With 70 Puppets, Turntablist Kid Koala Brings a Live Graphic Novel to SFJAZZ
Why Beyoncé’s ‘Freedom’ Is Soundtracking the Kamala Harris Campaign
Equipto to Headline an SF Fundraiser for Humanitarian Aid in Gaza
Hardly Strictly Drops the Initial Lineup of Its Free Festival in Golden Gate Park
John Legend on Kamala Harris’ Campaign: ‘I Feel So Optimistic’
SF’s Next Free Concert? Sudan Archives at a Waterfront Park
Ticket Alert: Kehlani’s ‘CRASH’ Tour Lands at SF’s Chase Center
Bonnie Raitt, the Grateful Dead and Francis Ford Coppola Among New Kennedy Center Honorees
How Filipina Girl Group One Vo1ce Paved the Way in the ’90s
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As \u003ca href=\"https://delthefunkyhomosapien.bandcamp.com/album/deltron-3030\">Deltron 3030\u003c/a>, they dropped a concept album like no other: a sci-fi epic about an intergalactic fight against corporate domination. It \u003ca href=\"https://www.passionweiss.com/2023/08/22/deltron-3030-review/\">went down as a classic\u003c/a>, with world-building that could be studied alongside that of Octavia Butler and Ursula K. LeGuin.\u003c/p>\n\u003cp>Kid Koala has used his scratching prowess in service of storytelling ever since. Along with his Deltron comrades, he worked on Gorillaz’s debut album in 2001. He’s written and illustrated graphic novels with accompanying soundtracks, and composed for hit films like \u003ci>Looper\u003c/i>, \u003ci>Baby Driver\u003c/i> and \u003ci>Scott Pilgrim vs. the World\u003c/i>. And more recently, in his most ambitious efforts, he’s created stage shows with puppeteers and string ensembles.\u003c/p>\n\u003cp>Two of those productions will soon arrive in the Bay Area for Kid Koala’s residency at SFJAZZ. From Aug. 1–4, he’ll present a live adaptation of his graphic novel \u003ca href=\"https://www.sfjazz.org/tickets/productions/2024-summer-sessions/kid-koala-nufonia-must-fall/\">\u003cem>Nufonia Must Fall\u003c/em>\u003c/a>, a charming, quirky story about a robot falling in love with a human woman. The following weekend, Aug. 8–11, he’ll stage \u003ca href=\"https://www.sfjazz.org/tickets/productions/2024-summer-sessions/kid-koala-the-storyville-mosquito/\">\u003cem>The Storyville Mosquito\u003c/em>\u003c/a>, a surprisingly tender tale about an insect chasing his dreams of musical fame and fortune.\u003c/p>\n\u003cp>https://youtu.be/iXqr5iZCMJI?si=X8idTZO5dBBUimuD\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both of these shows play out like films that come together live on stage. Puppeteers bring characters to life on hand-built sets while cinematographers capture the action. The audience can look up at a screen and watch the story unfold like they would at a movie theater, only to look down and see it being acted out in real time. Meanwhile, Kid Koala performs a live score on turntables and keyboards, accompanied by a string ensemble and Foley artists doing sound effects.\u003c/p>\n\u003cp>Even after decades of touring with huge names like Radiohead and A Tribe Called Quest, Kid Koala says \u003ci>Nufonia Must Fall\u003c/i> and \u003cem>The\u003c/em> \u003ci>Storyville Mosquito\u003c/i> have been the most fun he’s had on stage. Each production is a delicate feat of teamwork and timing. “I’ve never felt that kind of synergy with everybody on stage and even with the audience, who know that at any moment the show can fall apart,” says Kid Koala, whose real name is Eric San. “But we keep it together somehow.”\u003c/p>\n\u003cp>https://youtu.be/66Nh_Os-tHE?si=KHFpG5QGDJTtXxif\u003c/p>\n\u003cp>\u003cem>Nufonia Must Fall \u003c/em>has been touring for over a decade, and a key collaborator in developing it was director K.K. Barrett, an Oscar-winning production designer who has collaborated with Spike Jonze on films like \u003ci>Adaptation.\u003c/i>, \u003ci>Her\u003c/i> and \u003ci>Being John Malkovich\u003c/i>.\u003c/p>\n\u003cp>After meeting Kid Koala backstage at one of his shows, Barrett immediately got on board. Over the years, \u003cem>Nufonia Must Fall \u003c/em>and\u003cem> The Storyville Mosquito\u003c/em> have only grown more intricate. Each features 70 puppets, live special effects and elaborate filming techniques that mimic drone and crane shots.\u003c/p>\n\u003cp>Both shows have a quaint, old time-y aesthetic that stems from Kid Koala’s early love of Charlie Chaplin films. He watched them as a child with his grandmother who only spoke Cantonese, and grew to appreciate how physical comedy can overcome generational and language barriers.\u003c/p>\n\u003cfigure id=\"attachment_13961646\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1920x1284.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A robot faces his own obsolescence when a new model comes to town in ‘Nufonia Must Fall.’ \u003ccite>(Pierre Borasci)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Koala’s two touring productions are also dialogue-free, which has enabled him to take them to five continents. Whether they’re in San Francisco, Tokyo or Abu Dhabi, he and his collaborators look for ways to add nods to local audiences — sometimes updating sets two hours before the show.\u003c/p>\n\u003cp>Kid Koala’s favorite part of these project is “challenges that our team kind of sets up for ourselves,” he reflects. “How do we make the scene funny, or how do we make the scene more poignant? Or how do we make the music more grandiose?”\u003c/p>\n\u003cfigure id=\"attachment_13961647\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1920x1440.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kid Koala’s ‘The Storyville Mosquito’ is a feel-good story of a mosquito finding his voice. \u003ccite>(KKP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Koala is forever drawing and tinkering with musical hardware in his \u003ca href=\"https://youtu.be/V7QNzk8A_E4?si=pUOh3YUGxT6nP3js\">laboratory-like Montreal studio\u003c/a>, looking for ways to push his creativity forward. He teamed up with Montreal production company Outsiders on his first feature film, which is an adaptation of his 2011 graphic novel \u003ci>Space Cadet\u003c/i>, about a robot who raises a young girl who grows up to be a space explorer.\u003c/p>\n\u003cp>“Even though they’re lightyears away from each other, they have this connectivity,” he says. “It deals with the cycles of generations and loss. … I remember it was dealing with my grandmother passing and trying to process that somehow. But then also I was expecting my first daughter.” [aside postid='arts_13961349']\u003c/p>\n\u003cp>At the moment, Kid Koala is in the process of wrapping up the credit sequence, and he expects \u003ci>Space Cadet\u003c/i> to hit the film festival circuit next year. This fall, he has a few music festivals lined up with Deltron 3030, including the sold-out Portola Festival in San Francisco on Sept. 28. The trio is working on new music, too. Dan the Automator just sent him three new tracks he’s cooked up with Del.\u003c/p>\n\u003cp>But before Kid Koala can think about what turntable effects he’ll add, he has boxes of puppets to unpack as he prepares to take the stage at SFJAZZ next week. “The energy we get from the crowd in SF is amazing,” he says with a smile, “so very much looking forward to that.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kid Koala presents ‘Nufonia Must Fall’ at SFJAZZ Aug. 1-4, followed by ‘The Storyville Mosquito’ Aug. 8-11. \u003ca href=\"https://www.sfjazz.org/calendar/?month=8.2024&series=68550\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The legendary DJ collaborates with cinematographers, string musicians and puppeteers at his new residency.","status":"publish","parent":0,"modified":1722027523,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":996},"headData":{"title":"Turntablist Kid Koala Brings a Live Graphic Novel to SFJAZZ | KQED","description":"The legendary DJ collaborates with cinematographers, string musicians and puppeteers at his new residency.","ogTitle":"With 70 Puppets, Turntablist Kid Koala Brings a Live Graphic Novel to SFJAZZ","ogDescription":"","ogImgId":"","twTitle":"With 70 Puppets, Turntablist Kid Koala Brings a Live Graphic Novel to SFJAZZ","twDescription":"","twImgId":"","socialTitle":"Turntablist Kid Koala Brings a Live Graphic Novel to SFJAZZ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"With 70 Puppets, Turntablist Kid Koala Brings a Live Graphic Novel to SFJAZZ","datePublished":"2024-07-26T13:58:12-07:00","dateModified":"2024-07-26T13:58:43-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"with-70-puppets-turntablist-kid-koala-brings-a-live-graphic-novel-to-sfjazz","nprStoryId":"kqed-13961643","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961643/kid-koala-sfjazz-nufonia-must-fall-storyville-mosquito","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even though he’s from Vancouver and based in Montreal, Kid Koala is Bay Area music royalty.\u003c/p>\n\u003cp>In the late ’90s, the turntablist joined forces with rapper \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del the Funky Homosapien\u003c/a> and producer Dan the Automator. As \u003ca href=\"https://delthefunkyhomosapien.bandcamp.com/album/deltron-3030\">Deltron 3030\u003c/a>, they dropped a concept album like no other: a sci-fi epic about an intergalactic fight against corporate domination. It \u003ca href=\"https://www.passionweiss.com/2023/08/22/deltron-3030-review/\">went down as a classic\u003c/a>, with world-building that could be studied alongside that of Octavia Butler and Ursula K. LeGuin.\u003c/p>\n\u003cp>Kid Koala has used his scratching prowess in service of storytelling ever since. Along with his Deltron comrades, he worked on Gorillaz’s debut album in 2001. He’s written and illustrated graphic novels with accompanying soundtracks, and composed for hit films like \u003ci>Looper\u003c/i>, \u003ci>Baby Driver\u003c/i> and \u003ci>Scott Pilgrim vs. the World\u003c/i>. And more recently, in his most ambitious efforts, he’s created stage shows with puppeteers and string ensembles.\u003c/p>\n\u003cp>Two of those productions will soon arrive in the Bay Area for Kid Koala’s residency at SFJAZZ. From Aug. 1–4, he’ll present a live adaptation of his graphic novel \u003ca href=\"https://www.sfjazz.org/tickets/productions/2024-summer-sessions/kid-koala-nufonia-must-fall/\">\u003cem>Nufonia Must Fall\u003c/em>\u003c/a>, a charming, quirky story about a robot falling in love with a human woman. The following weekend, Aug. 8–11, he’ll stage \u003ca href=\"https://www.sfjazz.org/tickets/productions/2024-summer-sessions/kid-koala-the-storyville-mosquito/\">\u003cem>The Storyville Mosquito\u003c/em>\u003c/a>, a surprisingly tender tale about an insect chasing his dreams of musical fame and fortune.\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/iXqr5iZCMJI'\n title='//www.youtube.com/embed/iXqr5iZCMJI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both of these shows play out like films that come together live on stage. Puppeteers bring characters to life on hand-built sets while cinematographers capture the action. The audience can look up at a screen and watch the story unfold like they would at a movie theater, only to look down and see it being acted out in real time. Meanwhile, Kid Koala performs a live score on turntables and keyboards, accompanied by a string ensemble and Foley artists doing sound effects.\u003c/p>\n\u003cp>Even after decades of touring with huge names like Radiohead and A Tribe Called Quest, Kid Koala says \u003ci>Nufonia Must Fall\u003c/i> and \u003cem>The\u003c/em> \u003ci>Storyville Mosquito\u003c/i> have been the most fun he’s had on stage. Each production is a delicate feat of teamwork and timing. “I’ve never felt that kind of synergy with everybody on stage and even with the audience, who know that at any moment the show can fall apart,” says Kid Koala, whose real name is Eric San. “But we keep it together somehow.”\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/66Nh_Os-tHE'\n title='//www.youtube.com/embed/66Nh_Os-tHE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Nufonia Must Fall \u003c/em>has been touring for over a decade, and a key collaborator in developing it was director K.K. Barrett, an Oscar-winning production designer who has collaborated with Spike Jonze on films like \u003ci>Adaptation.\u003c/i>, \u003ci>Her\u003c/i> and \u003ci>Being John Malkovich\u003c/i>.\u003c/p>\n\u003cp>After meeting Kid Koala backstage at one of his shows, Barrett immediately got on board. Over the years, \u003cem>Nufonia Must Fall \u003c/em>and\u003cem> The Storyville Mosquito\u003c/em> have only grown more intricate. Each features 70 puppets, live special effects and elaborate filming techniques that mimic drone and crane shots.\u003c/p>\n\u003cp>Both shows have a quaint, old time-y aesthetic that stems from Kid Koala’s early love of Charlie Chaplin films. He watched them as a child with his grandmother who only spoke Cantonese, and grew to appreciate how physical comedy can overcome generational and language barriers.\u003c/p>\n\u003cfigure id=\"attachment_13961646\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1920x1284.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A robot faces his own obsolescence when a new model comes to town in ‘Nufonia Must Fall.’ \u003ccite>(Pierre Borasci)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Koala’s two touring productions are also dialogue-free, which has enabled him to take them to five continents. Whether they’re in San Francisco, Tokyo or Abu Dhabi, he and his collaborators look for ways to add nods to local audiences — sometimes updating sets two hours before the show.\u003c/p>\n\u003cp>Kid Koala’s favorite part of these project is “challenges that our team kind of sets up for ourselves,” he reflects. “How do we make the scene funny, or how do we make the scene more poignant? Or how do we make the music more grandiose?”\u003c/p>\n\u003cfigure id=\"attachment_13961647\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1920x1440.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kid Koala’s ‘The Storyville Mosquito’ is a feel-good story of a mosquito finding his voice. \u003ccite>(KKP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Koala is forever drawing and tinkering with musical hardware in his \u003ca href=\"https://youtu.be/V7QNzk8A_E4?si=pUOh3YUGxT6nP3js\">laboratory-like Montreal studio\u003c/a>, looking for ways to push his creativity forward. He teamed up with Montreal production company Outsiders on his first feature film, which is an adaptation of his 2011 graphic novel \u003ci>Space Cadet\u003c/i>, about a robot who raises a young girl who grows up to be a space explorer.\u003c/p>\n\u003cp>“Even though they’re lightyears away from each other, they have this connectivity,” he says. “It deals with the cycles of generations and loss. … I remember it was dealing with my grandmother passing and trying to process that somehow. But then also I was expecting my first daughter.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13961349","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the moment, Kid Koala is in the process of wrapping up the credit sequence, and he expects \u003ci>Space Cadet\u003c/i> to hit the film festival circuit next year. This fall, he has a few music festivals lined up with Deltron 3030, including the sold-out Portola Festival in San Francisco on Sept. 28. The trio is working on new music, too. Dan the Automator just sent him three new tracks he’s cooked up with Del.\u003c/p>\n\u003cp>But before Kid Koala can think about what turntable effects he’ll add, he has boxes of puppets to unpack as he prepares to take the stage at SFJAZZ next week. “The energy we get from the crowd in SF is amazing,” he says with a smile, “so very much looking forward to that.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kid Koala presents ‘Nufonia Must Fall’ at SFJAZZ Aug. 1-4, followed by ‘The Storyville Mosquito’ Aug. 8-11. \u003ca href=\"https://www.sfjazz.org/calendar/?month=8.2024&series=68550\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961643/kid-koala-sfjazz-nufonia-must-fall-storyville-mosquito","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_8505","arts_10278","arts_2048","arts_585"],"featImg":"arts_13961645","label":"arts_140"},"arts_13961565":{"type":"posts","id":"arts_13961565","meta":{"index":"posts_1716263798","site":"arts","id":"13961565","score":null,"sort":[1721932293000]},"guestAuthors":[],"slug":"beyonce-freedom-used-by-kamala-harris-election-campaign-2024","title":"Why Beyoncé’s ‘Freedom’ Is Soundtracking the Kamala Harris Campaign","publishDate":1721932293,"format":"standard","headTitle":"Why Beyoncé’s ‘Freedom’ Is Soundtracking the Kamala Harris Campaign | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In Vice President Kamala Harris’ \u003ca href=\"https://www.youtube.com/watch?v=sHky_Xopyrw\">first 2024 presidential campaign video\u003c/a>, a familiar rhythm rings out. The clip, which touches on issues of gun violence, health care and abortion, is soundtracked by Beyoncé’s “Freedom,” a cut from her 2016 landmark album, \u003cem>Lemonade\u003c/em>.\u003c/p>\n\u003cp>“We choose freedom,” Harris says in the clip, as Beyoncé’s powerful chorus kicks in: “Freedom! Freedom! I can’t move / Freedom, cut me loose! Yeah.”\u003c/p>\n\u003cp>[aside postid='arts_13953532']It’s become a campaign song for Harris. She used “Freedom” during her first official public appearance as a presidential candidate at her campaign headquarters in Delaware on Monday, and again on Tuesday at the beginning and end of her rally in Milwaukee.\u003c/p>\n\u003cp>As a whole body of work, \u003cem>Lemonade\u003c/em> has been celebrated as an instant-classic, a game-changing collection of songs and visuals that function as an examination of personal plight and societal injustice, where revenge songs about infidelity sit next to displays of support for \u003ca href=\"https://www.kqed.org/arts/13885483/march-on-washington-2020-draws-thousands-of-peaceful-protesters\">Black Lives Matter\u003c/a>.\u003c/p>\n\u003cp>Omise’eke Tinsley, academic and author of \u003cem>Beyoncé in Formation: Remixing Black Feminism\u003c/em>, says Beyoncé has performed “Freedom,” in particular, in ways that have made it clear it is a political song. “She performed it at Coachella; it segued into ‘Lift Every Voice,’ the Black national anthem,” she says. It was used by activists ahead of the 2016 presidential election, and “in 2020, it was taken up by activists again. In the wake of the George Floyd killing … It’s a song of hope. It’s a song of uplift.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7FWF9375hUA\u003c/p>\n\u003ch2>What is Beyoncé’s “Freedom” about?\u003c/h2>\n\u003cp>Kinitra D. Brooks, an academic and author of \u003cem>The Lemonade Reader\u003c/em>, says much of Beyoncé’s album “focuses on the infidelity of the partner, but it’s really about her learning to love herself and coming to her own and then being able to deal with other ramifications of coming into her own.”\u003c/p>\n\u003cp>“‘Freedom’ is so important because it shows that freedom isn’t free. The freedom to be yourself, the political freedom… it’s the idea that you must fight for freedom, and that it is winnable,” she adds, referencing some of the lyrics in the chorus: “I break chains all by myself / Won’t let my freedom rot in hell / Hey! I’ma keep running / ’Cause a winner don’t quit on themselves.”\u003c/p>\n\u003ch2>The musical legacy of “Freedom”\u003c/h2>\n\u003cp>Arriving in the back-half of \u003cem>Lemonade\u003c/em>, “Freedom” samples two John and Alan Lomax field recordings, which document Jim Crow-era folk spirituals of Southern Black churches and the work songs of Black prisoners from 1959 and 1948, respectively.\u003c/p>\n\u003cp>Brooks calls it a kind of “inheritance.” “It’s necessary that Beyoncé is using, you know, the cadence and the rhythm and the foundation of spirituals and things like that in a song called ‘Freedom,’” she says, because it is part of a greater tradition of Black Americans imagining new ideas and concepts around freedom.\u003c/p>\n\u003cp>[aside postid='arts_13955633']“Freedom” also features Pulitzer Prize winner Kendrick Lamar, the L.A. rapper at the top of his game having recently released the No. 1 hit song “Not Like Us” in the midst of \u003ca href=\"https://www.kqed.org/arts/13956954/kendrick-lamar-drake-beef-euphoria-push-ups-like-that\">his beef with Drake\u003c/a>. Brooks says, “Lamar has that momentum, the momentum of winners.”\u003c/p>\n\u003cp>“These are winners that Kamala is evoking,” Tinsley agrees. “How does Kamala use music and prominent musical voices to inspire people to take a Black woman seriously? I think Beyoncé and Kendrick Lamar are both voices that make that message clear.”\u003c/p>\n\u003ch2>Does “Freedom” differ from other campaign songs?\u003c/h2>\n\u003cp>Eric T. Kasper, academic and co-author of \u003cem>Don’t Stop Thinking About the Music: The Politics of Songs and Musicians in Presidential Campaigns\u003c/em>, says there is a long history of presidential campaign songs having a title or hook about freedom or liberty: In 1800, John Adams used the song, “Adams and Liberty” and Thomas Jefferson used “The Son of Liberty.” In 1860, Abraham Lincoln used “Lincoln and Liberty.” As recent as 2012, Mitt Romney used Kid Rock’s “Born Free.”\u003c/p>\n\u003cp>“The use of a song with that type of title, or a hook with lyrics referring to liberty or freedom, often tries to portray the candidate as supporting voters’ personal autonomy and security from government overreach,” he says.\u003c/p>\n\u003ch2>Is it an effective campaign song?\u003c/h2>\n\u003cp>“Democrats across the board have been saying freedom is at stake,” says Tinsley, “And this literally makes that into a refrain. (She’s) associating her campaign with a literal call for freedom and a reminder that that’s what’s at stake.”\u003c/p>\n\u003cp>Kasper says there is a benefit to campaign songs where “the musical artist is popular, as the candidate may use the song to connect their campaign to a popular celebrity,” and “if the artist supports the candidate, as that can turn into a type of celebrity endorsement.”\u003c/p>\n\u003cfigure id=\"attachment_13961574\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961574\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1536x1069.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-2048x1426.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1920x1337.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs the National Anthem as President Barack Obama looks on during the 2013 inauguration. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What is Beyoncé’s history with Democrats?\u003c/h2>\n\u003cp>In 2013, Beyoncé sang the national anthem at the inauguration of President Barack Obama. Three years later, she and her husband Jay-Z performed at a pre-election concert for Hillary Clinton in Cleveland.\u003c/p>\n\u003cp>[aside postid='arts_13955679']“Look how far we’ve come from having no voice to being on the brink of history — again,” Beyoncé said at the time. “But we have to vote.”\u003c/p>\n\u003cp>“If we remember at the end of Hillary Clinton’s (campaign), they were still trying to get certain populations out. They brought out Beyoncé at the last minute,” says Brooks. Harris differs, because she’s utilizing Beyoncé early on, appealing to “the many populations that are Beyoncé fans, who are people the Harris campaign needs: people of color, queer folks, young people, etc.”\u003c/p>\n\u003cp>Last year, Harris and her husband Doug Emhoff attended Beyoncé’s Renaissance World Tour in Maryland after being gifted tickets from Queen B herself. “Thanks for a fun date night, @Beyonce,” \u003ca href=\"https://www.instagram.com/kamalaharris/p/CvnFq-VuQmB/\">Harris wrote on Instagram\u003c/a>.\u003c/p>\n\u003ch2>How have other pop stars engaged with Harris?\u003c/h2>\n\u003cp>Since President Joe Biden dropped out of the 2024 race for the White House on Sunday, quickly endorsing Vice President Kamala Harris to take on Trump and encouraging his party to unite behind her, the world of pop music has similarly embraced the VP.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Support poured in from Janelle Monáe, John Legend, Katy Perry and Charli XCX, whose album \u003cem>brat\u003c/em> inspired the Internet trend of “brat summer” and many Harris memes. (As a result, Harris’ campaign quickly set its X banner photo to the striking Shrek-green color of Charli’s \u003cem>brat\u003c/em> album cover.) On TikTok, users have remixed Harris’ speeches into songs by Taylor Swift, Chappell Roan, Carly Rae Jepsen and more.\u003c/p>\n\n","blocks":[],"excerpt":"Harris played the ‘Lemonade’ cut during her first appearance as a presidential candidate, and again on Tuesday at a rally.","status":"publish","parent":0,"modified":1721932293,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1246},"headData":{"title":"Kamala Harris Is Using Beyoncé’s ‘Freedom’ in Her Campaign | KQED","description":"Harris played the ‘Lemonade’ cut during her first appearance as a presidential candidate, and again on Tuesday at a rally.","ogTitle":"Why Beyoncé’s ‘Freedom’ Is Soundtracking the Kamala Harris Campaign","ogDescription":"","ogImgId":"","twTitle":"Why Beyoncé’s ‘Freedom’ Is Soundtracking the Kamala Harris Campaign","twDescription":"","twImgId":"","socialTitle":"Kamala Harris Is Using Beyoncé’s ‘Freedom’ in Her Campaign %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Why Beyoncé’s ‘Freedom’ Is Soundtracking the Kamala Harris Campaign","datePublished":"2024-07-25T11:31:33-07:00","dateModified":"2024-07-25T11:31:33-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Maria Sherman, Associated Press","nprStoryId":"kqed-13961565","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13961565/beyonce-freedom-used-by-kamala-harris-election-campaign-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Vice President Kamala Harris’ \u003ca href=\"https://www.youtube.com/watch?v=sHky_Xopyrw\">first 2024 presidential campaign video\u003c/a>, a familiar rhythm rings out. The clip, which touches on issues of gun violence, health care and abortion, is soundtracked by Beyoncé’s “Freedom,” a cut from her 2016 landmark album, \u003cem>Lemonade\u003c/em>.\u003c/p>\n\u003cp>“We choose freedom,” Harris says in the clip, as Beyoncé’s powerful chorus kicks in: “Freedom! Freedom! I can’t move / Freedom, cut me loose! Yeah.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953532","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s become a campaign song for Harris. She used “Freedom” during her first official public appearance as a presidential candidate at her campaign headquarters in Delaware on Monday, and again on Tuesday at the beginning and end of her rally in Milwaukee.\u003c/p>\n\u003cp>As a whole body of work, \u003cem>Lemonade\u003c/em> has been celebrated as an instant-classic, a game-changing collection of songs and visuals that function as an examination of personal plight and societal injustice, where revenge songs about infidelity sit next to displays of support for \u003ca href=\"https://www.kqed.org/arts/13885483/march-on-washington-2020-draws-thousands-of-peaceful-protesters\">Black Lives Matter\u003c/a>.\u003c/p>\n\u003cp>Omise’eke Tinsley, academic and author of \u003cem>Beyoncé in Formation: Remixing Black Feminism\u003c/em>, says Beyoncé has performed “Freedom,” in particular, in ways that have made it clear it is a political song. “She performed it at Coachella; it segued into ‘Lift Every Voice,’ the Black national anthem,” she says. It was used by activists ahead of the 2016 presidential election, and “in 2020, it was taken up by activists again. In the wake of the George Floyd killing … It’s a song of hope. It’s a song of uplift.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7FWF9375hUA'\n title='//www.youtube.com/embed/7FWF9375hUA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>What is Beyoncé’s “Freedom” about?\u003c/h2>\n\u003cp>Kinitra D. Brooks, an academic and author of \u003cem>The Lemonade Reader\u003c/em>, says much of Beyoncé’s album “focuses on the infidelity of the partner, but it’s really about her learning to love herself and coming to her own and then being able to deal with other ramifications of coming into her own.”\u003c/p>\n\u003cp>“‘Freedom’ is so important because it shows that freedom isn’t free. The freedom to be yourself, the political freedom… it’s the idea that you must fight for freedom, and that it is winnable,” she adds, referencing some of the lyrics in the chorus: “I break chains all by myself / Won’t let my freedom rot in hell / Hey! I’ma keep running / ’Cause a winner don’t quit on themselves.”\u003c/p>\n\u003ch2>The musical legacy of “Freedom”\u003c/h2>\n\u003cp>Arriving in the back-half of \u003cem>Lemonade\u003c/em>, “Freedom” samples two John and Alan Lomax field recordings, which document Jim Crow-era folk spirituals of Southern Black churches and the work songs of Black prisoners from 1959 and 1948, respectively.\u003c/p>\n\u003cp>Brooks calls it a kind of “inheritance.” “It’s necessary that Beyoncé is using, you know, the cadence and the rhythm and the foundation of spirituals and things like that in a song called ‘Freedom,’” she says, because it is part of a greater tradition of Black Americans imagining new ideas and concepts around freedom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955633","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Freedom” also features Pulitzer Prize winner Kendrick Lamar, the L.A. rapper at the top of his game having recently released the No. 1 hit song “Not Like Us” in the midst of \u003ca href=\"https://www.kqed.org/arts/13956954/kendrick-lamar-drake-beef-euphoria-push-ups-like-that\">his beef with Drake\u003c/a>. Brooks says, “Lamar has that momentum, the momentum of winners.”\u003c/p>\n\u003cp>“These are winners that Kamala is evoking,” Tinsley agrees. “How does Kamala use music and prominent musical voices to inspire people to take a Black woman seriously? I think Beyoncé and Kendrick Lamar are both voices that make that message clear.”\u003c/p>\n\u003ch2>Does “Freedom” differ from other campaign songs?\u003c/h2>\n\u003cp>Eric T. Kasper, academic and co-author of \u003cem>Don’t Stop Thinking About the Music: The Politics of Songs and Musicians in Presidential Campaigns\u003c/em>, says there is a long history of presidential campaign songs having a title or hook about freedom or liberty: In 1800, John Adams used the song, “Adams and Liberty” and Thomas Jefferson used “The Son of Liberty.” In 1860, Abraham Lincoln used “Lincoln and Liberty.” As recent as 2012, Mitt Romney used Kid Rock’s “Born Free.”\u003c/p>\n\u003cp>“The use of a song with that type of title, or a hook with lyrics referring to liberty or freedom, often tries to portray the candidate as supporting voters’ personal autonomy and security from government overreach,” he says.\u003c/p>\n\u003ch2>Is it an effective campaign song?\u003c/h2>\n\u003cp>“Democrats across the board have been saying freedom is at stake,” says Tinsley, “And this literally makes that into a refrain. (She’s) associating her campaign with a literal call for freedom and a reminder that that’s what’s at stake.”\u003c/p>\n\u003cp>Kasper says there is a benefit to campaign songs where “the musical artist is popular, as the candidate may use the song to connect their campaign to a popular celebrity,” and “if the artist supports the candidate, as that can turn into a type of celebrity endorsement.”\u003c/p>\n\u003cfigure id=\"attachment_13961574\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961574\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1536x1069.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-2048x1426.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1920x1337.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs the National Anthem as President Barack Obama looks on during the 2013 inauguration. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What is Beyoncé’s history with Democrats?\u003c/h2>\n\u003cp>In 2013, Beyoncé sang the national anthem at the inauguration of President Barack Obama. Three years later, she and her husband Jay-Z performed at a pre-election concert for Hillary Clinton in Cleveland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955679","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Look how far we’ve come from having no voice to being on the brink of history — again,” Beyoncé said at the time. “But we have to vote.”\u003c/p>\n\u003cp>“If we remember at the end of Hillary Clinton’s (campaign), they were still trying to get certain populations out. They brought out Beyoncé at the last minute,” says Brooks. Harris differs, because she’s utilizing Beyoncé early on, appealing to “the many populations that are Beyoncé fans, who are people the Harris campaign needs: people of color, queer folks, young people, etc.”\u003c/p>\n\u003cp>Last year, Harris and her husband Doug Emhoff attended Beyoncé’s Renaissance World Tour in Maryland after being gifted tickets from Queen B herself. “Thanks for a fun date night, @Beyonce,” \u003ca href=\"https://www.instagram.com/kamalaharris/p/CvnFq-VuQmB/\">Harris wrote on Instagram\u003c/a>.\u003c/p>\n\u003ch2>How have other pop stars engaged with Harris?\u003c/h2>\n\u003cp>Since President Joe Biden dropped out of the 2024 race for the White House on Sunday, quickly endorsing Vice President Kamala Harris to take on Trump and encouraging his party to unite behind her, the world of pop music has similarly embraced the VP.\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>Support poured in from Janelle Monáe, John Legend, Katy Perry and Charli XCX, whose album \u003cem>brat\u003c/em> inspired the Internet trend of “brat summer” and many Harris memes. (As a result, Harris’ campaign quickly set its X banner photo to the striking Shrek-green color of Charli’s \u003cem>brat\u003c/em> album cover.) On TikTok, users have remixed Harris’ speeches into songs by Taylor Swift, Chappell Roan, Carly Rae Jepsen and more.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961565/beyonce-freedom-used-by-kamala-harris-election-campaign-2024","authors":["byline_arts_13961565"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_1686","arts_4949","arts_22224","arts_5826"],"featImg":"arts_13961578","label":"arts"},"arts_13961479":{"type":"posts","id":"arts_13961479","meta":{"index":"posts_1716263798","site":"arts","id":"13961479","score":null,"sort":[1721850802000]},"guestAuthors":[],"slug":"equipto-family-not-a-group-gaza-fundraiser-human-concern-international","title":"Equipto to Headline an SF Fundraiser for Humanitarian Aid in Gaza","publishDate":1721850802,"format":"standard","headTitle":"Equipto to Headline an SF Fundraiser for Humanitarian Aid in Gaza | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.instagram.com/everybodylovezmike/\">\u003cspan style=\"font-weight: 400\">Mike Evans Jr.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — a local comedian, actor and member of the San Francisco artist collective \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">\u003cspan style=\"font-weight: 400\">Family Not A Group\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — was first introduced to Palestinian culture as an 11-year-old growing up in Vallejo. His neighbors, a Palestinian American family, would often invite him over to parties, and that’s where he began to appreciate their traditions and history.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For many Bay Area youth, that kind of exposure to diverse experiences can instill a certain openness towards others in the world: a sense of interconnected struggle which, as Evans Jr. puts it, often results in a “we’re not all free until we’re all free” ethos. [aside postid='news_11996920,news_11997141,news_11988170']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003c/span>\u003ca href=\"https://abcnews.go.com/International/wireStory/latest-israeli-strikes-southern-gaza-palestinian-death-toll-112159613\">\u003cspan style=\"font-weight: 400\">a reported death toll of over 39,000 Palestinians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Gaza, Evans Jr. — along with many other \u003c/span>\u003ca href=\"https://www.kqed.org/news/11984203/pro-palestinian-protests-sweep-california-college-campuses-amid-israel-hamas-war\">\u003cspan style=\"font-weight: 400\">Bay Area artists, activists and students\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — has found ways to continue his advocacy.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Sunday, July 28, Mike and his longtime friend Maya Y. will be co-hosting a group of local rappers, DJs, comedians, poets and community members for a Free Palestine Fundraiser at \u003c/span>\u003ca href=\"https://www.instagram.com/heyneighborcafe/?hl=en\">\u003cspan style=\"font-weight: 400\">Hey Neighbor Cafe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All proceeds from the event will go directly to Human Concern International, which provides food, resources, aid and education to families in Gaza. Performances will include poetry from \u003c/span>\u003ca href=\"https://www.instagram.com/atayqueen/\">\u003cspan style=\"font-weight: 400\">Sarah O’ Neal\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and music by Afterthought, \u003c/span>\u003ca href=\"https://www.instagram.com/_friscobaby/?hl=en\">\u003cspan style=\"font-weight: 400\">Frisco Baby\u003c/span>\u003c/a>, \u003cspan style=\"font-weight: 400\">Palestinian American MC \u003c/span>\u003ca href=\"https://www.instagram.com/ishaq.ie/?hl=en\">\u003cspan style=\"font-weight: 400\">Ishaq\u003c/span>\u003c/a> and \u003cspan style=\"font-weight: 400\">DJs Jenset and Baghead\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perhaps most notably, \u003c/span>\u003ca href=\"https://www.instagram.com/equipto_415/?hl=en\">\u003cspan style=\"font-weight: 400\">Equipto\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">will headline the grassroots event. The Japanese Colombian San Francisco lyricist is known for \u003ca href=\"https://www.kqed.org/arts/11630270/how-equiptos-hip-hop-helped-reshape-bay-area-activism\">his political activism: In 2016, he was as a member of the Frisco 5\u003c/a>, which organized a 17-day hunger strike to protest the police killings of Alex Nieto, Mario Woods and other community members.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950872\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png\" alt=\"Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015.\" width=\"576\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720-160x200.png 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015. \u003ccite>(Stephen Flynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">\u003cspan style=\"font-weight: 400\">Equipto’s legacy in Bay Area music and activism runs deep\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Evans Jr. credits the veteran MC with supporting him early in his comedic career, dating back to 2015. Like Equipto, Evans Jr. — whose political consciousness expanded at San Francisco State University — is cognizant of how art and media should offer more than simply entertainment. It should be impactful, and it should provoke discourse.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Until there’s not a genocide going on, people need to see it and hear about it. Business as usual is dangerous,” says Evans Jr.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg\" alt=\"A person wearing a baseball cap holds a basketball covered in signatures.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Evans Jr. and Afterthought in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event has been months in the making. Last November, after releasing the web series and album \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13937068/rent-check-mike-evans-jr-family-not-group-san-francisco\">\u003ci>\u003cspan style=\"font-weight: 400\">Rent Check\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Evans Jr. was approached by Maya Y., whose family is from Lebanon near the Gaza border, to co-facilitate the artist-centered fundraiser for Palestinians. Evans Jr., who grew up in both Vallejo and SF, enthusiastically agreed and tapped into the vast panoply of artists and activists he has cultivated over a lifetime.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In true Bay Area fashion, the artists are all donating their time, and Hey Neighbor Cafe is donating its space. \u003c/span>\u003cspan style=\"font-weight: 400\">“The artist community in the Bay Area throws down for Palestine,” Evans Jr. says. “Richmond was the first city [in the country] to pass a resolution on the side of Palestine. I know a lot of Oakland people who are down, too. The Bay is a small pocket, but we’re very strong in the fight.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Free Palestine Fundraiser will take place July 28, 5\u003cspan style=\"font-weight: 400\">–\u003c/span>9 p.m., at Hey Neighbor Cafe (\u003cspan style=\"font-weight: 400\">2 Burrows St., San Francisco). \u003ca href=\"https://posh.vip/e/free-palestine-fundraiser-show\">Tickets available here\u003c/a>.\u003c/span>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Artists from Family Not a Group will also perform at the July 28 benefit concert at Hey Neighbor Cafe. ","status":"publish","parent":0,"modified":1721929007,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":606},"headData":{"title":"Equipto to Headline an SF Fundraiser for Humanitarian Aid in Gaza | KQED","description":"Artists from Family Not a Group will also perform at the July 28 benefit concert at Hey Neighbor Cafe. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Equipto to Headline an SF Fundraiser for Humanitarian Aid in Gaza","datePublished":"2024-07-24T12:53:22-07:00","dateModified":"2024-07-25T10:36:47-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961479","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961479/equipto-family-not-a-group-gaza-fundraiser-human-concern-international","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/everybodylovezmike/\">\u003cspan style=\"font-weight: 400\">Mike Evans Jr.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — a local comedian, actor and member of the San Francisco artist collective \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">\u003cspan style=\"font-weight: 400\">Family Not A Group\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — was first introduced to Palestinian culture as an 11-year-old growing up in Vallejo. His neighbors, a Palestinian American family, would often invite him over to parties, and that’s where he began to appreciate their traditions and history.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For many Bay Area youth, that kind of exposure to diverse experiences can instill a certain openness towards others in the world: a sense of interconnected struggle which, as Evans Jr. puts it, often results in a “we’re not all free until we’re all free” ethos. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11996920,news_11997141,news_11988170","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003c/span>\u003ca href=\"https://abcnews.go.com/International/wireStory/latest-israeli-strikes-southern-gaza-palestinian-death-toll-112159613\">\u003cspan style=\"font-weight: 400\">a reported death toll of over 39,000 Palestinians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Gaza, Evans Jr. — along with many other \u003c/span>\u003ca href=\"https://www.kqed.org/news/11984203/pro-palestinian-protests-sweep-california-college-campuses-amid-israel-hamas-war\">\u003cspan style=\"font-weight: 400\">Bay Area artists, activists and students\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — has found ways to continue his advocacy.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Sunday, July 28, Mike and his longtime friend Maya Y. will be co-hosting a group of local rappers, DJs, comedians, poets and community members for a Free Palestine Fundraiser at \u003c/span>\u003ca href=\"https://www.instagram.com/heyneighborcafe/?hl=en\">\u003cspan style=\"font-weight: 400\">Hey Neighbor Cafe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All proceeds from the event will go directly to Human Concern International, which provides food, resources, aid and education to families in Gaza. Performances will include poetry from \u003c/span>\u003ca href=\"https://www.instagram.com/atayqueen/\">\u003cspan style=\"font-weight: 400\">Sarah O’ Neal\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and music by Afterthought, \u003c/span>\u003ca href=\"https://www.instagram.com/_friscobaby/?hl=en\">\u003cspan style=\"font-weight: 400\">Frisco Baby\u003c/span>\u003c/a>, \u003cspan style=\"font-weight: 400\">Palestinian American MC \u003c/span>\u003ca href=\"https://www.instagram.com/ishaq.ie/?hl=en\">\u003cspan style=\"font-weight: 400\">Ishaq\u003c/span>\u003c/a> and \u003cspan style=\"font-weight: 400\">DJs Jenset and Baghead\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\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>\u003cspan style=\"font-weight: 400\">Perhaps most notably, \u003c/span>\u003ca href=\"https://www.instagram.com/equipto_415/?hl=en\">\u003cspan style=\"font-weight: 400\">Equipto\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">will headline the grassroots event. The Japanese Colombian San Francisco lyricist is known for \u003ca href=\"https://www.kqed.org/arts/11630270/how-equiptos-hip-hop-helped-reshape-bay-area-activism\">his political activism: In 2016, he was as a member of the Frisco 5\u003c/a>, which organized a 17-day hunger strike to protest the police killings of Alex Nieto, Mario Woods and other community members.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950872\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png\" alt=\"Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015.\" width=\"576\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720-160x200.png 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015. \u003ccite>(Stephen Flynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">\u003cspan style=\"font-weight: 400\">Equipto’s legacy in Bay Area music and activism runs deep\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Evans Jr. credits the veteran MC with supporting him early in his comedic career, dating back to 2015. Like Equipto, Evans Jr. — whose political consciousness expanded at San Francisco State University — is cognizant of how art and media should offer more than simply entertainment. It should be impactful, and it should provoke discourse.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Until there’s not a genocide going on, people need to see it and hear about it. Business as usual is dangerous,” says Evans Jr.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg\" alt=\"A person wearing a baseball cap holds a basketball covered in signatures.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Evans Jr. and Afterthought in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event has been months in the making. Last November, after releasing the web series and album \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13937068/rent-check-mike-evans-jr-family-not-group-san-francisco\">\u003ci>\u003cspan style=\"font-weight: 400\">Rent Check\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Evans Jr. was approached by Maya Y., whose family is from Lebanon near the Gaza border, to co-facilitate the artist-centered fundraiser for Palestinians. Evans Jr., who grew up in both Vallejo and SF, enthusiastically agreed and tapped into the vast panoply of artists and activists he has cultivated over a lifetime.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In true Bay Area fashion, the artists are all donating their time, and Hey Neighbor Cafe is donating its space. \u003c/span>\u003cspan style=\"font-weight: 400\">“The artist community in the Bay Area throws down for Palestine,” Evans Jr. says. “Richmond was the first city [in the country] to pass a resolution on the side of Palestine. I know a lot of Oakland people who are down, too. The Bay is a small pocket, but we’re very strong in the fight.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Free Palestine Fundraiser will take place July 28, 5\u003cspan style=\"font-weight: 400\">–\u003c/span>9 p.m., at Hey Neighbor Cafe (\u003cspan style=\"font-weight: 400\">2 Burrows St., San Francisco). \u003ca href=\"https://posh.vip/e/free-palestine-fundraiser-show\">Tickets available here\u003c/a>.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961479/equipto-family-not-a-group-gaza-fundraiser-human-concern-international","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_21889","arts_21930","arts_10278","arts_8838","arts_21682","arts_1146","arts_585"],"featImg":"arts_11641882","label":"arts_140"},"arts_13961499":{"type":"posts","id":"arts_13961499","meta":{"index":"posts_1716263798","site":"arts","id":"13961499","score":null,"sort":[1721847608000]},"guestAuthors":[],"slug":"hardly-strictly-bluegrass-2024-initial-lineup-free-golden-gate-park","title":"Hardly Strictly Drops the Initial Lineup of Its Free Festival in Golden Gate Park","publishDate":1721847608,"format":"standard","headTitle":"Hardly Strictly Drops the Initial Lineup of Its Free Festival in Golden Gate Park | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>San Francisco is on a hot streak of \u003ca href=\"https://www.kqed.org/arts/13961468/sudan-archives-sf-live-noise-pop-crane-cove\">free concerts this summer\u003c/a>, but Hardly Strictly Bluegrass was always ahead of the curve. The annual festival has brought admission-free live music to Golden Gate Park every October for the past 24 years, and it just announced the first phase of the lineup for this year’s event, Oct. 4–6. [aside postid='arts_13961468,arts_13957394']\u003c/p>\n\u003cp>The intergenerational lineup of roots musicians ranges from millennials to nonagenarians. Expect foot-stomping Americana from \u003ca href=\"https://youtu.be/5o3gSY6XwEo?si=ac1M3F3518YVNE6V\">Greensky Bluegrass\u003c/a>; power pop band \u003ca href=\"https://youtu.be/gn5EWQtlevI?si=F6NwtasjKqDYnh8R\">Big Star\u003c/a> celebrating the 50th anniversary of their influential album \u003cem>Radio City\u003c/em>; original bluesman and 2024 Grammy winner \u003ca href=\"https://youtu.be/1Q_pdutDQPs?si=Hl2zC9n5F83LIPCh\">Bobby Rush\u003c/a>; harmonizing folk singer and multi-instrumentalist \u003ca href=\"https://youtu.be/7o19SHBWMV0?si=59HKI-tDfuZ4SwZn\">Alice Gerrard\u003c/a>; folk bands \u003ca href=\"https://youtu.be/KQKPmO2vgjc?si=e2jaHWmaisznXqEu\">The Wood Brothers\u003c/a> and \u003ca href=\"https://youtu.be/9n-oTRhWYWw?si=cdrn9wMszyTK03Mb\">Fruition\u003c/a>; English singer-songwriter \u003ca href=\"https://youtu.be/dnlsyCHN8Ic?si=Ad0dfxmZch4m-fcp\">Robyn Hitchcock\u003c/a>; introspective lyricist \u003ca href=\"https://youtu.be/Mub2i2BoHpM?si=amKeMq3cFTAPfUnv\">Haley Heynderickx\u003c/a>; folk-meets-art pop singer \u003ca href=\"https://youtu.be/ng-m9CCgyCc?si=JN4uyWSpY-npqcCX\">The Bones of J.R. Jones\u003c/a>; and \u003ca href=\"https://youtu.be/czseHfMBl4Q?si=WKQ9Pvq2-wX3_JYp\">Glen Hansard\u003c/a>, who’s currently on a sold-out tour with Pearl Jam.\u003c/p>\n\u003cp>Hardly Strictly will announce even more artists in the coming weeks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The intergenerational lineup features original bluesman Bobby Rush, rising singer Haley Heynderickx and more. ","status":"publish","parent":0,"modified":1721847608,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":171},"headData":{"title":"Hardly Strictly 2024: Initial Lineup for Golden Gate Park Festival | KQED","description":"The intergenerational lineup features original bluesman Bobby Rush, rising singer Haley Heynderickx and more. ","ogTitle":"Hardly Strictly Drops the Initial Lineup of Its Free Festival in Golden Gate Park","ogDescription":"","ogImgId":"","twTitle":"Hardly Strictly Drops the Initial Lineup of Its Free Festival in Golden Gate Park","twDescription":"","twImgId":"","socialTitle":"Hardly Strictly 2024: Initial Lineup for Golden Gate Park Festival %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hardly Strictly Drops the Initial Lineup of Its Free Festival in Golden Gate Park","datePublished":"2024-07-24T12:00:08-07:00","dateModified":"2024-07-24T12:00:08-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961499","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961499/hardly-strictly-bluegrass-2024-initial-lineup-free-golden-gate-park","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco is on a hot streak of \u003ca href=\"https://www.kqed.org/arts/13961468/sudan-archives-sf-live-noise-pop-crane-cove\">free concerts this summer\u003c/a>, but Hardly Strictly Bluegrass was always ahead of the curve. The annual festival has brought admission-free live music to Golden Gate Park every October for the past 24 years, and it just announced the first phase of the lineup for this year’s event, Oct. 4–6. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13961468,arts_13957394","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The intergenerational lineup of roots musicians ranges from millennials to nonagenarians. Expect foot-stomping Americana from \u003ca href=\"https://youtu.be/5o3gSY6XwEo?si=ac1M3F3518YVNE6V\">Greensky Bluegrass\u003c/a>; power pop band \u003ca href=\"https://youtu.be/gn5EWQtlevI?si=F6NwtasjKqDYnh8R\">Big Star\u003c/a> celebrating the 50th anniversary of their influential album \u003cem>Radio City\u003c/em>; original bluesman and 2024 Grammy winner \u003ca href=\"https://youtu.be/1Q_pdutDQPs?si=Hl2zC9n5F83LIPCh\">Bobby Rush\u003c/a>; harmonizing folk singer and multi-instrumentalist \u003ca href=\"https://youtu.be/7o19SHBWMV0?si=59HKI-tDfuZ4SwZn\">Alice Gerrard\u003c/a>; folk bands \u003ca href=\"https://youtu.be/KQKPmO2vgjc?si=e2jaHWmaisznXqEu\">The Wood Brothers\u003c/a> and \u003ca href=\"https://youtu.be/9n-oTRhWYWw?si=cdrn9wMszyTK03Mb\">Fruition\u003c/a>; English singer-songwriter \u003ca href=\"https://youtu.be/dnlsyCHN8Ic?si=Ad0dfxmZch4m-fcp\">Robyn Hitchcock\u003c/a>; introspective lyricist \u003ca href=\"https://youtu.be/Mub2i2BoHpM?si=amKeMq3cFTAPfUnv\">Haley Heynderickx\u003c/a>; folk-meets-art pop singer \u003ca href=\"https://youtu.be/ng-m9CCgyCc?si=JN4uyWSpY-npqcCX\">The Bones of J.R. Jones\u003c/a>; and \u003ca href=\"https://youtu.be/czseHfMBl4Q?si=WKQ9Pvq2-wX3_JYp\">Glen Hansard\u003c/a>, who’s currently on a sold-out tour with Pearl Jam.\u003c/p>\n\u003cp>Hardly Strictly will announce even more artists in the coming weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961499/hardly-strictly-bluegrass-2024-initial-lineup-free-golden-gate-park","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_2688","arts_585"],"featImg":"arts_13961503","label":"arts_140"},"arts_13961467":{"type":"posts","id":"arts_13961467","meta":{"index":"posts_1716263798","site":"arts","id":"13961467","score":null,"sort":[1721773341000]},"guestAuthors":[],"slug":"john-legend-kamala-harris-campaign","title":"John Legend on Kamala Harris’ Campaign: ‘I Feel So Optimistic’","publishDate":1721773341,"format":"standard","headTitle":"John Legend on Kamala Harris’ Campaign: ‘I Feel So Optimistic’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>John Legend, who \u003ca href=\"https://www.instagram.com/p/C9stRRLy44E/\">swiftly endorsed Vice President Kamala Harris\u003c/a> on Monday after President Biden \u003ca href=\"https://www.kqed.org/news/11996616/biden-ends-reelection-campaign-leaving-democrats-next-steps-unclear\">ended his campaign\u003c/a>, had just arrived in San Francisco when my phone rang.\u003c/p>\n\u003cp>Here for \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/John-Legend\">two concerts tonight and tomorrow with the San Francisco Symphony\u003c/a>, Legend and I were scheduled to talk about his current tour. But it was soon clear that he had one thing on his mind: the defeat of Donald Trump, and Harris’ ability to make it happen.\u003c/p>\n\u003cp>After some chit-chat about music and the Bay Area, Legend lit up when the topic swung to Harris and her candidacy. Read his thoughts below.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13961485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Vice President Kamala Harris speaks from the South Lawn of the White House in Washington, DC, on Monday, July 22, 2024, in her first public appearance since President Joe Biden endorsed her to be the next presidential nominee of the Democratic Party. \u003ccite>(Susan Walsh/AP Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: One of the Bay Area’s own, born in Oakland, is suddenly now the Democratic frontrunner: Kamala Harris.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>John Legend:\u003c/strong> Absolutely! Absolutely. I’m very excited.\u003c/p>\n\u003cp>\u003cstrong>I saw you publicly endorsed her. How are you feeling about her campaign, about her chances?\u003c/strong>\u003c/p>\n\u003cp>I feel so optimistic. I feel like she’s ready for this moment. Even in the past few weeks, when there were a lot of rumblings about whether or not President Biden would bow out, you could just see her rising to the occasion. I believe she’s truly ready.\u003c/p>\n\u003cp>\u003cstrong>Have you spent time with her? What are your impressions of her as a person, face-to-face?\u003c/strong>\u003c/p>\n\u003cp>I’ve met her many times. I helped raise money for her Senate campaign, and I think I helped raise money for her Attorney General campaign, too. And we were recently with her at the White House, where my wife hosted an event with her, speaking about reproductive rights and the fight to restore reproductive rights around the country.\u003c/p>\n\u003cp>She’s extremely smart. She’s extremely personable, fun to talk to and engaging. She really listens, and is really empathetic. And I think she’s really well prepared for this moment, prepared to campaign — but also prepared to be president.\u003c/p>\n\u003cfigure id=\"attachment_13961481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Legend performs before a speech by Kamala Harris at a drive-in election eve rally on Nov. 2, 2020 in Philadelphia. \u003ccite>(Mark Makela)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In your own words, why do you think it’s important that she beats Trump?\u003c/strong>\u003c/p>\n\u003cp>Trump represents a very unique danger to the country. We’ve seen his contempt for democracy. We’ve seen it through the insurrection he encouraged on January 6th. We’ve seen it in his attempts to demonize and defame election workers. We’ve seen it in his lying and whining about losing the 2020 election. He cannot be trusted with our democracy.\u003c/p>\n\u003cp>And, as we saw through his handling of the COVID pandemic, he can’t be trusted with our public health. He can’t be trusted with our climate, because he doesn’t even believe climate change is real. There’s so many reasons why he shouldn’t lead our country. If you do any reading about Project 2025 and you see what he and his henchmen are planning for our country, they’re planning to destroy our democracy in multiple ways. And we’ve got to do everything we can to prevent that from happening.\u003c/p>\n\u003cp>\u003cstrong>What do you think Kamala’s strong points are as a candidate, to beat him?\u003c/strong>\u003c/p>\n\u003cp>She clearly can make the case. She knows how to \u003cem>joyfully\u003c/em> campaign, but also prosecute the case at the same time. And I think she has that right combination of charisma, intelligence and the ability to very clearly draw the distinction between her vision for the country and Donald Trump’s.\u003c/p>\n\u003cp>[aside postID='arts_13955679']\u003cstrong>Is there any one particular issue in this election year you’re especially concerned about – climate, immigration, the economy, abortion?\u003c/strong>\u003c/p>\n\u003cp>Well, all of it matters. And all of it points to voting for Kamala Harris! As you think about the climate, the Biden-Harris administration just made the biggest investment in fighting climate change that the United States has ever made with the Inflation Reduction Act. So much of that investment is going into new technologies that will help us fight climate change. The Republican Party wants to roll all that back and claim that climate change isn’t even happening.\u003c/p>\n\u003cp>And then, when it comes to reproductive rights, it’s something that’s very close to my family’s heart. They want the government to tell women what to do with their bodies. They’re willing to risk women’s lives in order to force them to carry pregnancies to term. It’s just so clear, the difference. I can’t imagine putting them back in power and allowing them to wreak havoc on so many freedoms that we hold dear.\u003c/p>\n\u003cp>\u003cstrong>Lastly, for all the for all the disillusioned voters out there: Why should they have hope? \u003c/strong>\u003c/p>\n\u003cp>Well, first of all, I get the sense that a lot of that disillusionment is evaporating. A lot of people are getting motivated and energized by this change. I think it was the right change to make, at the right time. I’m seeing the energy from so many components of the Democratic base: young people, Black people, Asian people, women.\u003c/p>\n\u003cp>The motivation and the momentum are definitely going in the right direction now. So I’m excited. I think people are getting fired up. And for all the reasons I said before, I think there are plenty of reasons that this election is going to matter in people’s lives. And they need to make sure they are engaged not only in voting, but organizing and encouraging their friends and family to vote as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>John Legend performs with the San Francisco Symphony on Tuesday and Wednesday, July 23 and 24, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/John-Legend\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In town to appear with the San Francisco Symphony, the star tells KQED that ‘I believe she’s truly ready.’","status":"publish","parent":0,"modified":1721829395,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1032},"headData":{"title":"John Legend on Kamala Harris’ Campaign: ‘I Feel So Optimistic’ | KQED","description":"In town to appear with the San Francisco Symphony, the star tells KQED that ‘I believe she’s truly ready.’","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"John Legend on Kamala Harris’ Campaign: ‘I Feel So Optimistic’","datePublished":"2024-07-23T15:22:21-07:00","dateModified":"2024-07-24T06:56:35-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961467","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961467/john-legend-kamala-harris-campaign","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Legend, who \u003ca href=\"https://www.instagram.com/p/C9stRRLy44E/\">swiftly endorsed Vice President Kamala Harris\u003c/a> on Monday after President Biden \u003ca href=\"https://www.kqed.org/news/11996616/biden-ends-reelection-campaign-leaving-democrats-next-steps-unclear\">ended his campaign\u003c/a>, had just arrived in San Francisco when my phone rang.\u003c/p>\n\u003cp>Here for \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/John-Legend\">two concerts tonight and tomorrow with the San Francisco Symphony\u003c/a>, Legend and I were scheduled to talk about his current tour. But it was soon clear that he had one thing on his mind: the defeat of Donald Trump, and Harris’ ability to make it happen.\u003c/p>\n\u003cp>After some chit-chat about music and the Bay Area, Legend lit up when the topic swung to Harris and her candidacy. Read his thoughts below.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13961485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/AP24204589420813-scaled-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Vice President Kamala Harris speaks from the South Lawn of the White House in Washington, DC, on Monday, July 22, 2024, in her first public appearance since President Joe Biden endorsed her to be the next presidential nominee of the Democratic Party. \u003ccite>(Susan Walsh/AP Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: One of the Bay Area’s own, born in Oakland, is suddenly now the Democratic frontrunner: Kamala Harris.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Legend:\u003c/strong> Absolutely! Absolutely. I’m very excited.\u003c/p>\n\u003cp>\u003cstrong>I saw you publicly endorsed her. How are you feeling about her campaign, about her chances?\u003c/strong>\u003c/p>\n\u003cp>I feel so optimistic. I feel like she’s ready for this moment. Even in the past few weeks, when there were a lot of rumblings about whether or not President Biden would bow out, you could just see her rising to the occasion. I believe she’s truly ready.\u003c/p>\n\u003cp>\u003cstrong>Have you spent time with her? What are your impressions of her as a person, face-to-face?\u003c/strong>\u003c/p>\n\u003cp>I’ve met her many times. I helped raise money for her Senate campaign, and I think I helped raise money for her Attorney General campaign, too. And we were recently with her at the White House, where my wife hosted an event with her, speaking about reproductive rights and the fight to restore reproductive rights around the country.\u003c/p>\n\u003cp>She’s extremely smart. She’s extremely personable, fun to talk to and engaging. She really listens, and is really empathetic. And I think she’s really well prepared for this moment, prepared to campaign — but also prepared to be president.\u003c/p>\n\u003cfigure id=\"attachment_13961481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1229427750-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Legend performs before a speech by Kamala Harris at a drive-in election eve rally on Nov. 2, 2020 in Philadelphia. \u003ccite>(Mark Makela)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In your own words, why do you think it’s important that she beats Trump?\u003c/strong>\u003c/p>\n\u003cp>Trump represents a very unique danger to the country. We’ve seen his contempt for democracy. We’ve seen it through the insurrection he encouraged on January 6th. We’ve seen it in his attempts to demonize and defame election workers. We’ve seen it in his lying and whining about losing the 2020 election. He cannot be trusted with our democracy.\u003c/p>\n\u003cp>And, as we saw through his handling of the COVID pandemic, he can’t be trusted with our public health. He can’t be trusted with our climate, because he doesn’t even believe climate change is real. There’s so many reasons why he shouldn’t lead our country. If you do any reading about Project 2025 and you see what he and his henchmen are planning for our country, they’re planning to destroy our democracy in multiple ways. And we’ve got to do everything we can to prevent that from happening.\u003c/p>\n\u003cp>\u003cstrong>What do you think Kamala’s strong points are as a candidate, to beat him?\u003c/strong>\u003c/p>\n\u003cp>She clearly can make the case. She knows how to \u003cem>joyfully\u003c/em> campaign, but also prosecute the case at the same time. And I think she has that right combination of charisma, intelligence and the ability to very clearly draw the distinction between her vision for the country and Donald Trump’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955679","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Is there any one particular issue in this election year you’re especially concerned about – climate, immigration, the economy, abortion?\u003c/strong>\u003c/p>\n\u003cp>Well, all of it matters. And all of it points to voting for Kamala Harris! As you think about the climate, the Biden-Harris administration just made the biggest investment in fighting climate change that the United States has ever made with the Inflation Reduction Act. So much of that investment is going into new technologies that will help us fight climate change. The Republican Party wants to roll all that back and claim that climate change isn’t even happening.\u003c/p>\n\u003cp>And then, when it comes to reproductive rights, it’s something that’s very close to my family’s heart. They want the government to tell women what to do with their bodies. They’re willing to risk women’s lives in order to force them to carry pregnancies to term. It’s just so clear, the difference. I can’t imagine putting them back in power and allowing them to wreak havoc on so many freedoms that we hold dear.\u003c/p>\n\u003cp>\u003cstrong>Lastly, for all the for all the disillusioned voters out there: Why should they have hope? \u003c/strong>\u003c/p>\n\u003cp>Well, first of all, I get the sense that a lot of that disillusionment is evaporating. A lot of people are getting motivated and energized by this change. I think it was the right change to make, at the right time. I’m seeing the energy from so many components of the Democratic base: young people, Black people, Asian people, women.\u003c/p>\n\u003cp>The motivation and the momentum are definitely going in the right direction now. So I’m excited. I think people are getting fired up. And for all the reasons I said before, I think there are plenty of reasons that this election is going to matter in people’s lives. And they need to make sure they are engaged not only in voting, but organizing and encouraging their friends and family to vote as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>John Legend performs with the San Francisco Symphony on Tuesday and Wednesday, July 23 and 24, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/John-Legend\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961467/john-legend-kamala-harris-campaign","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_4949","arts_10278","arts_22224","arts_1367","arts_585"],"featImg":"arts_13961476","label":"arts_140"},"arts_13961468":{"type":"posts","id":"arts_13961468","meta":{"index":"posts_1716263798","site":"arts","id":"13961468","score":null,"sort":[1721769756000]},"guestAuthors":[],"slug":"sudan-archives-sf-live-noise-pop-crane-cove","title":"SF’s Next Free Concert? Sudan Archives at a Waterfront Park","publishDate":1721769756,"format":"aside","headTitle":"SF’s Next Free Concert? Sudan Archives at a Waterfront Park | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13961469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668.jpg\" alt=\"\" width=\"2000\" height=\"1502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1920x1442.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sudan Archives performs during the 2024 Pitchfork Music Festival at Union Park on July 19, 2024 in Chicago, Illinois. \u003ccite>(Barry Brecheisen/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like floating down a river or biting into a perfectly ripe peach, a free, outdoor concert at a waterfront park is just one of those peak summer experiences. Especially when the headliner is \u003ca href=\"https://sudanarchives.com/\">Sudan Archives\u003c/a>, one of this generation’s most dynamic artists. The LA singer, violinist and producer has made massive crowds dance to her smart, sexy electronic pop at festivals worldwide, and she touches down in San Francisco on July 27 for a free show at \u003ca href=\"https://sfport.com/cranecovepark\">Crane Cove Park\u003c/a>, with picturesque views of the San Francisco Bay.\u003c/p>\n\u003cp>A collaboration between the nonprofit San Francisco Parks Alliance and local concert promoters and venues, \u003ca href=\"https://sflivefest.com/\">SF Live\u003c/a> kicked off in May as part of Mayor London Breed’s efforts to get the city out of its doom loop narrative and boost its nightlife and entertainment sectors, which are still struggling in the wake of the pandemic. Sudan Archives’ set marks the first of three upcoming SF Live shows produced by local promoter \u003ca href=\"https://www.noisepop.com/\">Noise Pop\u003c/a>, which puts on an annual music festival of the same name.\u003c/p>\n\u003cp>https://youtu.be/w5iI590h4RE?si=R7LQxroRGkSgZMhg\u003c/p>\n\u003cp>Noise Pop tapped independent venue \u003ca href=\"https://rickshawstop.com/\">Rickshaw Stop\u003c/a> to curate the Sudan Archives show, which features an all-Black, all-queer lineup. Rounding out the bill is The Seshen’s \u003ca href=\"https://www.instagram.com/lalin_music/?hl=en\">Lalin St. Juste\u003c/a>, whose intense, enigmatic electronic pop excavates themes of spirituality, transformation and the singer’s Haitian roots. Oakland-raised \u003ca href=\"https://www.instagram.com/kossisko/?hl=en\">Kossisko\u003c/a>, who recently performed at SF Pride, will preside over a feel-good dance party with tracks off their funky new album \u003ci>Slayerz Ball\u003c/i>, which celebrates genderfluid self-expression.\u003c/p>\n\u003cp>“I think in general right now, we just need to feel united,” says Kossisko. “I think there needs to be more of this stuff, I think because of the fact that we’re always behind our screens now.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/PIC_Em1fk94?si=uf9s_R6uT52p_CrR\u003c/p>\n\u003cp>Not only that, but by all counts, the live music sector has been completely out of whack the past few years, ever since pandemic shutdowns. Between the impossible economics of streaming platforms, \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">which barely pay artists\u003c/a>, and \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">inflation cutting into artists’ earnings on tour\u003c/a>, working musicians and small venues are still struggling to emerge from the financial hole of 2020, even four years later.\u003c/p>\n\u003cp>Sure, fans are splurging on hyped arena tours by major-label stars, but support for smaller acts can be “hit or miss,” says Dan Strachota, head of operations at Rickshaw Stop. “You’ll have wonderful nights where the music is great and the people are wonderful, and the people have a few drinks and everybody makes money, and then you’ll have the same exact kind of sound a week later and no one will show up,” he explains.\u003c/p>\n\u003cp>“It seems weird that people would be less likely to pay for a $10 show than they would a $200 show, but I think people just go for what they’re certain about,” he continues. “The known quantities do better than the more experimental, weird, uncertain small bands. And we kind of make our living on those, which we hold near and dear to our hearts.”\u003c/p>\n\u003cp>People are still going out less, too. But with the celebratory sound of \u003ci>Slayerz Ball\u003c/i>, Kossisko wants to break audiences out of their shells. “Like if I go somewhere and I hear a song I like, even if I’m the only person dancing, I’m going to dance and I’m going to shake some ass and just have fun,” they say. “But I noticed that, especially post-pandemic, it feels like people are so self-conscious and so inward now. [With] this album, I wanted to make something that was super self-indulgent and super fun.”\u003c/p>\n\u003cp>https://youtu.be/yV9sz4S1zNs?si=oSW_6frx2tXA0Y5S\u003c/p>\n\u003cp>After Kossisko’s show with Sudan Archives and Lalin St. Juste on July 27, SF Live plans to keep the good vibes rolling. At the Golden Gate Park bandshell on Aug. 3, longtime queer venue El Rio and production company Illuminate present \u003ca href=\"https://sflivefest.com/upcoming-free-shows\">San Cha\u003c/a>, whose experimental sound reimagines rancheras, dance pop and even opera. Noise Pop’s next offerings for the series are the \u003ca href=\"https://sflivefest.com/sf-live-calendar/chinabasin-aug17\">Talking Heads’ Jerry Harrison and Adrian Belew\u003c/a> at China Basin Park on Aug. 17 (co-produced by Great American Music Hall) and \u003ca href=\"https://sflivefest.com/sf-live-calendar/potrerodelsol-sept07\">Eagles of Death Metal\u003c/a> at Potrero Del Sol on Sept. 7 (co-produced by Kilowatt). [aside postid='arts_13961459']\u003c/p>\n\u003cp>Despite the many doomsday headlines we see about San Francisco, there’s clearly an appetite for these kinds of free events. The Bhangra & Beats Night Market, also sponsored by Mayor Breed and the Office of Economic Workforce and Development, recently brought thousands of families and music lovers to the typically sleepy Financial District for a night of Punjabi rhythms, Afrobeats and food. And last weekend, electronic music label Dirty Bird packed out Embarcadero Plaza for a free show put on by Another Planet Entertainment as part of its deal with the city to hold ticketed concerts in Golden Gate Park.\u003c/p>\n\u003cp>As far as SF Live is concerned, Noise Pop CEO Michelle Swing says she wants these concerts to inspire attendees to support the local venues presenting them, and to make a compelling case for city funding for the arts.\u003c/p>\n\u003cp>“I hope that this program is a really good demonstration of why music programming is so important and critical to the culture of the city,” she says, “and how it’s fundamentally important for the community, for the economy.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sudan Archives, Kossisko and Lalin St. Juste perform at \u003ca href=\"https://sflivefest.com/sf-live-calendar/cranecove-july27\">Crane Cove Park on July 27, 12-5 p.m.\u003c/a> \u003ca href=\"https://sflivefest.com/upcoming-free-shows\">Upcoming SF Live concerts can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The July 27 show with Kossisko and Lalin St. Juste is part of an ongoing push to boost live music in the city. ","status":"publish","parent":0,"modified":1721857279,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":989},"headData":{"title":"Sudan Archives Headlines a Free Show at SF’s Crane Cove Park | KQED","description":"The July 27 show with Kossisko and Lalin St. Juste is part of an ongoing push to boost live music in the city. ","ogTitle":"SF's Next Free Concert? Sudan Archives at a Waterfront Park","ogDescription":"","ogImgId":"","twTitle":"SF's Next Free Concert? Sudan Archives at a Waterfront Park","twDescription":"","twImgId":"","socialTitle":"Sudan Archives Headlines a Free Show at SF’s Crane Cove Park %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF’s Next Free Concert? Sudan Archives at a Waterfront Park","datePublished":"2024-07-23T14:22:36-07:00","dateModified":"2024-07-24T14:41:19-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961468","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961468/sudan-archives-sf-live-noise-pop-crane-cove","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13961469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668.jpg\" alt=\"\" width=\"2000\" height=\"1502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1920x1442.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sudan Archives performs during the 2024 Pitchfork Music Festival at Union Park on July 19, 2024 in Chicago, Illinois. \u003ccite>(Barry Brecheisen/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like floating down a river or biting into a perfectly ripe peach, a free, outdoor concert at a waterfront park is just one of those peak summer experiences. Especially when the headliner is \u003ca href=\"https://sudanarchives.com/\">Sudan Archives\u003c/a>, one of this generation’s most dynamic artists. The LA singer, violinist and producer has made massive crowds dance to her smart, sexy electronic pop at festivals worldwide, and she touches down in San Francisco on July 27 for a free show at \u003ca href=\"https://sfport.com/cranecovepark\">Crane Cove Park\u003c/a>, with picturesque views of the San Francisco Bay.\u003c/p>\n\u003cp>A collaboration between the nonprofit San Francisco Parks Alliance and local concert promoters and venues, \u003ca href=\"https://sflivefest.com/\">SF Live\u003c/a> kicked off in May as part of Mayor London Breed’s efforts to get the city out of its doom loop narrative and boost its nightlife and entertainment sectors, which are still struggling in the wake of the pandemic. Sudan Archives’ set marks the first of three upcoming SF Live shows produced by local promoter \u003ca href=\"https://www.noisepop.com/\">Noise Pop\u003c/a>, which puts on an annual music festival of the same name.\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/w5iI590h4RE'\n title='//www.youtube.com/embed/w5iI590h4RE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Noise Pop tapped independent venue \u003ca href=\"https://rickshawstop.com/\">Rickshaw Stop\u003c/a> to curate the Sudan Archives show, which features an all-Black, all-queer lineup. Rounding out the bill is The Seshen’s \u003ca href=\"https://www.instagram.com/lalin_music/?hl=en\">Lalin St. Juste\u003c/a>, whose intense, enigmatic electronic pop excavates themes of spirituality, transformation and the singer’s Haitian roots. Oakland-raised \u003ca href=\"https://www.instagram.com/kossisko/?hl=en\">Kossisko\u003c/a>, who recently performed at SF Pride, will preside over a feel-good dance party with tracks off their funky new album \u003ci>Slayerz Ball\u003c/i>, which celebrates genderfluid self-expression.\u003c/p>\n\u003cp>“I think in general right now, we just need to feel united,” says Kossisko. “I think there needs to be more of this stuff, I think because of the fact that we’re always behind our screens now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PIC_Em1fk94'\n title='//www.youtube.com/embed/PIC_Em1fk94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not only that, but by all counts, the live music sector has been completely out of whack the past few years, ever since pandemic shutdowns. Between the impossible economics of streaming platforms, \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">which barely pay artists\u003c/a>, and \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">inflation cutting into artists’ earnings on tour\u003c/a>, working musicians and small venues are still struggling to emerge from the financial hole of 2020, even four years later.\u003c/p>\n\u003cp>Sure, fans are splurging on hyped arena tours by major-label stars, but support for smaller acts can be “hit or miss,” says Dan Strachota, head of operations at Rickshaw Stop. “You’ll have wonderful nights where the music is great and the people are wonderful, and the people have a few drinks and everybody makes money, and then you’ll have the same exact kind of sound a week later and no one will show up,” he explains.\u003c/p>\n\u003cp>“It seems weird that people would be less likely to pay for a $10 show than they would a $200 show, but I think people just go for what they’re certain about,” he continues. “The known quantities do better than the more experimental, weird, uncertain small bands. And we kind of make our living on those, which we hold near and dear to our hearts.”\u003c/p>\n\u003cp>People are still going out less, too. But with the celebratory sound of \u003ci>Slayerz Ball\u003c/i>, Kossisko wants to break audiences out of their shells. “Like if I go somewhere and I hear a song I like, even if I’m the only person dancing, I’m going to dance and I’m going to shake some ass and just have fun,” they say. “But I noticed that, especially post-pandemic, it feels like people are so self-conscious and so inward now. [With] this album, I wanted to make something that was super self-indulgent and super fun.”\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/yV9sz4S1zNs'\n title='//www.youtube.com/embed/yV9sz4S1zNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After Kossisko’s show with Sudan Archives and Lalin St. Juste on July 27, SF Live plans to keep the good vibes rolling. At the Golden Gate Park bandshell on Aug. 3, longtime queer venue El Rio and production company Illuminate present \u003ca href=\"https://sflivefest.com/upcoming-free-shows\">San Cha\u003c/a>, whose experimental sound reimagines rancheras, dance pop and even opera. Noise Pop’s next offerings for the series are the \u003ca href=\"https://sflivefest.com/sf-live-calendar/chinabasin-aug17\">Talking Heads’ Jerry Harrison and Adrian Belew\u003c/a> at China Basin Park on Aug. 17 (co-produced by Great American Music Hall) and \u003ca href=\"https://sflivefest.com/sf-live-calendar/potrerodelsol-sept07\">Eagles of Death Metal\u003c/a> at Potrero Del Sol on Sept. 7 (co-produced by Kilowatt). \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13961459","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the many doomsday headlines we see about San Francisco, there’s clearly an appetite for these kinds of free events. The Bhangra & Beats Night Market, also sponsored by Mayor Breed and the Office of Economic Workforce and Development, recently brought thousands of families and music lovers to the typically sleepy Financial District for a night of Punjabi rhythms, Afrobeats and food. And last weekend, electronic music label Dirty Bird packed out Embarcadero Plaza for a free show put on by Another Planet Entertainment as part of its deal with the city to hold ticketed concerts in Golden Gate Park.\u003c/p>\n\u003cp>As far as SF Live is concerned, Noise Pop CEO Michelle Swing says she wants these concerts to inspire attendees to support the local venues presenting them, and to make a compelling case for city funding for the arts.\u003c/p>\n\u003cp>“I hope that this program is a really good demonstration of why music programming is so important and critical to the culture of the city,” she says, “and how it’s fundamentally important for the community, for the economy.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sudan Archives, Kossisko and Lalin St. Juste perform at \u003ca href=\"https://sflivefest.com/sf-live-calendar/cranecove-july27\">Crane Cove Park on July 27, 12-5 p.m.\u003c/a> \u003ca href=\"https://sflivefest.com/upcoming-free-shows\">Upcoming SF Live concerts can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961468/sudan-archives-sf-live-noise-pop-crane-cove","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_585"],"featImg":"arts_13961470","label":"arts_140"},"arts_13961459":{"type":"posts","id":"arts_13961459","meta":{"index":"posts_1716263798","site":"arts","id":"13961459","score":null,"sort":[1721759006000]},"guestAuthors":[],"slug":"kehlani-tickets-crash-tour-presale-code","title":"Ticket Alert: Kehlani’s ‘CRASH’ Tour Lands at SF’s Chase Center","publishDate":1721759006,"format":"standard","headTitle":"Ticket Alert: Kehlani’s ‘CRASH’ Tour Lands at SF’s Chase Center | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Kehlani is having a huge year. The Oakland R&B star’s new hit, “\u003ca href=\"https://youtu.be/6qatTTscK4c?si=gKn7MkVc_Rmlxc7i\">After Hours\u003c/a>,” has an irresistible dancehall pulse that’s been fueling steamy moments at clubs and day parties all summer. And her new album \u003cem>CRASH\u003c/em> explores the many shades of love, lust and desire, with unexpected experiments (like a Jill Scott and Young Miko pairing on the dripping wet “\u003ca href=\"https://youtu.be/xoIkT0252vQ?si=OXQMfmCkGkPyNU9T\">Sucia\u003c/a>”) that stick the landing.\u003c/p>\n\u003cp>Kehlani is taking \u003cem>CRASH\u003c/em> on the road this summer with an arena tour that kicks off in Minneapolis on Sept. 4, and concludes with a hometown show at San Francisco’s Chase Center on Nov. 2. Joining Kehlani are UK girl group \u003ca href=\"https://youtu.be/NQT7eAKDbNk?si=zG4_Mu7bEOw36Hkc\">FLO\u003c/a> and rising Atlanta rapper \u003ca href=\"https://youtu.be/0MedMI2RKt8?si=r5bAztpLDsCTyU52\">Anycia\u003c/a>.\u003c/p>\n\u003cp>Tickets go on sale to the general public this Friday, July 26 at 10 a.m. But there are a \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">few ways to get your hands on them early\u003c/a>.\u003c/p>\n\u003cp>The first is a Citi card presale that begins July 23 at 2 p.m. local time through the Citi Entertainment program. An artist presale starts 10 a.m. on July 24 with the password “24CRASH.” The Bay’s own \u003ca href=\"https://apeconcerts.com/events/kehlani-241102/\">Another Planet Entertainment\u003c/a>, which is co-producing the event, has a presale at the same time with the password “tears.”\u003c/p>\n\u003cp>Ticketmaster and Live Nation both have presales that begin July 25 at 10 a.m.; if you use their services, check your account for details. Spotify, Bandsintown and GSW Dub Club also have presales at that time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once you have your presale code and are good to go, all tickets can be found \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">on Ticketmaster\u003c/a>. They suggest signing into your account 10 minutes early.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>CRASH\u003c/em> sees Kehlani elevating to new artistic heights. It’s queer yet universal, with a palpable confidence that reflects the singer’s vulnerability and outspokenness. (Off the mic, Kehlani has been \u003ca href=\"https://www.nbcnews.com/pop-culture/pop-culture-news/kehlani-stands-palestinians-newest-music-video-rcna155091\">advocating for Palestinians\u003c/a> while most of the music industry stays silent.) We can expect to see more of that bold vision when they take center stage.\u003c/p>\n\n","blocks":[],"excerpt":"How to access presales for the Nov. 2 show before tickets go on sale to the public on July 26. ","status":"publish","parent":0,"modified":1721861650,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":344},"headData":{"title":"Ticket Alert: Kehlani’s ‘CRASH’ Tour Lands at SF’s Chase Center | KQED","description":"How to access presales for the Nov. 2 show before tickets go on sale to the public on July 26. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ticket Alert: Kehlani’s ‘CRASH’ Tour Lands at SF’s Chase Center","datePublished":"2024-07-23T11:23:26-07:00","dateModified":"2024-07-24T15:54:10-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13961459","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13961459/kehlani-tickets-crash-tour-presale-code","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kehlani is having a huge year. The Oakland R&B star’s new hit, “\u003ca href=\"https://youtu.be/6qatTTscK4c?si=gKn7MkVc_Rmlxc7i\">After Hours\u003c/a>,” has an irresistible dancehall pulse that’s been fueling steamy moments at clubs and day parties all summer. And her new album \u003cem>CRASH\u003c/em> explores the many shades of love, lust and desire, with unexpected experiments (like a Jill Scott and Young Miko pairing on the dripping wet “\u003ca href=\"https://youtu.be/xoIkT0252vQ?si=OXQMfmCkGkPyNU9T\">Sucia\u003c/a>”) that stick the landing.\u003c/p>\n\u003cp>Kehlani is taking \u003cem>CRASH\u003c/em> on the road this summer with an arena tour that kicks off in Minneapolis on Sept. 4, and concludes with a hometown show at San Francisco’s Chase Center on Nov. 2. Joining Kehlani are UK girl group \u003ca href=\"https://youtu.be/NQT7eAKDbNk?si=zG4_Mu7bEOw36Hkc\">FLO\u003c/a> and rising Atlanta rapper \u003ca href=\"https://youtu.be/0MedMI2RKt8?si=r5bAztpLDsCTyU52\">Anycia\u003c/a>.\u003c/p>\n\u003cp>Tickets go on sale to the general public this Friday, July 26 at 10 a.m. But there are a \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">few ways to get your hands on them early\u003c/a>.\u003c/p>\n\u003cp>The first is a Citi card presale that begins July 23 at 2 p.m. local time through the Citi Entertainment program. An artist presale starts 10 a.m. on July 24 with the password “24CRASH.” The Bay’s own \u003ca href=\"https://apeconcerts.com/events/kehlani-241102/\">Another Planet Entertainment\u003c/a>, which is co-producing the event, has a presale at the same time with the password “tears.”\u003c/p>\n\u003cp>Ticketmaster and Live Nation both have presales that begin July 25 at 10 a.m.; if you use their services, check your account for details. Spotify, Bandsintown and GSW Dub Club also have presales at that time.\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>Once you have your presale code and are good to go, all tickets can be found \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">on Ticketmaster\u003c/a>. They suggest signing into your account 10 minutes early.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>CRASH\u003c/em> sees Kehlani elevating to new artistic heights. It’s queer yet universal, with a palpable confidence that reflects the singer’s vulnerability and outspokenness. (Off the mic, Kehlani has been \u003ca href=\"https://www.nbcnews.com/pop-culture/pop-culture-news/kehlani-stands-palestinians-newest-music-video-rcna155091\">advocating for Palestinians\u003c/a> while most of the music industry stays silent.) We can expect to see more of that bold vision when they take center stage.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961459/kehlani-tickets-crash-tour-presale-code","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_1829","arts_700"],"featImg":"arts_13957856","label":"arts"},"arts_13961416":{"type":"posts","id":"arts_13961416","meta":{"index":"posts_1716263798","site":"arts","id":"13961416","score":null,"sort":[1721677277000]},"guestAuthors":[],"slug":"kennedy-center-grateful-dead-bonnie-raitt-francis-ford-coppola-bay-area","title":"Bonnie Raitt, the Grateful Dead and Francis Ford Coppola Among New Kennedy Center Honorees","publishDate":1721677277,"format":"standard","headTitle":"Bonnie Raitt, the Grateful Dead and Francis Ford Coppola Among New Kennedy Center Honorees | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>An iconoclastic filmmaking legend, a songwriting powerhouse and one of the world’s most enduring musical acts headline this year’s crop of Kennedy Center Honors recipients.\u003c/p>\n\u003cp>Director Francis Ford Coppola and the Grateful Dead will be honored for lifetime achievement in the arts, along with blues legend Bonnie Raitt, jazz trumpeter Arturo Sandoval and the legendary Harlem theater The Apollo, which has launched generations of Black artists.\u003c/p>\n\u003cp>The majority of this year’s honorees have direct ties to the Bay Area, most prominently the Grateful Dead, who lived in the Haight-Ashbury and defined its 1960s scene. Raitt has lived in Marin County since the 1990s, and Coppola has long made his home in Napa County. \u003c/p>\n\u003cp>This 47th Kennedy Center class will be honored with an evening of tributes, testimonials and performances on Dec. 8 at Washington’s John F. Kennedy Center for the Performing Arts. The ceremony will be broadcast on CBS on Dec. 23.\u003c/p>\n\u003cp>Starting out as a folk-infused quintet in psychedelic-era 1960s San Francisco, the Grateful Dead steadily morphed into a cultural phenomenon and one of the most successful touring acts of all time.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13925413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead, pictured on the corner of Haight and Ashbury in San Francisco. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fueled by the carnival atmosphere of its traveling Deadhead fanbase and an ethos that encouraged tape-trading and emphasized live performance over studio output, the Dead have spanned multiple generations and remain wildly popular. Lead guitarist and founding member Jerry Garcia died in 1995, but the band continues almost nonstop touring in multiple incarnations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a lot of ingredients that go into it,” drummer Mickey Hart said, when asked about the music’s longevity. “The fans say that the shows feel like home. It gives them that feeling of connectiveness and community and joy and love for life and the music.”\u003c/p>\n\u003cp>Currently calling themselves Dead and Company with guitarist John Mayer taking Garcia’s place, the band is in the midst of a several-month residency at The Sphere in Las Vegas.\u003c/p>\n\u003cp>Coppola, 85, has established himself as a trailblazing filmmaker, winning five Academy Awards and earning a reputation as a driven artist willing to risk his reputation and finances for his vision. Even after the massive successes of \u003cem>The Godfather\u003c/em> and a sequel, Coppola drove himself into near bankruptcy while filming \u003cem>Apocalypse Now\u003c/em>, which turned out to be another classic. He later filmed \u003cem>The Conversation\u003c/em> in San Francisco, set in Union Square. \u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pictured in Los Angeles in 1991. Eleanor Coppola died in April 2024 at age 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, he wondered whether he had ruffled too many powerful feathers along the way to ever receive Kennedy Center Honors induction.\u003c/p>\n\u003cp>“I’ve been eligible for the past 20 years, so the fact that I never received it made me feel that maybe I never would,” said Coppola, who took part in fellow director Martin Scorsese’s induction in 2007. “I just assumed I wasn’t going to win it, so to hear that I was chosen was a surprise and a delight.”\u003c/p>\n\u003cp>Coppola, who has produced wine from his northern California vineyard for more than 40 years, also made sure to shout out another northern California recipient this year.\u003c/p>\n\u003cp>“And it’s a big treat to be there this year with the Grateful Dead, my San Francisco colleagues,” he said. “I’m very delighted and pleased.”\u003c/p>\n\u003cp>Raitt’s memories of the Kennedy Center Honors go back to the 1970s, when she accompanied her father, Broadway performer John Raitt, who was taking part in a tribute to composer Richard Rogers.\u003c/p>\n\u003cp>“I got to visit the White House and hang out with the Carters,” said Raitt, 74. “I got my first taste of what this weekend really means.”\u003c/p>\n\u003cp>As an adult performer, Raitt experienced the other side of the Kennedy Center Honors equation: performing as part of tributes to Mavis Staples in 2016 and Buddy Guy in 2012. These performances are frequently kept secret from the honorees themselves, and Raitt said she looks forward to seeing who the planners come up with for her tribute.\u003c/p>\n\u003cp>“I really, really want to be surprised, and I don’t want to know,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a 50-year career, Raitt has received a plethora of music awards, including 13 Grammys and induction into the Rock and Roll Hall of Fame. Rolling Stone magazine named her to its lists of the 100 greatest guitarists and the 100 greatest singers of all time. But Raitt said the Kennedy Center Honors status holds a special place because it extends to all aspects of the performing arts, encompassing all forms of music, dance and performance.\u003c/p>\n\u003cp>“The thing that puts (Kennedy Center Honors) at the pinnacle is that it’s culture-wide,” she said. “It’s hard for me to even fathom what this means.”\u003c/p>\n\u003cp>Sandoval, 74, rose to prominence as a musician in his native Cuba, playing piano and percussion but specializing in the trumpet. His work brought him into contact with jazz legend Dizzy Gillespie, who championed his music and personally helped him defect from Cuba while on tour in Europe in 1990. Shortly after his defection, Sandoval performed at his mentor Gillespie’s own Kennedy Center Honors induction.\u003c/p>\n\u003cfigure id=\"attachment_11691645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-11691645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Arturo Sandoval \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Modestly apart, I do think I deserve it. I worked so hard for so many years,” Sandoval told The Associated Press. “It’s a huge honor, and I feel completely overwhelmed. I have to pinch myself sometimes. I’m just a little farmer from Cuba. God has been so good to me.”\u003c/p>\n\u003cp>It’s extremely rare for the Kennedy Center Honors to select a venue, rather than a performer. But The Apollo’s nine-decade run as an incubator for generations of Black talent has qualified it as an exception.\u003c/p>\n\u003cp>“It’s not a traditional honoree, for sure,” said Michelle Ebanks, the theater’s president and CEO, who cited the recent induction of the show \u003cem>Sesame Street\u003c/em> as a similar out-of-the-box selection. “We’re absolutely delighted by the honor.”\u003c/p>\n\u003cfigure id=\"attachment_13868993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg\" alt=\"The Apollo Theater marquee, pictured in 'The Apollo,' Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13868993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1200x676.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Apollo Theater marquee, pictured in ‘The Apollo,’ Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harlem landmark has served as a proving ground for Black performers dating back to Billie Holiday, James Brown and Stevie Wonder and extending into modern performers like Lauryn Hill. This year, the theater has moved events to a new venue down the street, dubbed The Apollo Stages at the Victoria Theater, while the original venue undergoes renovation and expansion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s more than a theater. It’s a cultural touchstone … that’s rooted in the Harlem community,” Ebanks said. “It really is a recognition of a collective passion. … Over the decades, The Apollo has never stood still.”\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area is well represented in this year's crop of Kennedy Center Honors recipients.","status":"publish","parent":0,"modified":1721679889,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1244},"headData":{"title":"Bonnie Raitt, the Grateful Dead and Francis Ford Coppola Among New Kennedy Center Honorees | KQED","description":"The Bay Area is well represented in this year's crop of Kennedy Center Honors recipients.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bonnie Raitt, the Grateful Dead and Francis Ford Coppola Among New Kennedy Center Honorees","datePublished":"2024-07-22T12:41:17-07:00","dateModified":"2024-07-22T13:24:49-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Ashraf Khalil, Associated Press","nprStoryId":"kqed-13961416","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13961416/kennedy-center-grateful-dead-bonnie-raitt-francis-ford-coppola-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>An iconoclastic filmmaking legend, a songwriting powerhouse and one of the world’s most enduring musical acts headline this year’s crop of Kennedy Center Honors recipients.\u003c/p>\n\u003cp>Director Francis Ford Coppola and the Grateful Dead will be honored for lifetime achievement in the arts, along with blues legend Bonnie Raitt, jazz trumpeter Arturo Sandoval and the legendary Harlem theater The Apollo, which has launched generations of Black artists.\u003c/p>\n\u003cp>The majority of this year’s honorees have direct ties to the Bay Area, most prominently the Grateful Dead, who lived in the Haight-Ashbury and defined its 1960s scene. Raitt has lived in Marin County since the 1990s, and Coppola has long made his home in Napa County. \u003c/p>\n\u003cp>This 47th Kennedy Center class will be honored with an evening of tributes, testimonials and performances on Dec. 8 at Washington’s John F. Kennedy Center for the Performing Arts. The ceremony will be broadcast on CBS on Dec. 23.\u003c/p>\n\u003cp>Starting out as a folk-infused quintet in psychedelic-era 1960s San Francisco, the Grateful Dead steadily morphed into a cultural phenomenon and one of the most successful touring acts of all time.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13925413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead, pictured on the corner of Haight and Ashbury in San Francisco. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fueled by the carnival atmosphere of its traveling Deadhead fanbase and an ethos that encouraged tape-trading and emphasized live performance over studio output, the Dead have spanned multiple generations and remain wildly popular. Lead guitarist and founding member Jerry Garcia died in 1995, but the band continues almost nonstop touring in multiple incarnations.\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>“There’s a lot of ingredients that go into it,” drummer Mickey Hart said, when asked about the music’s longevity. “The fans say that the shows feel like home. It gives them that feeling of connectiveness and community and joy and love for life and the music.”\u003c/p>\n\u003cp>Currently calling themselves Dead and Company with guitarist John Mayer taking Garcia’s place, the band is in the midst of a several-month residency at The Sphere in Las Vegas.\u003c/p>\n\u003cp>Coppola, 85, has established himself as a trailblazing filmmaker, winning five Academy Awards and earning a reputation as a driven artist willing to risk his reputation and finances for his vision. Even after the massive successes of \u003cem>The Godfather\u003c/em> and a sequel, Coppola drove himself into near bankruptcy while filming \u003cem>Apocalypse Now\u003c/em>, which turned out to be another classic. He later filmed \u003cem>The Conversation\u003c/em> in San Francisco, set in Union Square. \u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pictured in Los Angeles in 1991. Eleanor Coppola died in April 2024 at age 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, he wondered whether he had ruffled too many powerful feathers along the way to ever receive Kennedy Center Honors induction.\u003c/p>\n\u003cp>“I’ve been eligible for the past 20 years, so the fact that I never received it made me feel that maybe I never would,” said Coppola, who took part in fellow director Martin Scorsese’s induction in 2007. “I just assumed I wasn’t going to win it, so to hear that I was chosen was a surprise and a delight.”\u003c/p>\n\u003cp>Coppola, who has produced wine from his northern California vineyard for more than 40 years, also made sure to shout out another northern California recipient this year.\u003c/p>\n\u003cp>“And it’s a big treat to be there this year with the Grateful Dead, my San Francisco colleagues,” he said. “I’m very delighted and pleased.”\u003c/p>\n\u003cp>Raitt’s memories of the Kennedy Center Honors go back to the 1970s, when she accompanied her father, Broadway performer John Raitt, who was taking part in a tribute to composer Richard Rogers.\u003c/p>\n\u003cp>“I got to visit the White House and hang out with the Carters,” said Raitt, 74. “I got my first taste of what this weekend really means.”\u003c/p>\n\u003cp>As an adult performer, Raitt experienced the other side of the Kennedy Center Honors equation: performing as part of tributes to Mavis Staples in 2016 and Buddy Guy in 2012. These performances are frequently kept secret from the honorees themselves, and Raitt said she looks forward to seeing who the planners come up with for her tribute.\u003c/p>\n\u003cp>“I really, really want to be surprised, and I don’t want to know,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a 50-year career, Raitt has received a plethora of music awards, including 13 Grammys and induction into the Rock and Roll Hall of Fame. Rolling Stone magazine named her to its lists of the 100 greatest guitarists and the 100 greatest singers of all time. But Raitt said the Kennedy Center Honors status holds a special place because it extends to all aspects of the performing arts, encompassing all forms of music, dance and performance.\u003c/p>\n\u003cp>“The thing that puts (Kennedy Center Honors) at the pinnacle is that it’s culture-wide,” she said. “It’s hard for me to even fathom what this means.”\u003c/p>\n\u003cp>Sandoval, 74, rose to prominence as a musician in his native Cuba, playing piano and percussion but specializing in the trumpet. His work brought him into contact with jazz legend Dizzy Gillespie, who championed his music and personally helped him defect from Cuba while on tour in Europe in 1990. Shortly after his defection, Sandoval performed at his mentor Gillespie’s own Kennedy Center Honors induction.\u003c/p>\n\u003cfigure id=\"attachment_11691645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-11691645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Arturo Sandoval \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Modestly apart, I do think I deserve it. I worked so hard for so many years,” Sandoval told The Associated Press. “It’s a huge honor, and I feel completely overwhelmed. I have to pinch myself sometimes. I’m just a little farmer from Cuba. God has been so good to me.”\u003c/p>\n\u003cp>It’s extremely rare for the Kennedy Center Honors to select a venue, rather than a performer. But The Apollo’s nine-decade run as an incubator for generations of Black talent has qualified it as an exception.\u003c/p>\n\u003cp>“It’s not a traditional honoree, for sure,” said Michelle Ebanks, the theater’s president and CEO, who cited the recent induction of the show \u003cem>Sesame Street\u003c/em> as a similar out-of-the-box selection. “We’re absolutely delighted by the honor.”\u003c/p>\n\u003cfigure id=\"attachment_13868993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg\" alt=\"The Apollo Theater marquee, pictured in 'The Apollo,' Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13868993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1200x676.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Apollo Theater marquee, pictured in ‘The Apollo,’ Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harlem landmark has served as a proving ground for Black performers dating back to Billie Holiday, James Brown and Stevie Wonder and extending into modern performers like Lauryn Hill. This year, the theater has moved events to a new venue down the street, dubbed The Apollo Stages at the Victoria Theater, while the original venue undergoes renovation and expansion.\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>“It’s more than a theater. It’s a cultural touchstone … that’s rooted in the Harlem community,” Ebanks said. “It really is a recognition of a collective passion. … Over the decades, The Apollo has never stood still.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961416/kennedy-center-grateful-dead-bonnie-raitt-francis-ford-coppola-bay-area","authors":["byline_arts_13961416"],"categories":["arts_1","arts_74","arts_69","arts_235"],"tags":["arts_22221","arts_10278","arts_22222","arts_1845"],"featImg":"arts_13848382","label":"arts"},"arts_13961407":{"type":"posts","id":"arts_13961407","meta":{"index":"posts_1716263798","site":"arts","id":"13961407","score":null,"sort":[1721674524000]},"guestAuthors":[],"slug":"90s-girl-group-one-vo1ce-filipino-music-bay-area","title":"How Filipina Girl Group One Vo1ce Paved the Way in the ’90s","publishDate":1721674524,"format":"standard","headTitle":"How Filipina Girl Group One Vo1ce Paved the Way in the ’90s | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Butterfly clips and mood rings ruled the late ’90s. And a budding relationship wasn’t official without a solid AOL Instant Messenger away message like: \u003cem>bRb, ~~wHen y0u ThiNk aB0uT mE, dO yu tHiNk ab0uT uS… fAlLiiN iN L0vE… d0 yOu wANnA GeT WiTh mE, wiTh Me~~ <3\u003c/em>.\u003c/p>\n\u003cp>These lyrics came from \u003ca href=\"https://www.instagram.com/ladiesofonevo1ce/\">One Vo1ce\u003c/a>’s “When U Think About Me,” a synthy, upbeat R&B track that reached No. 17 on the Billboard charts in 1999. In this era of girl groups like TLC, Destiny’s Child and the Spice Girls, One Vo1ce reached mainstream success while putting the Bay and Filipino American artists on the map.\u003c/p>\n\u003cp>https://youtu.be/cMi9IP_aT1s?si=gHycTTcJat7W8dBh\u003c/p>\n\u003cp>And they’re still making music together. Currently, the Vallejo-bred trio consists of longtime friends Marie Ceralvo, Mae Ceralvo and Monica Castillo. (Marie and Monica started out as a quintet with Aimee Castillo, Melissa Ruiz and Lindsay Mangoba, later replaced by Mae.)\u003c/p>\n\u003cp>Singing brought the girls together in middle school, when they would harmonize during recess in the hallways. As things got more serious, their talent and grit pushed their professional music careers forward.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One Vo1ce’s parents — who were also friends — supported the girls’ calling. “I remember my dad calling a meeting with all of our parents sitting around the big table in my living room and saying, ‘Are we doing this?’” Monica recalls. “My dad didn’t really know the caliber really or even understand what we were doing.”\u003c/p>\n\u003cp>After a San Francisco show where fans lined up for autographs, he began to see that they had a real shot at making it. By 1998, One Vo1ce signed with Kamikaze Records. The next year, their debut album \u003cem>Just the Beginning\u003c/em> dropped, with hits “All Day, All Nite” and “Always On My Mind.” The songs sound like young love, like skipping geometry to kick it or staying up until 2 a.m. on the landline, and they still hold up 25 years later.\u003c/p>\n\u003cp>https://youtu.be/Sul5rUYmU0Q?si=k94CSlRSsP066RBM\u003c/p>\n\u003ch2>Filipino American musicians climb the pop charts\u003c/h2>\n\u003cp>One Vo1ce arrived during a surge of Bay Area-raised Filipino American musicians. Freestyle singers \u003ca href=\"https://youtu.be/bA_Ko-kOIFc?si=cQ0eU8c_pHB_pT0R\">Buffy\u003c/a> and \u003ca href=\"https://youtu.be/kVipDwHE8Ho?si=3VJNuhRneIb5kaPu\">Jocelyn Enriquez\u003c/a>, originally of R&B group \u003ca href=\"https://youtu.be/-vhs_s1ZQg4?si=mbv5hRnSJG5ZaYfd\">Pinay\u003c/a>, climbed the Billboard charts, and boybands \u003ca href=\"https://youtu.be/l8Xr4DAGhF4?si=b8uJuK-ghwiEz5It\">Innerlude\u003c/a>, \u003ca href=\"https://youtu.be/772hElelPhc?si=VO0i7OWEWBPiW2Oh\">Kai\u003c/a> and \u003ca href=\"https://youtu.be/li4XINEQKvY?si=Zm9LQe1EhKM3odc8\">Drop n Harmony\u003c/a> were getting national traction.\u003c/p>\n\u003cp>“We did a lot of shows like at [Diablo Valley College], Ohlone College, and that’s where we ran into groups like Kai or Drop n Harmony, and dance groups like Jedi Mind Tricks — all the groups that were around in the late ’90s,” Marie recalls. “That kind of inspired us even more to keep doing it.”\u003c/p>\n\u003cp>https://youtu.be/kPvbg_TA2Sc?si=AhrSAMUdbnV9nS6n\u003c/p>\n\u003cp>Though they were adolescents, the girls navigated the industry the best they could — and their fan base grew organically.\u003c/p>\n\u003cp>“Seeing a group of Filipina women in the music scene was so inspiring,” says Nicole Maxali, a filmmaker, podcast host and program manager at the Filipino arts incubator \u003ca href=\"https://www.kqed.org/arts/13913947/balay-kreative-soma-pilipinas-filipino-heritage-district\">Balay Kreative\u003c/a>. “It wasn’t just about the music, but the way they carried themselves and represented the culture. It was like, ‘Yup, we belong here too.’”\u003c/p>\n\u003cp>She goes on, “The early 2000s were a unique time — there wasn’t as much representation in mainstream media, so having One Vo1ce, Pinay and Drop N Harmony was exciting for us AAPI kids. They showed that you could embrace your roots and still be successful in the industry. It was empowering.”\u003c/p>\n\u003cp>https://youtu.be/ZrjWRTRb93Q?si=GaYy9bFXXA_F01SB\u003c/p>\n\u003ch2>A whirlwind industry experience\u003c/h2>\n\u003cp>In our interview, Monica, Mae and Marie reminisced about their “oh sh—” moments on their way to success. Two-hour CD signings at Sam Goody or Tower Records; hearing their song on the the radio for the first time in the back of Melissa’s silver Honda Prelude; seeing their music video on repeat on San Francisco’s California Music Channel; and getting stopped at Denny’s for an autograph while on tour in Michigan. [aside postid='arts_13933590']\u003c/p>\n\u003cp>“All we knew is we loved music,” says Marie. “We love to sing. We were having fun, yeah, but other than that, it wasn’t a goal to be on the radio, to get a music video, to travel and meet amazing people. It kind of just happened. It was just like, ‘This is what we do. This is our sound. We have fun doing it.’”\u003c/p>\n\u003cp>Today, music can be shared with the tap of a screen, but back then, it was all about the footwork. “There was no YouTube back there. There was no iTunes,” says Monica. “If you really liked an artist, you waited until the release date and you waited in line to grab it, and if it were sold out, you’d have to come back and try and get it again. There was, like, excitement in that. Now, you just go on Spotify. It’s an immediate gratification.”\u003c/p>\n\u003cfigure id=\"attachment_13961412\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2.jpg\" alt=\"\" width=\"720\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2-160x163.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The original members of One Vo1ce. \u003ccite>(Courtesy of One Vo1ce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between the late-night shows, red-eye flights and early-morning press calls, the girls’ high school and college lives were on pause. But without a doubt, when it came to music, One Vo1ce went all in.\u003c/p>\n\u003cp>“I tell people when they ask me about how it was, I’m like, ‘I’ve never worked so hard in my life,’” says Mae, who was still in high school and juggling teenage life, sports and music. “We definitely had the pressure on us to present our best selves. … And it may not have necessarily been healthy. I think that was very common in the industry back then.”\u003c/p>\n\u003cp>The record label wanted each member of One Vo1ce to have a unique vibe, perhaps like the Spice Girls. “When we started singing, we all had long, black hair, about the same length. We all kind of looked, you know, the same,” Monica says. “And then when we got signed, it was like, OK, I took blonde. Marie would be the one with the short, spiky, spunky hair. Mae was the one with the red hair. We all had to have a different look about us to differentiate ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13961411\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Today, Monica Castillo, Marie Ceralvo and Mae Ceralvo make up One Vo1ce. The trio is still making music and performing together. \u003ccite>(Courtesy of One Vo1ce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One Vo1ce’s latest chapter\u003c/h2>\n\u003cp>While representation in the music industry still needs work, there’s steady movement towards more visibility for Filipino American artists. H.E.R. and Saweetie, both raised in the Bay Area, have made major waves in R&B and rap, and pop idol Olivia Rodrigo proudly reps her Pinay roots. [aside postid='arts_13961014,arts_13938866']\u003c/p>\n\u003cp>“We’re seeing a whole wave of diversity kind of penetrating and saturating entertainment and arts overall,” Mae said. “We’ve had influences, like for many, many years, just not so much in the spotlight. Now that we’re in a different time, you know, the digital era has enabled a lot of people. … I think it’s definitely helped increase representation, but we can always use more.”\u003c/p>\n\u003cp>Today, Marie, Mae and Monica are sitting in the driver’s seat of their career. “We are a bit more involved in the creative process,” Marie says. “We wrote the songs. We decided which beat we wanted to use. We had input about the mixing process. Turn that down, turn that up, add more EQ. It’s more hands-on.”\u003c/p>\n\u003cp>They also manage themselves. “We decide when the album comes out. There’s no deadline,” she continues. “We don’t have to go to the gym every day. There’s no strict schedule. We decide when we do what, you know, we decide our pricing for shows, for anything.”\u003c/p>\n\u003cp>https://youtu.be/n0lfgK8X4yA?si=zeokuzgS8gu7Svte\u003c/p>\n\u003cp>Since 2019, the group has released a handful of singles, including “Friendster” and “Cherry,” and their latest project, \u003cem>Here to Stay\u003c/em>, came out earlier this year. The album showcases the trio’s new sound with slow jams like “Learning You,” perfect for sending to your boo, and feel-good, nostalgic tracks like “Lights” or “Fog City.”\u003c/p>\n\u003cp>Within the past year, One Vo1ce has hit the stage to perform at various events, including Romance & Breakups alongside Case and Ruff Endz in Orange County and Yaya Music Fest with Nu Flavor in Merced. Locally in Campbell, they performed an intimate acoustic show, inspired by NPR’s Tiny Desk Concert, at the plant shop \u003ca href=\"https://www.instagram.com/momsterasj/?hl=en\">Momstera\u003c/a>. The trio will return to Momstera in September.\u003c/p>\n\u003cp>https://youtu.be/X_MDG17x278?si=9Gr-P5Jk0fHN9Fyk\u003c/p>\n\u003cp>“We’ve been in the industry for 20-plus years, and just to see the evolution is really telling, you know, that music is a part of our lives,” Monica says.\u003c/p>\n\u003cp>A love for music started it all, but the friendship — a sisterhood — continues One Vo1ce’s journey in harmony.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Follow One Vo1ce on \u003ca href=\"https://www.instagram.com/ladiesofonevo1ce/\">Instagram\u003c/a> and \u003ca href=\"https://www.facebook.com/OneVo1ce/\">Facebook\u003c/a> for show announcements and music updates.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A surge of Bay Area Filipino American artists changed the pop landscape at the turn of the millennium. ","status":"publish","parent":0,"modified":1721860747,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1601},"headData":{"title":"How Filipina Girl Group One Vo1ce Paved the Way in the ’90s | KQED","description":"A surge of Bay Area Filipino American artists changed the pop landscape at the turn of the millennium. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Filipina Girl Group One Vo1ce Paved the Way in the ’90s","datePublished":"2024-07-22T11:55:24-07:00","dateModified":"2024-07-24T15:39:07-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Amyra Soriano ","nprStoryId":"kqed-13961407","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13961407/90s-girl-group-one-vo1ce-filipino-music-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Butterfly clips and mood rings ruled the late ’90s. And a budding relationship wasn’t official without a solid AOL Instant Messenger away message like: \u003cem>bRb, ~~wHen y0u ThiNk aB0uT mE, dO yu tHiNk ab0uT uS… fAlLiiN iN L0vE… d0 yOu wANnA GeT WiTh mE, wiTh Me~~ <3\u003c/em>.\u003c/p>\n\u003cp>These lyrics came from \u003ca href=\"https://www.instagram.com/ladiesofonevo1ce/\">One Vo1ce\u003c/a>’s “When U Think About Me,” a synthy, upbeat R&B track that reached No. 17 on the Billboard charts in 1999. In this era of girl groups like TLC, Destiny’s Child and the Spice Girls, One Vo1ce reached mainstream success while putting the Bay and Filipino American artists on the map.\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/cMi9IP_aT1s'\n title='//www.youtube.com/embed/cMi9IP_aT1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And they’re still making music together. Currently, the Vallejo-bred trio consists of longtime friends Marie Ceralvo, Mae Ceralvo and Monica Castillo. (Marie and Monica started out as a quintet with Aimee Castillo, Melissa Ruiz and Lindsay Mangoba, later replaced by Mae.)\u003c/p>\n\u003cp>Singing brought the girls together in middle school, when they would harmonize during recess in the hallways. As things got more serious, their talent and grit pushed their professional music careers forward.\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>One Vo1ce’s parents — who were also friends — supported the girls’ calling. “I remember my dad calling a meeting with all of our parents sitting around the big table in my living room and saying, ‘Are we doing this?’” Monica recalls. “My dad didn’t really know the caliber really or even understand what we were doing.”\u003c/p>\n\u003cp>After a San Francisco show where fans lined up for autographs, he began to see that they had a real shot at making it. By 1998, One Vo1ce signed with Kamikaze Records. The next year, their debut album \u003cem>Just the Beginning\u003c/em> dropped, with hits “All Day, All Nite” and “Always On My Mind.” The songs sound like young love, like skipping geometry to kick it or staying up until 2 a.m. on the landline, and they still hold up 25 years later.\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/Sul5rUYmU0Q'\n title='//www.youtube.com/embed/Sul5rUYmU0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Filipino American musicians climb the pop charts\u003c/h2>\n\u003cp>One Vo1ce arrived during a surge of Bay Area-raised Filipino American musicians. Freestyle singers \u003ca href=\"https://youtu.be/bA_Ko-kOIFc?si=cQ0eU8c_pHB_pT0R\">Buffy\u003c/a> and \u003ca href=\"https://youtu.be/kVipDwHE8Ho?si=3VJNuhRneIb5kaPu\">Jocelyn Enriquez\u003c/a>, originally of R&B group \u003ca href=\"https://youtu.be/-vhs_s1ZQg4?si=mbv5hRnSJG5ZaYfd\">Pinay\u003c/a>, climbed the Billboard charts, and boybands \u003ca href=\"https://youtu.be/l8Xr4DAGhF4?si=b8uJuK-ghwiEz5It\">Innerlude\u003c/a>, \u003ca href=\"https://youtu.be/772hElelPhc?si=VO0i7OWEWBPiW2Oh\">Kai\u003c/a> and \u003ca href=\"https://youtu.be/li4XINEQKvY?si=Zm9LQe1EhKM3odc8\">Drop n Harmony\u003c/a> were getting national traction.\u003c/p>\n\u003cp>“We did a lot of shows like at [Diablo Valley College], Ohlone College, and that’s where we ran into groups like Kai or Drop n Harmony, and dance groups like Jedi Mind Tricks — all the groups that were around in the late ’90s,” Marie recalls. “That kind of inspired us even more to keep doing it.”\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/kPvbg_TA2Sc'\n title='//www.youtube.com/embed/kPvbg_TA2Sc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though they were adolescents, the girls navigated the industry the best they could — and their fan base grew organically.\u003c/p>\n\u003cp>“Seeing a group of Filipina women in the music scene was so inspiring,” says Nicole Maxali, a filmmaker, podcast host and program manager at the Filipino arts incubator \u003ca href=\"https://www.kqed.org/arts/13913947/balay-kreative-soma-pilipinas-filipino-heritage-district\">Balay Kreative\u003c/a>. “It wasn’t just about the music, but the way they carried themselves and represented the culture. It was like, ‘Yup, we belong here too.’”\u003c/p>\n\u003cp>She goes on, “The early 2000s were a unique time — there wasn’t as much representation in mainstream media, so having One Vo1ce, Pinay and Drop N Harmony was exciting for us AAPI kids. They showed that you could embrace your roots and still be successful in the industry. It was empowering.”\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/ZrjWRTRb93Q'\n title='//www.youtube.com/embed/ZrjWRTRb93Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A whirlwind industry experience\u003c/h2>\n\u003cp>In our interview, Monica, Mae and Marie reminisced about their “oh sh—” moments on their way to success. Two-hour CD signings at Sam Goody or Tower Records; hearing their song on the the radio for the first time in the back of Melissa’s silver Honda Prelude; seeing their music video on repeat on San Francisco’s California Music Channel; and getting stopped at Denny’s for an autograph while on tour in Michigan. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933590","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All we knew is we loved music,” says Marie. “We love to sing. We were having fun, yeah, but other than that, it wasn’t a goal to be on the radio, to get a music video, to travel and meet amazing people. It kind of just happened. It was just like, ‘This is what we do. This is our sound. We have fun doing it.’”\u003c/p>\n\u003cp>Today, music can be shared with the tap of a screen, but back then, it was all about the footwork. “There was no YouTube back there. There was no iTunes,” says Monica. “If you really liked an artist, you waited until the release date and you waited in line to grab it, and if it were sold out, you’d have to come back and try and get it again. There was, like, excitement in that. Now, you just go on Spotify. It’s an immediate gratification.”\u003c/p>\n\u003cfigure id=\"attachment_13961412\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2.jpg\" alt=\"\" width=\"720\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2-160x163.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The original members of One Vo1ce. \u003ccite>(Courtesy of One Vo1ce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between the late-night shows, red-eye flights and early-morning press calls, the girls’ high school and college lives were on pause. But without a doubt, when it came to music, One Vo1ce went all in.\u003c/p>\n\u003cp>“I tell people when they ask me about how it was, I’m like, ‘I’ve never worked so hard in my life,’” says Mae, who was still in high school and juggling teenage life, sports and music. “We definitely had the pressure on us to present our best selves. … And it may not have necessarily been healthy. I think that was very common in the industry back then.”\u003c/p>\n\u003cp>The record label wanted each member of One Vo1ce to have a unique vibe, perhaps like the Spice Girls. “When we started singing, we all had long, black hair, about the same length. We all kind of looked, you know, the same,” Monica says. “And then when we got signed, it was like, OK, I took blonde. Marie would be the one with the short, spiky, spunky hair. Mae was the one with the red hair. We all had to have a different look about us to differentiate ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13961411\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Today, Monica Castillo, Marie Ceralvo and Mae Ceralvo make up One Vo1ce. The trio is still making music and performing together. \u003ccite>(Courtesy of One Vo1ce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One Vo1ce’s latest chapter\u003c/h2>\n\u003cp>While representation in the music industry still needs work, there’s steady movement towards more visibility for Filipino American artists. H.E.R. and Saweetie, both raised in the Bay Area, have made major waves in R&B and rap, and pop idol Olivia Rodrigo proudly reps her Pinay roots. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13961014,arts_13938866","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re seeing a whole wave of diversity kind of penetrating and saturating entertainment and arts overall,” Mae said. “We’ve had influences, like for many, many years, just not so much in the spotlight. Now that we’re in a different time, you know, the digital era has enabled a lot of people. … I think it’s definitely helped increase representation, but we can always use more.”\u003c/p>\n\u003cp>Today, Marie, Mae and Monica are sitting in the driver’s seat of their career. “We are a bit more involved in the creative process,” Marie says. “We wrote the songs. We decided which beat we wanted to use. We had input about the mixing process. Turn that down, turn that up, add more EQ. It’s more hands-on.”\u003c/p>\n\u003cp>They also manage themselves. “We decide when the album comes out. There’s no deadline,” she continues. “We don’t have to go to the gym every day. There’s no strict schedule. We decide when we do what, you know, we decide our pricing for shows, for anything.”\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/n0lfgK8X4yA'\n title='//www.youtube.com/embed/n0lfgK8X4yA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since 2019, the group has released a handful of singles, including “Friendster” and “Cherry,” and their latest project, \u003cem>Here to Stay\u003c/em>, came out earlier this year. The album showcases the trio’s new sound with slow jams like “Learning You,” perfect for sending to your boo, and feel-good, nostalgic tracks like “Lights” or “Fog City.”\u003c/p>\n\u003cp>Within the past year, One Vo1ce has hit the stage to perform at various events, including Romance & Breakups alongside Case and Ruff Endz in Orange County and Yaya Music Fest with Nu Flavor in Merced. Locally in Campbell, they performed an intimate acoustic show, inspired by NPR’s Tiny Desk Concert, at the plant shop \u003ca href=\"https://www.instagram.com/momsterasj/?hl=en\">Momstera\u003c/a>. The trio will return to Momstera in September.\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/X_MDG17x278'\n title='//www.youtube.com/embed/X_MDG17x278'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We’ve been in the industry for 20-plus years, and just to see the evolution is really telling, you know, that music is a part of our lives,” Monica says.\u003c/p>\n\u003cp>A love for music started it all, but the friendship — a sisterhood — continues One Vo1ce’s journey in harmony.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow One Vo1ce on \u003ca href=\"https://www.instagram.com/ladiesofonevo1ce/\">Instagram\u003c/a> and \u003ca href=\"https://www.facebook.com/OneVo1ce/\">Facebook\u003c/a> for show announcements and music updates.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13961407/90s-girl-group-one-vo1ce-filipino-music-bay-area","authors":["byline_arts_13961407"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_681","arts_924"],"featImg":"arts_13961410","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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