channels for influence have been broken up, reclaimed by the internet, and placed in the hands of teens. That’s how influence should work: from the bottom up.\u003c/p>\n\u003cp>For my formative years, though, when Boomers were in power? Influence was top-down. As a result, I can sing you the entirety of “Kokomo” by the Beach Boys, and I’m not happy about it.\u003c/p>\n\u003cfigure id=\"attachment_13462487\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-800x533.jpg\" alt=\"Two women sing along at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13462487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Girl.Crowd_.DesertTrip-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two women sing along at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Tod Seelie/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o the Rolling Stones play. They do their thing. They do it well. There are no surprises.\u003c/p>\n\u003cp>I can very vividly recall, as a kid, seeing the Rolling Stones’ video for “Start Me Up” on our 10-inch Sony television. \u003ca href=\"https://www.youtube.com/watch?v=SGyOaCXr8Lw\" target=\"_blank\" rel=\"noopener\">Watching it now\u003c/a> is like a college course in the awkwardness of the then-nascent art form of the music video: it’s really cringeworthy. But what I remember most from watching it when I was six is my mom in complete shock, shrieking quasi-hysterically to my dad: “They’re so OLD! Look at them! Look at their grey hair!”\u003c/p>\n\u003cp>My dad was unmoved. “Well,” he replied, “\u003cem>we’re\u003c/em> old.”\u003c/p>\n\u003cp>They were 30.\u003c/p>\n\u003cp>Despite the many great Rolling Stones songs from my dad’s 45 boxes, and the entire \u003cem>Their Satanic Majesties Request\u003c/em> album rearranging my young brain, the Rolling Stones never gave me a reason to go see them live. With their abhorrently expensive ticket prices, I’d worn it as a badge of pride that I hadn’t been suckered to one of their shows. But: if you really love the Stones, and you happen to have thousands of dollars you could light on fire with no fundamental impact on your life, then Mick Jagger will be happy to take your money.\u003c/p>\n\u003cfigure id=\"attachment_13462005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-800x533.jpg\" alt=\"The Rolling Stones perform at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13462005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RollingStones.DesertTrip-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rolling Stones perform at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Photo: Kevin Mazur/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometime during opener “Jumpin’ Jack Flash,” I hear a guy near us loudly tell his friend, “I can’t believe this! These guys are legends!” That’s what the Stones are selling these days: brief, vicarious access to their “legend” status.\u003c/p>\n\u003cp>Meanwhile, I keep thinking that the Rolling Stones couldn’t happen in today’s world. For that matter, the entire British Invasion—built on the notion that American audiences had little to no access to their own country’s blues music and, even if they had, would prefer it played by white people—couldn’t happen in today’s world. Look at \u003ca href=\"http://www.thedailybeast.com/the-cultural-crimes-of-iggy-azalea\" target=\"_blank\" rel=\"noopener\">what’s happened\u003c/a> to the Australian rapper Iggy Azalea in the internet era of outrage over cultural appropriation, and get back to me.\u003c/p>\n\u003cp>Or better yet: imagine Iggy Azalea 50 years from now, launching into “Fancy” in front of 80,000 people, all of them having forked over a whole paycheck to be in her presence. That’s how surreal the Rolling Stones are to me in this moment.\u003c/p>\n\u003cp>A guitar lick starts the next song and knocks me out of my thoughts. I instantly go a little weak. It’s “Tumblin’ Dice,” and my dad has played this song dozens of times, and I can’t help but feel transported. “Man, I love this song,” I shout to my dad. \u003c/p>\n\u003cp>He nods, smiling a big, carefree smile. He loves it too.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he next day, we leave our trailer and drive north to Pioneertown. We have no idea what’s there, other than a tiny bar in the middle of nowhere called Pappy & Harriet’s where Paul McCartney played a \u003ca href=\"http://www.latimes.com/entertainment/music/la-et-ms-paul-mccartney-pappy-20161013-snap-story.html\" target=\"_blank\" rel=\"noopener\">surprise show\u003c/a> two nights before. \u003c/p>\n\u003cfigure id=\"attachment_13462017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-800x565.jpg\" alt=\"Checking out Pappy and Harriet's, two days after Paul McCartney performed on its tiny stage.\" width=\"800\" height=\"565\" class=\"size-medium wp-image-13462017\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-960x678.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/PappyHarriets.DesertTrip-520x367.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Checking out Pappy and Harriet’s, two days after Paul McCartney performed on its tiny stage. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out “in the middle of nowhere” isn’t just a phrase. There’s nothing for miles. Pioneertown is a old-west ghost town, built for Roy Rogers westerns, with fake wooden storefronts and scattered spitoons. Then, at the end of the dirt street, there’s the place where a living Beatle performed for 300 people on a ramshackle stage no taller than a sidewalk curb.\u003c/p>\n\u003cp>We talk to a local woman; she tells us that prior to the show, McCartney and his band warmed up inside an empty building across the street marked “Likker Barn,” and that she and some others stood outside, ears to the wall, eavesdropping on rock ‘n’ roll royalty. Can you imagine?\u003c/p>\n\u003cp>This turns out to be one of several diversions on our trip, including a) seeing Frank Sinatra’s gravesite, b) seeing Elvis Presley’s honeymoon house, and c) seeing Tower of Power in concert. We spend the rest of the day driving through Joshua Tree National Forest, with a brief stop beforehand at the Joshua Tree Inn, where Gram Parsons died. (My wife and I fell in love listening to a lot of Gram Parsons, and eventually danced to his desolate, sad song “$1,000 Wedding” at our own $1,000 wedding. It feels nice to pay respects.)\u003c/p>\n\u003cfigure id=\"attachment_13462018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-800x561.jpg\" alt=\"Driving through Joshua Tree National Park.\" width=\"800\" height=\"561\" class=\"size-medium wp-image-13462018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-1180x828.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-960x674.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DesertTrip.JoshuaTree-520x365.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Driving through Joshua Tree National Park. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside Joshua Tree, I survey the barren, eroded landscape and decide to play a hypnotic album by Stars of the Lid, essentially an indie new age duo. The soft music swells and fades, a strangely fitting soundtrack. My dad is surprised that I would even like such music.\u003c/p>\n\u003cp>I laugh. I tell him about the odd new age revival currently happening, and how loving noise acts like Yellow Swans and Merzbow led me to push further into the abstract, which led me to Kreng and Sylvain Chauveau and Jóhann Jóhannsson, and then to the music of Caretaker, which, like William Basinski’s ‘Disintegration Loops,’ repeats fragments of old music until they’re destroyed, and how, to me, Caretaker, Basinski and Stars of the Lid’s cyclical repetition of destruction eerily mimics the centuries of nature’s toil which created the rock formations around us in the desert. \u003c/p>\n\u003cp>“I am always so amazed at how much music you know about,” he says.\u003c/p>\n\u003cp>I laugh again. I’ll say it here, for posterity: It all started with him.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>eil Young and Roger Waters are the two outliers on the festival, for me and my dad, at least. My dad had \u003cem>Harvest\u003c/em> and \u003cem>After the Gold Rush\u003c/em> when I began diving into his record collection, but they didn’t do anything for me. Later, at 16, when grunge bands cited him as a godfather? I hated grunge, and if Neil Young was responsible for any of it, well, I held him in contempt.\u003c/p>\n\u003cp>It wasn’t until years later, at about 21, that I heard \u003cem>Tonight’s the Night\u003c/em> and I understood Neil Young’s thing. The emotional weariness, the ragged playing, the unadorned storytelling and intoxicated sadness—it still affects me. \u003c/p>\n\u003cfigure id=\"attachment_13462020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-800x546.jpg\" alt=\"Neil Young performs at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13462020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/NeilYoung.DesertTrip-520x355.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neil Young performs at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Photo: Kevin Mazur/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neil Young is great. He moves from piano to pump organ to guitar, to slowly building a whole band behind him, and he plays all the songs you’d want him to play. “Old Man” resonates on this trip with my dad, as does hearing “Harvest Moon” while an actual harvest moon rises behind the Polo Grounds’ palm trees. But does it convert me into a Neil Young fanatic? No.\u003c/p>\n\u003cp>I’ll get Roger Waters out of the way here, too—aside from one very stoned afternoon at a rich Catholic school kid’s house listening to \u003cem>Dark Side of the Moon\u003c/em>, Pink Floyd has meant little to me and even less to my dad. I can’t overestimate their sonic influence on sound production and engineering at large, but they were never my thing. Onstage, Waters leads a large crew of musicians, the world’s greatest Pink Floyd cover band, in a greatest-hits set, and though the surround-sound effects are dazzling, your imagination can probably fill in the rest. If you’ve just read a billion words so far to get to the epic Pink Floyd section, I apologize. \u003c/p>\n\u003cp>That leaves McCartney and the Who. They both surprise me more than I could imagine.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I was 10, I listened to the Beatles in the same way that others read the Bible. I listened and re-listened to their albums until I felt like I understood every musical parable being conveyed. I pored over every lyric like it was scripture, every chord structure like it was a commandment. I learned to play the songs on piano and guitar for others, a missionary spreading the gospel. I dove headlong into books about them, serving as theological sermons about the divine meaning of it all.\u003c/p>\n\u003cp>And then? After two immersive years, I graduated from Bible school. The Beatles were in my blood, a deeply imbued part of me that I could never extract. And hence, I didn’t need to keep listening to them, or obsessing over them; in ways, I simply \u003cem>was\u003c/em> them. I was ready for that which was built upon the solid rock of their foundation. \u003c/p>\n\u003cfigure id=\"attachment_13462021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-800x534.jpg\" alt=\"A woman takes in the music at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13462021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WOman.Crowd_.DesertTrip-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman takes in the music at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Photo: Neil Husvar / Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not everyone graduated, I would learn. I try very hard not to be a snob or to denigrate others’ musical preferences, but I really, really do not need to have another conversation about the greatness of the Beatles. Being a superfan of the Beatles is like decorating your apartment exclusively in \u003cem>Star Wars\u003c/em> décor, or owning a kitchen full of “I ♥ Chocolate” accessories. The goodness of these things is so self-evident that to celebrate them openly and fanatically feels eerie and suspect: “Air! It’s great! Everyone should breathe it!”\u003c/p>\n\u003cp>Nevertheless, I have hooked myself back up to the oxygen tank over the years. After seeing him in 1989 with the family, I saw McCartney again in 2014 at Outside Lands in Golden Gate Park, an experience I loved perhaps even more. That’s because after years of fighting with the world’s unending worship of the Beatles and disavowing them in Joe Strummer-esque “phony Beatlemania” fashion, it felt good to make amends in person. To realize that I could still sing along with every single word, and be reminded of why they mattered to me.\u003c/p>\n\u003cp>Only one thing was missing. There was an important name on all those Beatles records I devoured at age 10, and it wasn’t John, Paul, George or Ringo, or even George Martin: it was “Robert J. Meline,” followed by my dad’s home address, “2717 Magowan Dr., Santa Rosa”—the house of \u003cem>his\u003c/em> dad, a mailman and WWII veteran—written on the record sleeve in his unmistakable blocky handwriting. Watching McCartney play “Lady Madonna” and “Paperback Writer” and tell stories about Clapton and Hendrix and perform the entire finale of \u003cem>Abbey Road\u003c/em>, I kept thinking, that night in Golden Gate Park, “I wish my dad were here.”\u003c/p>\n\u003cp>So here with him in Indio, the wish is finally coming true. McCartney comes out, strums the opening chord of “A Hard Day’s Night,” and we’re off: “Day Tripper,” “I’ve Just Seen a Face,” “Ob-La-Di, Ob-La-Da,” “And I Love Her.” He plays “Birthday” and “We Can Work It Out,” both songs my dad and I have played; he brings out Rihanna for “FourFiveSeconds” and Neil Young for “Why Don’t We Do It In the Road?” and “A Day in the Life”; he even throws in “Being for the Benefit of Mr. Kite.”\u003c/p>\n\u003cfigure id=\"attachment_13462022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-800x568.jpg\" alt=\"Paul McCartney performs at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"568\" class=\"size-medium wp-image-13462022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-1180x837.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-960x681.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/McCartney.DesertTrip-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul McCartney performs at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Photo: Kevin Mazur/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But something is off. It’s not the grand reunion of myself, Paul, and my dad that I’d built up in my mind. McCartney is stiff, telling the same exact stories he’d told the last time I saw him, and playing the same songs. May dad and I sing parts of songs here and there, but it’s not… \u003cem>ecstatic\u003c/em>. The rest of the people in our section sit down in their seats the whole time, and part of me doesn’t blame them.\u003c/p>\n\u003cp>Ever since I first read the sermon on the mount in the Bible, I’ve imagined in my mind a specific scene, a specific mountain, and a specific crowd of people. And while McCartney plays, I realize the scene I’ve always had in mind for the sermon on the mount looks a lot like this concert, with one man in front of 80,000 people in a huge field. John Lennon once quipped that the Beatles were bigger than Jesus. What if Jesus had lived to be 74? What if he returned to the mount for the ‘Blessed Are The Meek Reunion Tour,’ reciting the Beatitudes and other hits, for $399 plus convenience fees per ticket? How weird would that be? Is that what I’m witnessing with Paul McCartney?\u003c/p>\n\u003cp>Jesus had the right idea, long before “My Generation.” Now \u003cem>there’s\u003c/em> a guy who died before he got old.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he scream in “Won’t Get Fooled Again” is the greatest rock and roll scream of all time. \u003c/p>\n\u003cp>This is wisdom imparted to me by my dad. This is also not up for debate. Many have tried to match the scream. All have failed. I have listened to upwards of 20,000 albums in my life, scouring along the way for a better scream like an archaeologist searching for the lost ark, and have come up empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13462023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-800x560.jpg\" alt=\"Roger Daltrey of the Who performs at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"560\" class=\"size-medium wp-image-13462023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-960x672.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RogerDaltrey.DesertTrip-520x364.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Daltrey of the Who performs at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Kevin Mazur/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I formed my first band, I demanded we cover “Won’t Get Fooled Again” for the sole purpose of trying my hand at the scream. The closer I could get to Roger Daltrey’s holy eruption, I surmised, the closer I would be to God. There are dusty videotapes in my dad’s attic, containing the results. They are disastrous. When I was on tour constantly for the next seven years in other bands—playing bass, just like my dad, in fact playing the same 1972 Fender Jazz Bass that he handed down to me—I would warm up my voice by attempting the scream. To the backstage staff at venues all over America and Europe: I’m sorry.\u003c/p>\n\u003cp>So as my dad and I find our seats to watch the Who, I’m a little nervous. I want the Who to be great. I want this so I can be reassured that with age and the passing of time, relationships can retain their magic. This is the wholly asinine promise of nostalgia, and I openly admit that I fall for it. I need Daltrey and Pete Townshend to be alright so I’ll know that me and my dad will be alright.\u003c/p>\n\u003cp>But mostly, I want the scream.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> know what you might be thinking. The Who is gonna play “My Generation,” right, and me and my dad will look at each other knowingly during the line “I hope I die before I get old,” silently acknowledging our age. We’ll share a poignant understanding that despite our generation’s differences we’re all still human, all of us gathered here under the palm trees in a huge Polo field. \u003c/p>\n\u003cp>But “My Generation” comes and goes with scant notice, let alone fanfare, tucked within a barrage of the band’s early hits, one after another. “I Can’t Explain,” “The Seeker,” “The Kids are Alright,” “I Can See for Miles”—\u003cem>holy shit, this band’s songs are so good\u003c/em>—then songs from \u003cem>Who’s Next\u003c/em>, like “Behind Blue Eyes” and “Bargain.”\u003c/p>\n\u003cfigure id=\"attachment_13462026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-800x534.jpg\" alt=\"The crowd at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13462026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Crowd.Night_.DesertTrip-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Andrew Jorgensen/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then something happens. During “The Rock,” from \u003cem>Quadrophenia\u003c/em>, scenes from 50 years of global upheaval are projected on the stage’s enormous screens. The Paris shooting, the Great Recession, 9-11, Tiannamen Square, the L.A. riots, Nixon’s resignation, the Iran hostage crisis, Chernobyl, John Lennon’s death, and on and on and on. Much of the footage is from Vietnam. Lots and lots of Vietnam.\u003c/p>\n\u003cp>I can’t ever know what it was like to live through Vietnam. I remember being eight, in 1983, and being pulled up by my mother to stand and applaud when a group of grizzled-looking Vietnam veterans walked in our hometown parade, and being told that they were heroes, and that people dumped buckets of sewage on them when they came home from the war, which was a terrible, stupid war, and for that reason, I should clap for them now. I did not know at such a young age what to make of these mixed messages—“applaud these good people who fought a bad war”—but I understood that Vietnam was a complicated thing.\u003c/p>\n\u003cp>It hits me, watching this montage, how a complicated thing like Vietnam would be so much different today. In 1968, there weren’t cameras in everyone’s pocket, and no ability to transmit information instantaneously, no social media. There were three TV channels and about as many magazines with resources enough to send journalists to the front lines. Today, everybody’s story is told instantly, but the story during Vietnam was littered with gaps: censorship, spin, classified information, oversights, untold experiences, unspoken tragedies, and whole swaths of war experience ignored.\u003c/p>\n\u003cp>Rock ‘n’ roll filled in those gaps. It gave a voice to the disenfranchisement, the unrest, the disillusionment. It spoke not only for my dad—who nervously picked up a newspaper with the local draft lottery results one afternoon and returned home, relieved, when his number was high—but for millions of others who were drafted, or had loved ones who were. It certainly spoke for the hundreds of thousands who were wounded or killed. \u003c/p>\n\u003cfigure id=\"attachment_13462024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-800x575.jpg\" alt=\"Roger Daltrey and Pete Townshend of the Who perform at Desert Trip in Indio, Calif., in 2016.\" width=\"800\" height=\"575\" class=\"size-medium wp-image-13462024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-960x690.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TheWho.DesertTrip-520x374.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Daltrey and Pete Townshend of the Who perform at Desert Trip in Indio, Calif., in 2016. \u003ccite>(Kevin Mazur/Courtesy Goldenvoice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Generation Xers and Millennials like to say they got a raw deal, and they’re right. Baby Boomers took all the jobs, and then ruined the economy. There is nothing but a dismal future for young people right now.\u003c/p>\n\u003cp>But rock ‘n’ roll—or at least the kind of rock ‘n’ roll that told the untold story of the 1960s—also reminds us that the Boomers were literally \u003cem>sent off to die\u003c/em>. For no good reason. For over a decade. Sent to war by their own parents, the “greatest generation.” We have student-loan debt. They had body bags.\u003c/p>\n\u003cp>That’s an oversimplification, I know. But I’m here watching the Who just trying to have a good time with my dad, and next thing I know I’m making peace with my entire disdain and resentment for an imaginary culture war between generations that in reality doesn’t exist. \u003c/p>\n\u003cp>Just as all this love is reigning over me, the band plays the opening notes of the next song, “Love Reign O’er Me,” and it’s so ridiculously perfect, and the chorus so majestic, that I get tiny goosebumps all over. Later, during “Baba O’Riley,” Daltrey sings the words “Let’s get together before we get much older,” and the sentiment fills me with gratitude for my dad and I deciding to take this four-day road trip together, now, before we get much older. \u003c/p>\n\u003cfigure id=\"attachment_13462025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-800x599.jpg\" alt=\"My dad, on the last night of Desert Trip.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13462025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Dad.DesertTrip-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My dad, on the last night of Desert Trip. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And of course, the Who ends their set with “Won’t Get Fooled Again.” \u003c/p>\n\u003cp>At this point—after heavy realizations about age, the passing of time, political upheaval, generational empathy—the scream is almost an afterthought. But during the long synthesizer break right before the scream, my hands are twitching. I even hold them up to my dad: “I’m worried!” I say, nervously. “What if it sucks?!”\u003c/p>\n\u003cp>The drum fill starts. The high synthesizer notes ring out. The stage lights pulse as the whole thing builds.\u003c/p>\n\u003cp>\u003cstrong>AND THE SCREAM IS AWESOME\u003c/strong>.\u003c/p>\n\u003cp>By which I mean that the scream ricochets around the entire field, up to the skies, and in that moment it feels like it covers the entire world. Daltrey is writhing and Townshend is sliding on his knees across the stage and me and my dad are just so, so giddy and bonkers with stupid excitement, and we can’t stop grinning like 12-year-olds, a father and his son filled with crazy elation for hours afterwards.\u003c/p>\n\u003cp>And I can’t stop repeating a still, quiet mantra in my head:\u003c/p>\n\u003cp>\u003cem>The scream is awesome. Rock ‘n’ roll is transcendent. My dad is here. Everything’s gonna be alright\u003c/em>. \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/13455395/taking-dad-to-oldchella-desert-trip-fathers-day","authors":["185"],"programs":["arts_1839"],"categories":["arts_69"],"tags":["arts_1537","arts_991","arts_1903","arts_1118","arts_1908","arts_905"],"featImg":"arts_13488116","label":"arts_1839","isLoading":false,"hasAllInfo":true}},"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? 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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. 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