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"slug": "outside-lands-2025-review-recap-photos-doechii-tyler-the-creator",
"title": "So Doechii Pretty Much Killed It at Outside Lands",
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"headTitle": "So Doechii Pretty Much Killed It at Outside Lands | KQED",
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"content": "\u003cp>Friday night at \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a>, Doechii called a masterclass into session.\u003c/p>\n\u003cp>[aside postID='arts_13979687']\u003c/p>\n\u003cp>As her dancers dressed in high-fashion school uniforms writhed around student desks, Doechii strutted out to a boom-bap beat with daggers in her eyes, rapping in a pleated micro miniskirt: “Doechii the don / Doechii the dean / Doechii supreme / The swamp ruler.” Just like that, we were officially enrolled in Doechii’s School of Hip-Hop.\u003c/p>\n\u003cp>Perched atop a massive boom box, Doechii exuded poise and determination. Continuing the academic theme, cheeky narration broke the show down into chapters like “good bars and great bars” and “the aspect of flow.” Doechii excelled in every curriculum, demonstrating otherworldly breath control while rapping and dancing with athletic precision. Fans danced and jumped, but their eyes were laser-focused on the stage, afraid to miss a moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13979796\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979796\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_14-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doechii performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doechii’s DJ, Miss Milan, interlaced the set with samples that positioned Doechii’s discography as part of a venerable lineage. “Persuasive” bled into Missy Elliott’s “She’s a Bitch”; “Boiled Peanuts” morphed into the beat of “C.R.E.A.M” by Wu-Tang Clan. Throughout the show, we caught snippets of Paul Wall, Doug E. Fresh and Crime Mob’s “Knuck If You Buck.”[aside postid='arts_13979494']After the boom-bap portion of the show, Doechii paid homage to the queer art of ballroom. “Alter Ego,” which she rapped with enough energy to light your hair on fire, was blended with a Crystal Waters sample as her dancers vogued, practically levitating off the stage. Doechii proclaimed, “Where my gays at?” to loud cheers from the main-stage crowd, tens of thousands deep.\u003c/p>\n\u003cp>The 45-minute set went from twerking to head banging during “Catfish,” with Doechii declaring, “Free Palestine, what the fuck is you talkin’ about?” As her cheeky, self-reflective breakout hit “Denial Is a River” closed out the show, she heartily thanked the people in the back, her dancers, her band and production.\u003c/p>\n\u003cfigure id=\"attachment_13979798\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doechii performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doechii delivered nothing but excellence, and she wasn’t even the festival headliner at Outside Lands. She returns to San Francisco on \u003ca href=\"https://www.kqed.org/arts/13979484/doechii-presale-tickets-code-bill-graham-civic-san-francisco-live-from-the-swamp-tour\">Friday, Nov. 7 for a show at the Bill Graham Civic Auditorium\u003c/a>; expect tickets to sell out quickly when they go on sale to the general public Monday morning.\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13979800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Doja Cat, the queen of camp\u003c/h2>\n\u003cp>Doechii was a tough act to follow, and Doja Cat’s ensuing set as Friday’s headliner drew a noticeably sparser crowd. Dressed in ultra-kitschy head-to-toe zebra print with huge, teased-out blond hair, Doja came on stage singing “Woman” in an ’80s hair metal look that glowed in the dark. Throughout her 90-minute set, she teased the crowd with sexy songs like “Juicy” and got people jumping during the rambunctious “Tia Tamara.” With fireworks and pyrotechnics, but without dancers, a costume change or much set design, the performance left me wanting more — especially for one of the most highly anticipated sets of the night.\u003c/p>\n\u003cfigure id=\"attachment_13979799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979793\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fcukers were the breakout act of the evening\u003c/h2>\n\u003cp>Almost every year at Outside Lands, there’s someone who kills it at the smaller Panhandle stage, and this year it was Fcukers. Deadpan valley-girl vocals, punchy drums, dreamy synths and DJ scratching fused into sheerly fun party music that packed in teens and 20-somethings eager for more post-\u003ci>Brat\u003c/i> hedonism. Their Friday afternoon set proved Fcukers will be ready for bigger stages soon.\u003c/p>\n\u003cfigure id=\"attachment_13979792\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979794\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival goers dance along the Panhandle stage as Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979786\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still Woozy poses for a portrait at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979788\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thundercat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979789\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Pratt performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979784\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Baalti performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dylan Dubeau, 27, (right) dances with a handmade sign as Baalti performs at Outside Lands on Friday, August 8, 2025. Dubeau made 15 signs with the faces of the duo and passed them out for other fans to dance with. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979787\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Baalti poses for a portrait at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979790\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Christie O’ Neill, 35, wears a disco ball helmet at Outside Lands on Friday, August 8, 2025. O’ Neill bought the helmet during a trip to Massachusetts and liked it so much she wore it on the plane ride back to California when it didn’t fit in her luggage. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979801\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Beck performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch Beck perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather as Beck closes out the Sutro Stage at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n",
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"excerpt": "Doechii’s school of hip-hop was in session at Outside Lands during an electrifying and dominant set.",
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"title": "Review: Doechii’s Hip-Hop Masterclass at Outside Lands | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Friday night at \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a>, Doechii called a masterclass into session.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As her dancers dressed in high-fashion school uniforms writhed around student desks, Doechii strutted out to a boom-bap beat with daggers in her eyes, rapping in a pleated micro miniskirt: “Doechii the don / Doechii the dean / Doechii supreme / The swamp ruler.” Just like that, we were officially enrolled in Doechii’s School of Hip-Hop.\u003c/p>\n\u003cp>Perched atop a massive boom box, Doechii exuded poise and determination. Continuing the academic theme, cheeky narration broke the show down into chapters like “good bars and great bars” and “the aspect of flow.” Doechii excelled in every curriculum, demonstrating otherworldly breath control while rapping and dancing with athletic precision. Fans danced and jumped, but their eyes were laser-focused on the stage, afraid to miss a moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After the boom-bap portion of the show, Doechii paid homage to the queer art of ballroom. “Alter Ego,” which she rapped with enough energy to light your hair on fire, was blended with a Crystal Waters sample as her dancers vogued, practically levitating off the stage. Doechii proclaimed, “Where my gays at?” to loud cheers from the main-stage crowd, tens of thousands deep.\u003c/p>\n\u003cp>The 45-minute set went from twerking to head banging during “Catfish,” with Doechii declaring, “Free Palestine, what the fuck is you talkin’ about?” As her cheeky, self-reflective breakout hit “Denial Is a River” closed out the show, she heartily thanked the people in the back, her dancers, her band and production.\u003c/p>\n\u003cfigure id=\"attachment_13979798\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979798\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_16-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doechii performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doechii delivered nothing but excellence, and she wasn’t even the festival headliner at Outside Lands. She returns to San Francisco on \u003ca href=\"https://www.kqed.org/arts/13979484/doechii-presale-tickets-code-bill-graham-civic-san-francisco-live-from-the-swamp-tour\">Friday, Nov. 7 for a show at the Bill Graham Civic Auditorium\u003c/a>; expect tickets to sell out quickly when they go on sale to the general public Monday morning.\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13979800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_18-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Doja Cat, the queen of camp\u003c/h2>\n\u003cp>Doechii was a tough act to follow, and Doja Cat’s ensuing set as Friday’s headliner drew a noticeably sparser crowd. Dressed in ultra-kitschy head-to-toe zebra print with huge, teased-out blond hair, Doja came on stage singing “Woman” in an ’80s hair metal look that glowed in the dark. Throughout her 90-minute set, she teased the crowd with sexy songs like “Juicy” and got people jumping during the rambunctious “Tia Tamara.” With fireworks and pyrotechnics, but without dancers, a costume change or much set design, the performance left me wanting more — especially for one of the most highly anticipated sets of the night.\u003c/p>\n\u003cfigure id=\"attachment_13979799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_17-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979793\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_11-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fcukers were the breakout act of the evening\u003c/h2>\n\u003cp>Almost every year at Outside Lands, there’s someone who kills it at the smaller Panhandle stage, and this year it was Fcukers. Deadpan valley-girl vocals, punchy drums, dreamy synths and DJ scratching fused into sheerly fun party music that packed in teens and 20-somethings eager for more post-\u003ci>Brat\u003c/i> hedonism. Their Friday afternoon set proved Fcukers will be ready for bigger stages soon.\u003c/p>\n\u003cfigure id=\"attachment_13979792\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_10-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979794\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_12-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival goers dance along the Panhandle stage as Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979786\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_04-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still Woozy poses for a portrait at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979788\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_06-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thundercat performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979789\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979789\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_07-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Pratt performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979784\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_02-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Baalti performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_03-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dylan Dubeau, 27, (right) dances with a handmade sign as Baalti performs at Outside Lands on Friday, August 8, 2025. Dubeau made 15 signs with the faces of the duo and passed them out for other fans to dance with. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979787\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_05-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Baalti poses for a portrait at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979790\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979790\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_08-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Christie O’ Neill, 35, wears a disco ball helmet at Outside Lands on Friday, August 8, 2025. O’ Neill bought the helmet during a trip to Massachusetts and liked it so much she wore it on the plane ride back to California when it didn’t fit in her luggage. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979801\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979801\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_19-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Beck performs at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_20-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans watch Beck perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_21-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather as Beck closes out the Sutro Stage at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "The Genius of Logan Whitehurst (in 103 Minutes or Less)",
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"content": "\u003cp>There’s no easy way to summarize the genius of \u003ca href=\"https://www.juniorscienceclub.com/bio.html\">Logan Whitehurst\u003c/a>, the musician, songwriter, illustrator and madcap thinker whose art continues to delight and inspire those lucky enough to stumble upon it.\u003c/p>\n\u003cp>It \u003cem>is\u003c/em> easy, however, to appreciate Whitehurst, who died of brain cancer in 2006. One need only marinate in \u003ca href=\"https://www.juniorscienceclub.com/loganarchive/\">his brilliant and prodigious musical output\u003c/a>, modestly but expertly recorded from his Sonoma County home on a 4-track cassette recorder. Or, perhaps, read \u003ca href=\"http://www.loganwhitehurst.com/vanilla/index.html\">the blog of his inanimate sidekick, Vanilla the Plastic Snowman\u003c/a>, who claimed to write all of Whitehurst’s songs.\u003c/p>\n\u003cp>Or, better yet, hear firsthand stories from the many people whose lives were made better by Whitehurst, who routinely signed his emails — even to complete strangers — “Your Friend, Logan.”\u003c/p>\n\u003cfigure id=\"attachment_13979743\" class=\"wp-caption aligncenter\" style=\"max-width: 2042px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979743\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n.jpg\" alt=\"\" width=\"2042\" height=\"1494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n.jpg 2042w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-2000x1463.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-1536x1124.jpg 1536w\" sizes=\"auto, (max-width: 2042px) 100vw, 2042px\">\u003cfigcaption class=\"wp-caption-text\">Logan Whitehurst. \u003ccite>(Sara Sanger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s where a new 103-minute documentary, premiering this Saturday in Petaluma, comes in. \u003cem>Your Friend Logan\u003c/em> overflows with anecdotes about Whitehurst’s creative output, sense of humor, generosity and spirit, and makes a case for his inauguration into a proudly nerdy and witty hall of fame that includes Tom Lehrer, They Might Be Giants and “Weird” Al Yankovic.\u003c/p>\n\u003cp>Dr. Demento, among the dozens of people interviewed for the documentary, recalls the glee of first hearing Whitehurst’s landmark album \u003cem>\u003ca href=\"https://needlejuicerecords.com/products/goodbye-my-4-track-cd\">Goodbye My 4-Track\u003c/a>\u003c/em>, which he calls “the \u003cem>Sgt. Pepper’s\u003c/em> of comedy music.” Illustrations accompanying Whitehurst’s songs are scattered throughout the film, and will surely help convert the uninitiated: “\u003ca href=\"https://www.youtube.com/watch?v=7QGB7x3dZE4\">Your Brain Fell Out\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=AKL4KnJDpJQ\">Happy Noodle vs. Sad Noodle\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=GP_yqj4nQjo\">Monkeys Are Bad People\u003c/a>,” the absolutely insane and glorious “\u003ca href=\"https://www.youtube.com/watch?v=eCd9z4PV9So\">Schweepies\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For longtime fans — the D&D geeks and gutter punks alike who’d sing along at his solo shows, or those who knew him as the drummer for \u003ca href=\"https://en.wikipedia.org/wiki/The_Velvet_Teen\">The Velvet Teen\u003c/a> and Little Tin Frog — it’s the personal stories in \u003cem>Your Friend Logan\u003c/em> that best illuminate Whitehurst’s work. Bandmates recall his many pranks (a particularly brazen one involves the roof of the Capitol Records building in Hollywood), as well as his ability to talk about the ocean or the moon for hours on end. His family fills in the childhood years, full of wonder and learning; at one point, his brother Elliott puts it succinctly: “Logan’s defining feature was his brain.”\u003c/p>\n\u003cfigure id=\"attachment_13979755\" class=\"wp-caption aligncenter\" style=\"max-width: 1716px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums.jpg\" alt=\"\" width=\"1716\" height=\"544\" class=\"size-full wp-image-13979755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums.jpg 1716w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-768x243.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-1536x487.jpg 1536w\" sizes=\"auto, (max-width: 1716px) 100vw, 1716px\">\u003cfigcaption class=\"wp-caption-text\">As an illustrator, Logan Whitehurst drew and designed the cover artwork for his albums, including ‘Earth Is Big,’ ‘Goodbye, My 4-Track’ and ‘Very Tiny Songs.’ \u003ccite>(Pandacide Records / Needlejuice Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That his brain and its cancer would ultimately be the reason for Whitehurst’s death is the worst kind of irony. The documentary’s late chapters are a rough watch, as grief consumes the joy of Whitehurst’s memory. In his final months, Whitehurst works on an album of 81 short compositions, \u003cem>Very Tiny Songs\u003c/em>, based on fan submissions; he also fulfills a life dream of talking to “Weird” Al. And then, at just 29 years old, he’s gone.\u003c/p>\n\u003cp>Or is he? Directed by Conner Nyberg, \u003cem>Your Friend Logan\u003c/em> ensures that Whitehurst will always be with us — those who knew him in Sonoma County, fellow musicians he met on tour, early message-board participants who discovered him on mp3.com, and fans all over the globe. All friends of Logan. For all time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.facebook.com/yourfriendlogan/\">Your Friend Logan\u003c/a>’ premieres on Saturday, Aug. 9, at the Phoenix Theater (201 E. Washington St., Petaluma), where Whitehurst often performed. The film will be \u003ca href=\"https://vimeo.com/ondemand/yourfriendlogan\">available to watch on Vimeo\u003c/a> starting Aug. 10.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no easy way to summarize the genius of \u003ca href=\"https://www.juniorscienceclub.com/bio.html\">Logan Whitehurst\u003c/a>, the musician, songwriter, illustrator and madcap thinker whose art continues to delight and inspire those lucky enough to stumble upon it.\u003c/p>\n\u003cp>It \u003cem>is\u003c/em> easy, however, to appreciate Whitehurst, who died of brain cancer in 2006. One need only marinate in \u003ca href=\"https://www.juniorscienceclub.com/loganarchive/\">his brilliant and prodigious musical output\u003c/a>, modestly but expertly recorded from his Sonoma County home on a 4-track cassette recorder. Or, perhaps, read \u003ca href=\"http://www.loganwhitehurst.com/vanilla/index.html\">the blog of his inanimate sidekick, Vanilla the Plastic Snowman\u003c/a>, who claimed to write all of Whitehurst’s songs.\u003c/p>\n\u003cp>Or, better yet, hear firsthand stories from the many people whose lives were made better by Whitehurst, who routinely signed his emails — even to complete strangers — “Your Friend, Logan.”\u003c/p>\n\u003cfigure id=\"attachment_13979743\" class=\"wp-caption aligncenter\" style=\"max-width: 2042px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979743\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n.jpg\" alt=\"\" width=\"2042\" height=\"1494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n.jpg 2042w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-2000x1463.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/125826335_2386980714781039_5821872292550339028_n-1536x1124.jpg 1536w\" sizes=\"auto, (max-width: 2042px) 100vw, 2042px\">\u003cfigcaption class=\"wp-caption-text\">Logan Whitehurst. \u003ccite>(Sara Sanger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s where a new 103-minute documentary, premiering this Saturday in Petaluma, comes in. \u003cem>Your Friend Logan\u003c/em> overflows with anecdotes about Whitehurst’s creative output, sense of humor, generosity and spirit, and makes a case for his inauguration into a proudly nerdy and witty hall of fame that includes Tom Lehrer, They Might Be Giants and “Weird” Al Yankovic.\u003c/p>\n\u003cp>Dr. Demento, among the dozens of people interviewed for the documentary, recalls the glee of first hearing Whitehurst’s landmark album \u003cem>\u003ca href=\"https://needlejuicerecords.com/products/goodbye-my-4-track-cd\">Goodbye My 4-Track\u003c/a>\u003c/em>, which he calls “the \u003cem>Sgt. Pepper’s\u003c/em> of comedy music.” Illustrations accompanying Whitehurst’s songs are scattered throughout the film, and will surely help convert the uninitiated: “\u003ca href=\"https://www.youtube.com/watch?v=7QGB7x3dZE4\">Your Brain Fell Out\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=AKL4KnJDpJQ\">Happy Noodle vs. Sad Noodle\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=GP_yqj4nQjo\">Monkeys Are Bad People\u003c/a>,” the absolutely insane and glorious “\u003ca href=\"https://www.youtube.com/watch?v=eCd9z4PV9So\">Schweepies\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For longtime fans — the D&D geeks and gutter punks alike who’d sing along at his solo shows, or those who knew him as the drummer for \u003ca href=\"https://en.wikipedia.org/wiki/The_Velvet_Teen\">The Velvet Teen\u003c/a> and Little Tin Frog — it’s the personal stories in \u003cem>Your Friend Logan\u003c/em> that best illuminate Whitehurst’s work. Bandmates recall his many pranks (a particularly brazen one involves the roof of the Capitol Records building in Hollywood), as well as his ability to talk about the ocean or the moon for hours on end. His family fills in the childhood years, full of wonder and learning; at one point, his brother Elliott puts it succinctly: “Logan’s defining feature was his brain.”\u003c/p>\n\u003cfigure id=\"attachment_13979755\" class=\"wp-caption aligncenter\" style=\"max-width: 1716px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums.jpg\" alt=\"\" width=\"1716\" height=\"544\" class=\"size-full wp-image-13979755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums.jpg 1716w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-768x243.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/LoganWhitehurst.albums-1536x487.jpg 1536w\" sizes=\"auto, (max-width: 1716px) 100vw, 1716px\">\u003cfigcaption class=\"wp-caption-text\">As an illustrator, Logan Whitehurst drew and designed the cover artwork for his albums, including ‘Earth Is Big,’ ‘Goodbye, My 4-Track’ and ‘Very Tiny Songs.’ \u003ccite>(Pandacide Records / Needlejuice Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That his brain and its cancer would ultimately be the reason for Whitehurst’s death is the worst kind of irony. The documentary’s late chapters are a rough watch, as grief consumes the joy of Whitehurst’s memory. In his final months, Whitehurst works on an album of 81 short compositions, \u003cem>Very Tiny Songs\u003c/em>, based on fan submissions; he also fulfills a life dream of talking to “Weird” Al. And then, at just 29 years old, he’s gone.\u003c/p>\n\u003cp>Or is he? Directed by Conner Nyberg, \u003cem>Your Friend Logan\u003c/em> ensures that Whitehurst will always be with us — those who knew him in Sonoma County, fellow musicians he met on tour, early message-board participants who discovered him on mp3.com, and fans all over the globe. All friends of Logan. For all time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.facebook.com/yourfriendlogan/\">Your Friend Logan\u003c/a>’ premieres on Saturday, Aug. 9, at the Phoenix Theater (201 E. Washington St., Petaluma), where Whitehurst often performed. The film will be \u003ca href=\"https://vimeo.com/ondemand/yourfriendlogan\">available to watch on Vimeo\u003c/a> starting Aug. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[aside postid='arts_13979494']More than 200,000 fans are expected to descend onto Golden Gate Park Aug. 8–10 for \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a>. In addition to stars like Doja Cat, Doechii, Hozier and Tyler, The Creator, the massive festival features a sizable offering of local talent.\u003c/p>\n\u003cp>Here are five Bay Area artists you shouldn’t miss.\u003c/p>\n\u003cp>https://youtu.be/SKh4ZProKvE?si=EAhzUFptmIxh67yO\u003c/p>\n\u003cp>\u003cstrong>LaRussell\u003c/strong>\u003cbr>\n\u003cem>Saturday, Aug. 9, 2:45 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/larussell/?hl=en\">LaRussell\u003c/a>’s bars overflow with joy and rambunctious energy, but he’s just as quick to offer earnest reflections on personal struggles and growth as he is to hit listeners with a clever punchline. Rooting for this rising Vallejo rap star feels like watching the ascent of an underdog home team, and big names like Lil Jon, Wiz Khalifa and E-40 have taken notice. (For those who can’t make it to Outside Lands, \u003ca href=\"https://www.kqed.org/event/5448\">LaRussell and his Good Compenny crew team up with KQED for a local music showcase in Vallejo on Aug. 21\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/B2g-3M3CiHU?si=8XvzjUWslUhrXBrR\u003c/p>\n\u003cp>\u003cstrong>Destroy Boys\u003c/strong>\u003cbr>\n\u003cem>Friday, Aug. 8, 1:35 p.m.\u003c/em>\u003c/p>\n\u003cp>Since their first big single “I Threw Glass at My Friend’s Eyes and Now I’m on Probation,” \u003ca href=\"https://www.funeralsoundtrack4.com/\">Destroy Boys\u003c/a>’ dark humor and chainsawing guitar riffs have earned the band a following well outside their Northern California home base. Originally from Sacramento, Destroy Boys cut their teeth in the Bay Area. Their 2024 album, \u003ci>Funeral Soundtrack #4\u003c/i>, showcases their versatility as they blend punk with indie rock grooves and even offer a bit of Argentine-inflected rock en español.\u003c/p>\n\u003cp>https://youtu.be/8P2cjP7o3Gw?si=gGedLlKRLRvprp8P\u003c/p>\n\u003cp>\u003cstrong>Baalti\u003c/strong>\u003cbr>\n\u003cem>Friday, Aug. 8, 12 p.m. and 2:20 p.m.\u003c/em>\u003c/p>\n\u003cp>Electronic music duo \u003ca href=\"https://www.instagram.com/baalti.mp3/?hl=en\">Baalti\u003c/a> are crate digger extraordinaires. The two producers cull samples from Bollywood and South Asian classics, and mix them into global club bangers that draw from house, U.K. garage and more. That fusion has attracted an international audience in nightlife meccas like Berlin, New York and, of course, their home base of San Francisco.\u003c/p>\n\u003cp>https://youtu.be/u6KvsPikRYU?si=5hDFrgkV3ebMZWbh\u003c/p>\n\u003cp>\u003cstrong>Claude VonStroke\u003c/strong>\u003cbr>\n\u003cem>Saturday, Aug. 9, 8:10 p.m.\u003c/em>\u003c/p>\n\u003cp>The idea for Dirtybird Records came to \u003ca href=\"https://claudevonstroke.com/\">Claude VonStroke\u003c/a> after he hauled his sound system to Golden Gate Park and threw a guerrilla-style party 20 years ago. Since then, his gritty, booty-shaking take on house music, like his most recent single with Reggie Watts, “This MFing Beat,” has drawn a passionate cult following.\u003c/p>\n\u003cp>https://youtu.be/nMavmk_jbwc?si=f5cthh_JxhToTJdR\u003c/p>\n\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\n\u003cem>Friday, Aug. 8, 5:30 p.m.\u003c/em>\u003c/p>\n\u003cp>True to his name, \u003ca href=\"https://www.woozystill.com/\">Still Woozy\u003c/a> pens dreamy melodies for reflective lyrics that float like clouds over fuzzy guitar riffs. The Moraga-raised singer-songwriter, now based in Portland, has spent this year bringing his charming grooves to festival stages like Coachella before he hits the stage at Outside Lands.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands takes place at Golden Gate Park in San Francisco Aug. 8-10. \u003ca href=\"https://sfoutsidelands.com/\">Full schedule and lineup here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>More than 200,000 fans are expected to descend onto Golden Gate Park Aug. 8–10 for \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a>. In addition to stars like Doja Cat, Doechii, Hozier and Tyler, The Creator, the massive festival features a sizable offering of local talent.\u003c/p>\n\u003cp>Here are five Bay Area artists you shouldn’t miss.\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/SKh4ZProKvE'\n title='//www.youtube.com/embed/SKh4ZProKvE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>LaRussell\u003c/strong>\u003cbr>\n\u003cem>Saturday, Aug. 9, 2:45 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/larussell/?hl=en\">LaRussell\u003c/a>’s bars overflow with joy and rambunctious energy, but he’s just as quick to offer earnest reflections on personal struggles and growth as he is to hit listeners with a clever punchline. Rooting for this rising Vallejo rap star feels like watching the ascent of an underdog home team, and big names like Lil Jon, Wiz Khalifa and E-40 have taken notice. (For those who can’t make it to Outside Lands, \u003ca href=\"https://www.kqed.org/event/5448\">LaRussell and his Good Compenny crew team up with KQED for a local music showcase in Vallejo on Aug. 21\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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/B2g-3M3CiHU'\n title='//www.youtube.com/embed/B2g-3M3CiHU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Destroy Boys\u003c/strong>\u003cbr>\n\u003cem>Friday, Aug. 8, 1:35 p.m.\u003c/em>\u003c/p>\n\u003cp>Since their first big single “I Threw Glass at My Friend’s Eyes and Now I’m on Probation,” \u003ca href=\"https://www.funeralsoundtrack4.com/\">Destroy Boys\u003c/a>’ dark humor and chainsawing guitar riffs have earned the band a following well outside their Northern California home base. Originally from Sacramento, Destroy Boys cut their teeth in the Bay Area. Their 2024 album, \u003ci>Funeral Soundtrack #4\u003c/i>, showcases their versatility as they blend punk with indie rock grooves and even offer a bit of Argentine-inflected rock en español.\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/8P2cjP7o3Gw'\n title='//www.youtube.com/embed/8P2cjP7o3Gw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Baalti\u003c/strong>\u003cbr>\n\u003cem>Friday, Aug. 8, 12 p.m. and 2:20 p.m.\u003c/em>\u003c/p>\n\u003cp>Electronic music duo \u003ca href=\"https://www.instagram.com/baalti.mp3/?hl=en\">Baalti\u003c/a> are crate digger extraordinaires. The two producers cull samples from Bollywood and South Asian classics, and mix them into global club bangers that draw from house, U.K. garage and more. That fusion has attracted an international audience in nightlife meccas like Berlin, New York and, of course, their home base of San Francisco.\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/u6KvsPikRYU'\n title='//www.youtube.com/embed/u6KvsPikRYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Claude VonStroke\u003c/strong>\u003cbr>\n\u003cem>Saturday, Aug. 9, 8:10 p.m.\u003c/em>\u003c/p>\n\u003cp>The idea for Dirtybird Records came to \u003ca href=\"https://claudevonstroke.com/\">Claude VonStroke\u003c/a> after he hauled his sound system to Golden Gate Park and threw a guerrilla-style party 20 years ago. Since then, his gritty, booty-shaking take on house music, like his most recent single with Reggie Watts, “This MFing Beat,” has drawn a passionate cult following.\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/nMavmk_jbwc'\n title='//www.youtube.com/embed/nMavmk_jbwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\n\u003cem>Friday, Aug. 8, 5:30 p.m.\u003c/em>\u003c/p>\n\u003cp>True to his name, \u003ca href=\"https://www.woozystill.com/\">Still Woozy\u003c/a> pens dreamy melodies for reflective lyrics that float like clouds over fuzzy guitar riffs. The Moraga-raised singer-songwriter, now based in Portland, has spent this year bringing his charming grooves to festival stages like Coachella before he hits the stage at Outside Lands.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands takes place at Golden Gate Park in San Francisco Aug. 8-10. \u003ca href=\"https://sfoutsidelands.com/\">Full schedule and lineup here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve ever walked into 429 Haight St. — or 419 Haight, or 448 Haight — to browse for records, you’ve undoubtedly encountered Dick Vivian.\u003c/p>\n\u003cp>Since 1987, the vinyl bon vivant has owned and operated \u003ca href=\"https://www.instagram.com/rooky_ricardos_records/?hl=en\">Rooky Ricardo’s Records\u003c/a>, which received \u003ca href=\"https://www.sfweekly.com/archives/rooky-becomes-a-veteran/article_e1db29cd-ebd9-5c40-ba32-a18ba635626d.html\">official legacy status\u003c/a> from the city in 2017. Both the shop – which champions music from the ’50s, ’60s and ’70s with a special affinity for soul and girl group 45s – and Vivian himself have become San Francisco icons. Just ask \u003ci>GQ\u003c/i>, which \u003ca href=\"https://www.gq.com/story/rooky-ricardo-dick-vivian-san-francisco\">profiled Dick\u003c/a> in 2013.\u003c/p>\n\u003cp>“He wants you to experience love the way he does — unflinchingly, fiercely, naively,” the profile opined. “He first fell in love [with music] at the age of ten, while lying alone on his bed, and he has dedicated half of his life to recreating the feeling again and again.” \u003c/p>\n\u003cp>Rookys is one of the oldest record stores in San Francisco; it’s survived two displacements, multiple rent hikes, two tech booms, one financially devastating scam and a pandemic.\u003c/p>\n\u003cp>[aside postID='arts_11782160']And now, Vivian has continued to run the shop despite a Stage 3 pancreatic cancer diagnosis in March of this year. He’s been receiving treatment at UCSF, including weekly chemotherapy infusions, and gets assistance from several friends.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musician and longtime Rooky’s employee Nick Waterhouse moved back to San Francisco from L.A. to help care for Vivian. Speaking from a hospital hallway, Waterhouse says his friend and mentor has several comorbidities in addition to the cancer diagnosis, and will soon undergo heart surgery.\u003c/p>\n\u003cp>“The reality is he’s going to need care; care that a friend can’t even provide,” Waterhouse says. “This is about quality of life. I think he made the quality of my life and a lot of other people’s lives so high that he deserves the dignity of simple care.”\u003c/p>\n\u003cfigure id=\"attachment_13979618\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/RookyRIcardos.NickWaterhouse.jpg\" alt=\"\" width=\"1440\" height=\"1800\" class=\"size-full wp-image-13979618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/RookyRIcardos.NickWaterhouse.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/RookyRIcardos.NickWaterhouse-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/RookyRIcardos.NickWaterhouse-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/RookyRIcardos.NickWaterhouse-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Dick Vivian with copies of a 45rpm single by Rooky Ricardo’s employee Nick Waterhouse. \u003ccite>(Rooky Ricardo's/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Vivian has insurance, certain aspects and procedures of his medical care are not covered. Adds Waterhouse: “There is no retirement when you run a record shop that sells $5, $10, and $15 45s.” To fill in those gaps, a \u003ca href=\"https://www.gofundme.com/f/y8ev6\">GoFundMe\u003c/a> campaign has been established to help cover his costs.\u003c/p>\n\u003cp>At press time, the campaign has raised over $20,000 its $25,000 goal, with musicians, DJs and collectors nationwide stepping up. Both on the platform and on \u003ca href=\"https://www.instagram.com/p/DM89v--ymzz/\">social media\u003c/a>, fans and friends expressed their gratitude for the myriad ways Vivian and Rooky’s have impacted their lives. \u003c/p>\n\u003cp>“Dick Vivian and Rooky Ricardo’s Records have been monumentally, unspeakably important to me,” \u003ca href=\"https://www.facebook.com/benjamin.wright.39'\">wrote\u003c/a> Ben Wright, a Brooklyn-based DJ who once lived a block from the store. “Rookys was a place where I could go to forget about things for a while. It’s no exaggeration to say that Dick helped me get through one of the worst periods of my life. … Sometimes he even slipped me a couple free records to boot. What can I say, the man is a class act.”\u003c/p>\n\u003cp>Chris Veltri, who owns neighboring record store \u003ca href=\"https://www.sfweekly.com/music/groove-merchant-is-still-stoked-after-all-these-years/article_9452dd14-33b6-539b-a2c7-c5a823c6ab92.html\">Groove Merchant\u003c/a>, says Rooky Ricardo’s \u003ci>is\u003c/i> Dick Vivian. “His store is kind of a dying breed; it’s 100% him. You’re kind of walking into a different era, a space that’s unique into itself.” \u003c/p>\n\u003cp>Veltri has learned a lot from Vivian, including the importance of creating space and atmosphere. “A record store really is like a good bar or a coffee shop. It’s a meeting spot first, it’s where conversation happens,” he says. “People just need a space that can be mindless and just the physicality of flipping through the racks and just shooting the shit. And that’s what Dick’s spot has always been. He’s always sitting at his table, cleaning 45s, pricing 45s. You walk in and a relaxation sets in. You don’t get that in a lot of stores.”\u003c/p>\n\u003cfigure id=\"attachment_13979615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1408775744.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1408775744.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1408775744-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1408775744-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1408775744-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mayor London Breed browses through albums during a visit to the record store Rooky Ricardo’s on lower Haight Street in San Francisco, Calif. on Friday, Dec. 7, 2018. \u003ccite>(Paul Chinn/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musician and producer Tom Brenneck donated to Dick’s GoFundMe out of “pure love.” The L.A.-based artist started shopping at Rookys 20 years ago as a member of the Dap-Kings and the Budos Band, and later with Charles Bradley. “[Over the] last few years, I go there with my wife and kids just to hang, hardly to shop,” he says.\u003c/p>\n\u003cp>Waterhouse, Kurt Andre and \u003ca href=\"https://www.kqed.org/arts/13837743/how-sweater-funk-djs-revived-boogie-a-once-uncool-sound\">Sweaterfunk\u003c/a> DJ/\u003ca href=\"https://www.instagram.com/pressed916/\">Pressed 916\u003c/a> co-founder Jon Blunk plan to run the shop moving forward, bringing Dick in if he’s able.\u003c/p>\n\u003cp>“He just keeps saying, ‘All I want to do is just go to the shop, be in my apartment at night and read a paperback book and watch a movie,'” Waterhouse says. \u003c/p>\n\u003cp>[aside postID='arts_13931586']Born in Walnut Creek, Vivian became a regional celebrity for \u003ca href=\"https://www.youtube.com/watch?v=u9utUOdQvn4&t=48s\">dancing on KOFY TV\u003c/a>. (He \u003ca href=\"https://youtu.be/OE9VGUq12js?si=83LGSYOLpwAeEdCI&t=40\">still has moves\u003c/a>). His status grew as a host and waiter in the California fine dining scene, where Vivian’s hilarious and lovingly catty personality garnered attention. When he opened Rookys in 1987, the store became a “dreamy embodiment of whatever he thinks people should get out of listening to records,” Waterhouse says.\u003c/p>\n\u003cp>“When you come in as a customer, he … immediately personalizes you. He’s not chilly or distant. He brings you in closer by joking with you. He has a genuine curiosity about what you’re interested in,” Waterhouse continues. “I think Dick does that to every person, regardless of their background, and has for three and a half decades. And so people fall in love with him.”\u003c/p>\n\u003cp>The outpouring of support surprised even Dick.\u003c/p>\n\u003cp>“I know I know a lot of people, but this is beyond my wildest dreams,” Vivian tells KQED. “As I’m sitting here waiting to know what’s going to happen, it’s really made a huge difference in my attitude. So I’m still laughing and being hilarious. Thank you, everybody.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.gofundme.com/f/y8ev6\">A GoFundMe for Dick Vivian can be found here\u003c/a>\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever walked into 429 Haight St. — or 419 Haight, or 448 Haight — to browse for records, you’ve undoubtedly encountered Dick Vivian.\u003c/p>\n\u003cp>Since 1987, the vinyl bon vivant has owned and operated \u003ca href=\"https://www.instagram.com/rooky_ricardos_records/?hl=en\">Rooky Ricardo’s Records\u003c/a>, which received \u003ca href=\"https://www.sfweekly.com/archives/rooky-becomes-a-veteran/article_e1db29cd-ebd9-5c40-ba32-a18ba635626d.html\">official legacy status\u003c/a> from the city in 2017. Both the shop – which champions music from the ’50s, ’60s and ’70s with a special affinity for soul and girl group 45s – and Vivian himself have become San Francisco icons. Just ask \u003ci>GQ\u003c/i>, which \u003ca href=\"https://www.gq.com/story/rooky-ricardo-dick-vivian-san-francisco\">profiled Dick\u003c/a> in 2013.\u003c/p>\n\u003cp>“He wants you to experience love the way he does — unflinchingly, fiercely, naively,” the profile opined. “He first fell in love [with music] at the age of ten, while lying alone on his bed, and he has dedicated half of his life to recreating the feeling again and again.” \u003c/p>\n\u003cp>Rookys is one of the oldest record stores in San Francisco; it’s survived two displacements, multiple rent hikes, two tech booms, one financially devastating scam and a pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And now, Vivian has continued to run the shop despite a Stage 3 pancreatic cancer diagnosis in March of this year. He’s been receiving treatment at UCSF, including weekly chemotherapy infusions, and gets assistance from several friends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Musician and longtime Rooky’s employee Nick Waterhouse moved back to San Francisco from L.A. to help care for Vivian. Speaking from a hospital hallway, Waterhouse says his friend and mentor has several comorbidities in addition to the cancer diagnosis, and will soon undergo heart surgery.\u003c/p>\n\u003cp>“The reality is he’s going to need care; care that a friend can’t even provide,” Waterhouse says. “This is about quality of life. I think he made the quality of my life and a lot of other people’s lives so high that he deserves the dignity of simple care.”\u003c/p>\n\u003cfigure id=\"attachment_13979618\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/RookyRIcardos.NickWaterhouse.jpg\" alt=\"\" width=\"1440\" height=\"1800\" class=\"size-full wp-image-13979618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/RookyRIcardos.NickWaterhouse.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/RookyRIcardos.NickWaterhouse-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/RookyRIcardos.NickWaterhouse-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/RookyRIcardos.NickWaterhouse-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Dick Vivian with copies of a 45rpm single by Rooky Ricardo’s employee Nick Waterhouse. \u003ccite>(Rooky Ricardo's/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Vivian has insurance, certain aspects and procedures of his medical care are not covered. Adds Waterhouse: “There is no retirement when you run a record shop that sells $5, $10, and $15 45s.” To fill in those gaps, a \u003ca href=\"https://www.gofundme.com/f/y8ev6\">GoFundMe\u003c/a> campaign has been established to help cover his costs.\u003c/p>\n\u003cp>At press time, the campaign has raised over $20,000 its $25,000 goal, with musicians, DJs and collectors nationwide stepping up. Both on the platform and on \u003ca href=\"https://www.instagram.com/p/DM89v--ymzz/\">social media\u003c/a>, fans and friends expressed their gratitude for the myriad ways Vivian and Rooky’s have impacted their lives. \u003c/p>\n\u003cp>“Dick Vivian and Rooky Ricardo’s Records have been monumentally, unspeakably important to me,” \u003ca href=\"https://www.facebook.com/benjamin.wright.39'\">wrote\u003c/a> Ben Wright, a Brooklyn-based DJ who once lived a block from the store. “Rookys was a place where I could go to forget about things for a while. It’s no exaggeration to say that Dick helped me get through one of the worst periods of my life. … Sometimes he even slipped me a couple free records to boot. What can I say, the man is a class act.”\u003c/p>\n\u003cp>Chris Veltri, who owns neighboring record store \u003ca href=\"https://www.sfweekly.com/music/groove-merchant-is-still-stoked-after-all-these-years/article_9452dd14-33b6-539b-a2c7-c5a823c6ab92.html\">Groove Merchant\u003c/a>, says Rooky Ricardo’s \u003ci>is\u003c/i> Dick Vivian. “His store is kind of a dying breed; it’s 100% him. You’re kind of walking into a different era, a space that’s unique into itself.” \u003c/p>\n\u003cp>Veltri has learned a lot from Vivian, including the importance of creating space and atmosphere. “A record store really is like a good bar or a coffee shop. It’s a meeting spot first, it’s where conversation happens,” he says. “People just need a space that can be mindless and just the physicality of flipping through the racks and just shooting the shit. And that’s what Dick’s spot has always been. He’s always sitting at his table, cleaning 45s, pricing 45s. You walk in and a relaxation sets in. You don’t get that in a lot of stores.”\u003c/p>\n\u003cfigure id=\"attachment_13979615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1408775744.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1408775744.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1408775744-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1408775744-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/GettyImages-1408775744-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mayor London Breed browses through albums during a visit to the record store Rooky Ricardo’s on lower Haight Street in San Francisco, Calif. on Friday, Dec. 7, 2018. \u003ccite>(Paul Chinn/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musician and producer Tom Brenneck donated to Dick’s GoFundMe out of “pure love.” The L.A.-based artist started shopping at Rookys 20 years ago as a member of the Dap-Kings and the Budos Band, and later with Charles Bradley. “[Over the] last few years, I go there with my wife and kids just to hang, hardly to shop,” he says.\u003c/p>\n\u003cp>Waterhouse, Kurt Andre and \u003ca href=\"https://www.kqed.org/arts/13837743/how-sweater-funk-djs-revived-boogie-a-once-uncool-sound\">Sweaterfunk\u003c/a> DJ/\u003ca href=\"https://www.instagram.com/pressed916/\">Pressed 916\u003c/a> co-founder Jon Blunk plan to run the shop moving forward, bringing Dick in if he’s able.\u003c/p>\n\u003cp>“He just keeps saying, ‘All I want to do is just go to the shop, be in my apartment at night and read a paperback book and watch a movie,'” Waterhouse says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Born in Walnut Creek, Vivian became a regional celebrity for \u003ca href=\"https://www.youtube.com/watch?v=u9utUOdQvn4&t=48s\">dancing on KOFY TV\u003c/a>. (He \u003ca href=\"https://youtu.be/OE9VGUq12js?si=83LGSYOLpwAeEdCI&t=40\">still has moves\u003c/a>). His status grew as a host and waiter in the California fine dining scene, where Vivian’s hilarious and lovingly catty personality garnered attention. When he opened Rookys in 1987, the store became a “dreamy embodiment of whatever he thinks people should get out of listening to records,” Waterhouse says.\u003c/p>\n\u003cp>“When you come in as a customer, he … immediately personalizes you. He’s not chilly or distant. He brings you in closer by joking with you. He has a genuine curiosity about what you’re interested in,” Waterhouse continues. “I think Dick does that to every person, regardless of their background, and has for three and a half decades. And so people fall in love with him.”\u003c/p>\n\u003cp>The outpouring of support surprised even Dick.\u003c/p>\n\u003cp>“I know I know a lot of people, but this is beyond my wildest dreams,” Vivian tells KQED. “As I’m sitting here waiting to know what’s going to happen, it’s really made a huge difference in my attitude. So I’m still laughing and being hilarious. Thank you, everybody.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.gofundme.com/f/y8ev6\">A GoFundMe for Dick Vivian can be found here\u003c/a>\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>[aside postID=arts_13968840 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_03.jpg']She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "big-freedia-outside-lands-oasis-san-francisco-gospel-pressing-onward",
"title": "Big Freedia Is Ready to Take San Francisco to Church",
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"headTitle": "Big Freedia Is Ready to Take San Francisco to Church | KQED",
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"content": "\u003cfigure id=\"attachment_13979529\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979529\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy.jpeg\" alt=\"Big Freedia holds her hands together in prayer in a church illuminated by a purple glow.\" width=\"1200\" height=\"1799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-1025x1536.jpeg 1025w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia’s new album ‘Pressing Onward,’ named after her childhood church, blends gospel and bounce music with an inclusive message. \u003ccite>(Hunter Holder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’d be living in a different world today if \u003ca href=\"https://www.kqed.org/arts/13843920/big-freedia-is-the-21st-centurys-ambassador-of-freedom\">Big Freedia\u003c/a>’s life hadn’t taken the turn that it did. Back in the ’90s, when the Queen Diva of bounce music was still in high school in New Orleans, church was her life. Not only did she spend Sundays at Pressing Onward Baptist for service and Bible study, but she went on Saturdays for choir practice and Friday nights for musicals.\u003c/p>\n\u003cp>“Growing up in the hood, it helped me to survive,” she tells KQED during a video call, as makeup artists’ hands flit around her cheekbones.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bigfreedia.com/\">Big Freedia\u003c/a> had dreams of becoming a choir director, but found another calling when a high-energy, booty-shaking new sound began to explode out of her neighborhood. In the 25 years since, Freedia has brought bounce from New Orleans’ underground queer scene to the mainstream. As she’s performed at every major festival and collaborated with Drake and Beyoncé, opening doors for other LGBTQ+ artists along the way, her faith has kept her grounded.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XGIyjB0IiePf5uTSGt9Wt?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>On her new album \u003ci>Pressing Onward\u003c/i>, out Aug. 8, Big Freedia returns to her roots, bringing gospel harmonies and hopeful messages of faith together with bounce beats. The album draws a throughline between the ecstasy music can create both in the church and in the club. This synergy has a long history in queer Black music, going back to church-trained, genderfluid San Francisco disco star \u003ca href=\"https://www.kqed.org/arts/13854644/how-the-world-caught-up-to-sylvester\">Sylvester\u003c/a>, one of Big Freedia’s early inspirations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> festival on Sunday, Aug. 10, Freedia will perform \u003ci>Pressing Onward\u003c/i> with the \u003ca href=\"https://www.sfgmc.org/\">San Francisco Gay Men’s Chorus\u003c/a>, offering an uplifting moment of praise for fans of all walks of life — including queer listeners who grew up feeling excluded from their religious communities, and those currently reeling from a hostile political climate and rollbacks to trans rights.\u003c/p>\n\u003cp>“Music is messaging, and music is what feeds the soul. And I’m definitely using my platform to be able to speak on trans rights, and just all of the rights of people in the LGBTQ+ community,” Freedia says.\u003c/p>\n\u003cfigure id=\"attachment_13902527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia backstage at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gospel has held Big Freedia up during some of the toughest moments of her life, including the recent death of her longtime partner Devon, who passed away from diabetes complications in May. For her, performing this music at recent gigs like Nashville Pride and the Newport Folk Festival has been healing.\u003c/p>\n\u003cp>“When I’m on stage, I’m able to forget all the troubles of the world and lay down all of my burden,” Freedia says.\u003c/p>\n\u003cp>In addition to her Sunday gospel set on Outside Lands’ main stage, Big Freedia will DJ on Saturday, Aug. 9 at Dolores’, Outside Lands’ open-air queer club. She’ll share the stage with drag performers from the venerable San Francisco parties Princess and Reparations, which both take place regularly at the Oasis nightclub in SOMA. That night, Freedia will hit the Oasis stage for her \u003ca href=\"https://www.eventbrite.com/e/big-freedia-live-official-album-release-party-tickets-1493433332299\">official release party of \u003ci>Pressing Onward\u003c/i>\u003c/a>, with support from drag artists like Nicki Jizz, Tyson Checkin and more.\u003c/p>\n\u003cp>“[Fans] have been rockin’ with me for a long time in the Bay Area, and I think it’s going to be even better this year,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13962482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz and the Oasis Reparations cast perform on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacob Stensberg, the artistic director and conductor of the San Francisco Gay Men’s Chorus, is currently preparing to lead 75 singers of all faiths and backgrounds to join Big Freedia at Outside Lands on Sunday. While SFGMC doesn’t often sing religious music, Stensberg says, Big Freedia’s inclusive message transcends boundaries.\u003c/p>\n\u003cp>“She is fearless. She does not let the social confines of our culture define who she is,” says Stensberg. “And that comes through in her music. I think it is the farthest out-of-the box thinking to take gospel music and bounce music and create this spiritual sanctuary where people can be themselves through the lens of Christianity. She is the leader for us in the way we develop our own self-identity, our own journey of self-determination.”\u003c/p>\n\u003cp>Outside Lands’ commitment to LGBTQ+ programming stands out during a year that’s seen corporate sponsors pull out of Pride celebrations around the country; the National Endowment for the Arts align itself with President Trump’s anti-trans executive order; and private funders back away from LGBTQ+ organizations. (Even \u003ca href=\"https://www.kqed.org/arts/13978983/oasis-closing-drag-club-san-francisco-lgbtq-shutting-down-closed\">Oasis is closing its nightclub\u003c/a> at the end of the year because of financial issues.)\u003c/p>\n\u003cfigure id=\"attachment_13962428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Big Freedia, Outside Lands features other queer artists on the main stage, including Tyler, The Creator and Doechii. Dolores’ spotlights three major LGBTQ+ event producers — Oasis Arts, Polyglamorous and Fake and Gay — who have all booked packed lineups featuring some of San Francisco’s best-known drag artists and DJs.\u003c/p>\n\u003cp>Asked about the festival’s commitment to its queer artists and fans, Nick Barrie, a talent buyer for the festival, has a simple answer: “It’s wrong not to,” he says.\u003c/p>\n\u003cp>For Big Freedia’s part, amid the many ongoing fights for LGBTQ+ rights, she wants to leave fans with a feeling of happiness — much like how she felt on those Sundays spent at Pressing Onward Baptist Church.\u003c/p>\n\u003cp>“That whole weekend,” she says, “I’m excited to … just bring joy to people so they can have that moment to just lay their hair down and just party with me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Big Freedia performs at \u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a> in San Francisco’s Golden Gate Park on Aug. 9 and 10, and \u003ca href=\"https://www.eventbrite.com/e/big-freedia-live-official-album-release-party-tickets-1493433332299\">at Oasis\u003c/a> (298 11th St., San Francisco) on Aug. 9. Her album ‘\u003ca href=\"https://lnk.to/PRESSINGONWARD\">Pressing Onward\u003c/a>‘ releases Aug. 8. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979529\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979529\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy.jpeg\" alt=\"Big Freedia holds her hands together in prayer in a church illuminated by a purple glow.\" width=\"1200\" height=\"1799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-1025x1536.jpeg 1025w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia’s new album ‘Pressing Onward,’ named after her childhood church, blends gospel and bounce music with an inclusive message. \u003ccite>(Hunter Holder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’d be living in a different world today if \u003ca href=\"https://www.kqed.org/arts/13843920/big-freedia-is-the-21st-centurys-ambassador-of-freedom\">Big Freedia\u003c/a>’s life hadn’t taken the turn that it did. Back in the ’90s, when the Queen Diva of bounce music was still in high school in New Orleans, church was her life. Not only did she spend Sundays at Pressing Onward Baptist for service and Bible study, but she went on Saturdays for choir practice and Friday nights for musicals.\u003c/p>\n\u003cp>“Growing up in the hood, it helped me to survive,” she tells KQED during a video call, as makeup artists’ hands flit around her cheekbones.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bigfreedia.com/\">Big Freedia\u003c/a> had dreams of becoming a choir director, but found another calling when a high-energy, booty-shaking new sound began to explode out of her neighborhood. In the 25 years since, Freedia has brought bounce from New Orleans’ underground queer scene to the mainstream. As she’s performed at every major festival and collaborated with Drake and Beyoncé, opening doors for other LGBTQ+ artists along the way, her faith has kept her grounded.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XGIyjB0IiePf5uTSGt9Wt?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>On her new album \u003ci>Pressing Onward\u003c/i>, out Aug. 8, Big Freedia returns to her roots, bringing gospel harmonies and hopeful messages of faith together with bounce beats. The album draws a throughline between the ecstasy music can create both in the church and in the club. This synergy has a long history in queer Black music, going back to church-trained, genderfluid San Francisco disco star \u003ca href=\"https://www.kqed.org/arts/13854644/how-the-world-caught-up-to-sylvester\">Sylvester\u003c/a>, one of Big Freedia’s early inspirations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> festival on Sunday, Aug. 10, Freedia will perform \u003ci>Pressing Onward\u003c/i> with the \u003ca href=\"https://www.sfgmc.org/\">San Francisco Gay Men’s Chorus\u003c/a>, offering an uplifting moment of praise for fans of all walks of life — including queer listeners who grew up feeling excluded from their religious communities, and those currently reeling from a hostile political climate and rollbacks to trans rights.\u003c/p>\n\u003cp>“Music is messaging, and music is what feeds the soul. And I’m definitely using my platform to be able to speak on trans rights, and just all of the rights of people in the LGBTQ+ community,” Freedia says.\u003c/p>\n\u003cfigure id=\"attachment_13902527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia backstage at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gospel has held Big Freedia up during some of the toughest moments of her life, including the recent death of her longtime partner Devon, who passed away from diabetes complications in May. For her, performing this music at recent gigs like Nashville Pride and the Newport Folk Festival has been healing.\u003c/p>\n\u003cp>“When I’m on stage, I’m able to forget all the troubles of the world and lay down all of my burden,” Freedia says.\u003c/p>\n\u003cp>In addition to her Sunday gospel set on Outside Lands’ main stage, Big Freedia will DJ on Saturday, Aug. 9 at Dolores’, Outside Lands’ open-air queer club. She’ll share the stage with drag performers from the venerable San Francisco parties Princess and Reparations, which both take place regularly at the Oasis nightclub in SOMA. That night, Freedia will hit the Oasis stage for her \u003ca href=\"https://www.eventbrite.com/e/big-freedia-live-official-album-release-party-tickets-1493433332299\">official release party of \u003ci>Pressing Onward\u003c/i>\u003c/a>, with support from drag artists like Nicki Jizz, Tyson Checkin and more.\u003c/p>\n\u003cp>“[Fans] have been rockin’ with me for a long time in the Bay Area, and I think it’s going to be even better this year,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13962482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz and the Oasis Reparations cast perform on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacob Stensberg, the artistic director and conductor of the San Francisco Gay Men’s Chorus, is currently preparing to lead 75 singers of all faiths and backgrounds to join Big Freedia at Outside Lands on Sunday. While SFGMC doesn’t often sing religious music, Stensberg says, Big Freedia’s inclusive message transcends boundaries.\u003c/p>\n\u003cp>“She is fearless. She does not let the social confines of our culture define who she is,” says Stensberg. “And that comes through in her music. I think it is the farthest out-of-the box thinking to take gospel music and bounce music and create this spiritual sanctuary where people can be themselves through the lens of Christianity. She is the leader for us in the way we develop our own self-identity, our own journey of self-determination.”\u003c/p>\n\u003cp>Outside Lands’ commitment to LGBTQ+ programming stands out during a year that’s seen corporate sponsors pull out of Pride celebrations around the country; the National Endowment for the Arts align itself with President Trump’s anti-trans executive order; and private funders back away from LGBTQ+ organizations. (Even \u003ca href=\"https://www.kqed.org/arts/13978983/oasis-closing-drag-club-san-francisco-lgbtq-shutting-down-closed\">Oasis is closing its nightclub\u003c/a> at the end of the year because of financial issues.)\u003c/p>\n\u003cfigure id=\"attachment_13962428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Big Freedia, Outside Lands features other queer artists on the main stage, including Tyler, The Creator and Doechii. Dolores’ spotlights three major LGBTQ+ event producers — Oasis Arts, Polyglamorous and Fake and Gay — who have all booked packed lineups featuring some of San Francisco’s best-known drag artists and DJs.\u003c/p>\n\u003cp>Asked about the festival’s commitment to its queer artists and fans, Nick Barrie, a talent buyer for the festival, has a simple answer: “It’s wrong not to,” he says.\u003c/p>\n\u003cp>For Big Freedia’s part, amid the many ongoing fights for LGBTQ+ rights, she wants to leave fans with a feeling of happiness — much like how she felt on those Sundays spent at Pressing Onward Baptist Church.\u003c/p>\n\u003cp>“That whole weekend,” she says, “I’m excited to … just bring joy to people so they can have that moment to just lay their hair down and just party with me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Big Freedia performs at \u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a> in San Francisco’s Golden Gate Park on Aug. 9 and 10, and \u003ca href=\"https://www.eventbrite.com/e/big-freedia-live-official-album-release-party-tickets-1493433332299\">at Oasis\u003c/a> (298 11th St., San Francisco) on Aug. 9. Her album ‘\u003ca href=\"https://lnk.to/PRESSINGONWARD\">Pressing Onward\u003c/a>‘ releases Aug. 8. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Doechii has announced a show at \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>’s Bill Graham Civic Auditorium on Nov. 7, and we’ve got the scoop on how to buy presale \u003ca href=\"https://www.kqed.org/arts/tag/tickets\">tickets\u003c/a>. \u003c/p>\n\u003cp>Doechii’s \u003ca href=\"https://www.livefromtheswamp.com/\">Live From the Swamp\u003c/a> tour follows a fast-flowing river of Ws for the rap phenomenon, including a show-stealing set at the Grammy Awards, a Top 10 hit with “Anxiety” and a buzzed-about Lollapalooza performance this past weekend. (She’s also raking it in with commercials for Samsung, Nike and CashApp.)\u003c/p>\n\u003cp>For Doechii’s show on Friday, Nov. 7 in San Francisco — a return visit after this weekend’s upcoming \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> set — expect tickets for the 8,500-capacity Bill Graham Civic to sell out quickly. Presales are your best bet here, and there are two to take advantage of. \u003c/p>\n\u003cp>An artist presale starts on Friday, Aug. 8, at 10 a.m. To access it, you’ll have to \u003ca href=\"https://signup.ticketmaster.com/doechii\">sign up here for the artist presale\u003c/a> by a deadline of 10 p.m. on Wednesday, Aug. 6. No presale code will be sent to you via text or email — registration is tied to ticket buyers’ Ticketmaster accounts. \u003c/p>\n\u003cp>A presale for Verizon customers starts on Thursday, August 7, at 10:00 a.m. To access that presale, you’ll have to be an existing Verizon customer. More details can be found by logging in at \u003ca href=\"https://www.verizon.com/my-access-rewards/\">Verizon’s presale site\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"https://www.ticketmaster.com/doechii-live-from-the-swamp-tour-san-francisco-california-11-07-2025/event/1C0062FDC1AA5367\">general onsale\u003c/a>, accessible to the public, starts on Monday, Aug. 11, at 10 a.m. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Doechii has announced a show at \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>’s Bill Graham Civic Auditorium on Nov. 7, and we’ve got the scoop on how to buy presale \u003ca href=\"https://www.kqed.org/arts/tag/tickets\">tickets\u003c/a>. \u003c/p>\n\u003cp>Doechii’s \u003ca href=\"https://www.livefromtheswamp.com/\">Live From the Swamp\u003c/a> tour follows a fast-flowing river of Ws for the rap phenomenon, including a show-stealing set at the Grammy Awards, a Top 10 hit with “Anxiety” and a buzzed-about Lollapalooza performance this past weekend. (She’s also raking it in with commercials for Samsung, Nike and CashApp.)\u003c/p>\n\u003cp>For Doechii’s show on Friday, Nov. 7 in San Francisco — a return visit after this weekend’s upcoming \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> set — expect tickets for the 8,500-capacity Bill Graham Civic to sell out quickly. Presales are your best bet here, and there are two to take advantage of. \u003c/p>\n\u003cp>An artist presale starts on Friday, Aug. 8, at 10 a.m. To access it, you’ll have to \u003ca href=\"https://signup.ticketmaster.com/doechii\">sign up here for the artist presale\u003c/a> by a deadline of 10 p.m. on Wednesday, Aug. 6. No presale code will be sent to you via text or email — registration is tied to ticket buyers’ Ticketmaster accounts. \u003c/p>\n\u003cp>A presale for Verizon customers starts on Thursday, August 7, at 10:00 a.m. To access that presale, you’ll have to be an existing Verizon customer. More details can be found by logging in at \u003ca href=\"https://www.verizon.com/my-access-rewards/\">Verizon’s presale site\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13979429\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979429\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-scaled.jpg\" alt=\"A black-and-white photo of a female singer posing in a desert.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-2000x2998.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-1366x2048.jpg 1366w\" sizes=\"auto, (max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Madison McFerrin’s latest album ‘SCORPIO’ helped her rediscover herself after leaving a long relationship. With her recent collaboration with Tyler, The Creator, ‘SCORPIO’ is reaching a wider audience. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A broken engagement and the end of an eight-year relationship would be enough to make just about anyone spiral. For singer \u003ca href=\"https://www.madisonmcferrin.com/\">Madison McFerrin\u003c/a>, the fallout was compounded by the fact that her ex was also her longtime manager, and all aspects of their lives were pretty much intertwined.\u003c/p>\n\u003cp>As she soon figured out this new chapter of life, her piano bench was where she’d process her emotions, improvising jazz-inflected vocal runs, penning snappy R&B hooks and layering harmonies. The result is her latest album, \u003ci>SCORPIO\u003c/i>. Across a cathartic 13 tracks, McFerrin’s crystalline voice takes listeners through the emotional rollercoaster of a breakup — the pain (“Heartbreak”), the self-empowerment (“I Don’t”), the pettiness (“Over > Forever”), the chaotic horniness (“Run It Back”) and, yes, the sorrow (“blue”).\u003c/p>\n\u003cp>When it came time to finance the project, McFerrin, who prides herself in being an independent musician, realized she had a budget: the money she’d been saving for her wedding.\u003c/p>\n\u003cp>“It 100% felt like a flex,” jokes McFerrin, noting that moment felt cosmically aligned.\u003c/p>\n\u003cp>“I really just felt like that’s what [the money] was for,” she says. “That’s why it’s going to come back 50-, 100-fold. It’s just like, it was being used for its proper purpose, which was to not marry that person and to make a dope record instead.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2542231840/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>McFerrin was born in San Francisco to a family with deep musical roots. Her father, Bobby, is a virtuosic vocalist, conductor and 10-time-Grammy-winning sonic shape-shifter who’s collaborated with all-time greats like Herbie Hancock and Yo-Yo Ma. Madison’s grandfather Robert, an opera singer, was the first Black man to perform with the Metropolitan Opera.\u003c/p>\n\u003cp>McFerrin and her older brothers, Taylor and Jevon, followed their family’s artistic path: Taylor beatboxes and plays improvisatory, synth-driven jazz, and Jevon is an actor best known for performing multiple roles in \u003ci>Hamilton\u003c/i> on Broadway.\u003c/p>\n\u003cp>There was a time when McFerrin felt intimidated by her family legacy; now, she sees adding to it as an honor. “The McFerrin name comes with a lot,” she says. “And I think that that’s incredible. It comes with a lot of Black American history … and I just want to carry that forward.”\u003c/p>\n\u003cfigure id=\"attachment_13932366\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Madison McFerrin (left) performs with her father Bobby McFerrin at Blue Note Jazz Festival in Napa on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family moved to Minneapolis when McFerrin was young, and she grew up mostly there and in Philadelphia. (Her parents are now back in San Francisco, and Bobby performs every Monday at \u003ca href=\"https://www.kqed.org/arts/13913133/bobby-mcferrins-circlesongs-and-the-politics-of-play\">The Freight in Berkeley\u003c/a>.) She spent her adult years in Brooklyn on the performance grind; she recently relocated to Los Angeles, where a culture of casual invites to the studio has led to fruitful collaborations.\u003c/p>\n\u003cp>After Tyler, The Creator slid into her Instagram DMs to compliment her April Tiny Desk performance, McFerrin joined him in the booth for what would become a lullaby-like interlude on his dance-heavy, new No. 1 album, \u003ci>Don’t Tap the Glass\u003c/i>. She didn’t even realize her track had made the cut until one of Tyler’s producers congratulated her at his listening party.\u003c/p>\n\u003cp>“Girl is \u003cem>crazy\u003c/em> good,” Tyler recently told \u003cem>Ebro in the Morning\u003c/em>, praising McFerrin’s vocal tone and jazz-inflected delivery.\u003c/p>\n\u003cp>https://youtu.be/rtXMRhAwWVQ?si=lqYKB4PTv4q4x2MS\u003c/p>\n\u003cp>Willow — Smith, that is — also reached out to McFerrin with words of affirmation over social media. Once the two met in person, Willow came on as a co-producer for “I Don’t,” a punchy, piano-driven track with distorted guitar and McFerrin intoning with the sonic equivalent of a hairflip: “We were supposed to get married today / So I put on my ring just to sing about our love crumbling.”\u003c/p>\n\u003cp>Linking up with Willow led to McFerrin reconnecting with her Berklee College of Music classmate Zach Brown, Willow’s frequent collaborator; he came as a co-producer on \u003ci>SCORPIO\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/nsTEar1ebYQ?si=OojL6vNfg4lq0rf6\u003c/p>\n\u003cp>Much of \u003ci>SCORPIO\u003c/i>’s beauty is in the little details; the way a precisely chiseled melody might give way to an unconstricted vocal run and then a deadpan comedic aside. Though it’s about a breakup, it doesn’t leave the listener with much room to wallow (except “Lesson,” where McFerrin’s airy soprano over moody strings might leave you crumpled on the floor). The dreamy neo-soul groove of “Ain’t It Nice” is perfect for locking eyes with someone on the dance floor and moving in close; “Over > Forever,” with its four-on-the-floor house beat, offers comic relief in a softly sung harmony of “It’s time for you to get your shit together.” [aside postid='arts_13979401']\u003c/p>\n\u003cp>McFerrin credits her songwriting process with allowing her to untangle herself from the relationship and step into a more empowered place. “I think I needed to get away from it, de-center it, center myself, understand who I am, understand what my needs are, understand just who I want to be as a person,” she says, noting that she’s now happily in love with someone else.\u003c/p>\n\u003cp>McFerrin is now preparing to take the album on tour, with a stop at \u003ca href=\"https://www.augusthallsf.com/tm-event/madison-mcferrin/\">August Hall in San Francisco on Oct. 3\u003c/a>. (No trip home, she adds, is complete without a stop for carnitas at La Taqueria, which her parents have proudly patronized since 1979.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve told a joke on stage about how I make art out of my trauma, and we might as well dance to my trauma,” McFerrin says. “’Cause, why not? It feels better.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979429\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979429\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-scaled.jpg\" alt=\"A black-and-white photo of a female singer posing in a desert.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-2000x2998.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MG_4741-1366x2048.jpg 1366w\" sizes=\"auto, (max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Madison McFerrin’s latest album ‘SCORPIO’ helped her rediscover herself after leaving a long relationship. With her recent collaboration with Tyler, The Creator, ‘SCORPIO’ is reaching a wider audience. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A broken engagement and the end of an eight-year relationship would be enough to make just about anyone spiral. For singer \u003ca href=\"https://www.madisonmcferrin.com/\">Madison McFerrin\u003c/a>, the fallout was compounded by the fact that her ex was also her longtime manager, and all aspects of their lives were pretty much intertwined.\u003c/p>\n\u003cp>As she soon figured out this new chapter of life, her piano bench was where she’d process her emotions, improvising jazz-inflected vocal runs, penning snappy R&B hooks and layering harmonies. The result is her latest album, \u003ci>SCORPIO\u003c/i>. Across a cathartic 13 tracks, McFerrin’s crystalline voice takes listeners through the emotional rollercoaster of a breakup — the pain (“Heartbreak”), the self-empowerment (“I Don’t”), the pettiness (“Over > Forever”), the chaotic horniness (“Run It Back”) and, yes, the sorrow (“blue”).\u003c/p>\n\u003cp>When it came time to finance the project, McFerrin, who prides herself in being an independent musician, realized she had a budget: the money she’d been saving for her wedding.\u003c/p>\n\u003cp>“It 100% felt like a flex,” jokes McFerrin, noting that moment felt cosmically aligned.\u003c/p>\n\u003cp>“I really just felt like that’s what [the money] was for,” she says. “That’s why it’s going to come back 50-, 100-fold. It’s just like, it was being used for its proper purpose, which was to not marry that person and to make a dope record instead.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2542231840/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>McFerrin was born in San Francisco to a family with deep musical roots. Her father, Bobby, is a virtuosic vocalist, conductor and 10-time-Grammy-winning sonic shape-shifter who’s collaborated with all-time greats like Herbie Hancock and Yo-Yo Ma. Madison’s grandfather Robert, an opera singer, was the first Black man to perform with the Metropolitan Opera.\u003c/p>\n\u003cp>McFerrin and her older brothers, Taylor and Jevon, followed their family’s artistic path: Taylor beatboxes and plays improvisatory, synth-driven jazz, and Jevon is an actor best known for performing multiple roles in \u003ci>Hamilton\u003c/i> on Broadway.\u003c/p>\n\u003cp>There was a time when McFerrin felt intimidated by her family legacy; now, she sees adding to it as an honor. “The McFerrin name comes with a lot,” she says. “And I think that that’s incredible. It comes with a lot of Black American history … and I just want to carry that forward.”\u003c/p>\n\u003cfigure id=\"attachment_13932366\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Madison-McFerrin-left-performs-with-her-father-Bobby-McFerrin-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Madison McFerrin (left) performs with her father Bobby McFerrin at Blue Note Jazz Festival in Napa on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family moved to Minneapolis when McFerrin was young, and she grew up mostly there and in Philadelphia. (Her parents are now back in San Francisco, and Bobby performs every Monday at \u003ca href=\"https://www.kqed.org/arts/13913133/bobby-mcferrins-circlesongs-and-the-politics-of-play\">The Freight in Berkeley\u003c/a>.) She spent her adult years in Brooklyn on the performance grind; she recently relocated to Los Angeles, where a culture of casual invites to the studio has led to fruitful collaborations.\u003c/p>\n\u003cp>After Tyler, The Creator slid into her Instagram DMs to compliment her April Tiny Desk performance, McFerrin joined him in the booth for what would become a lullaby-like interlude on his dance-heavy, new No. 1 album, \u003ci>Don’t Tap the Glass\u003c/i>. She didn’t even realize her track had made the cut until one of Tyler’s producers congratulated her at his listening party.\u003c/p>\n\u003cp>“Girl is \u003cem>crazy\u003c/em> good,” Tyler recently told \u003cem>Ebro in the Morning\u003c/em>, praising McFerrin’s vocal tone and jazz-inflected delivery.\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/rtXMRhAwWVQ'\n title='//www.youtube.com/embed/rtXMRhAwWVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Willow — Smith, that is — also reached out to McFerrin with words of affirmation over social media. Once the two met in person, Willow came on as a co-producer for “I Don’t,” a punchy, piano-driven track with distorted guitar and McFerrin intoning with the sonic equivalent of a hairflip: “We were supposed to get married today / So I put on my ring just to sing about our love crumbling.”\u003c/p>\n\u003cp>Linking up with Willow led to McFerrin reconnecting with her Berklee College of Music classmate Zach Brown, Willow’s frequent collaborator; he came as a co-producer on \u003ci>SCORPIO\u003c/i>.\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/nsTEar1ebYQ'\n title='//www.youtube.com/embed/nsTEar1ebYQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Much of \u003ci>SCORPIO\u003c/i>’s beauty is in the little details; the way a precisely chiseled melody might give way to an unconstricted vocal run and then a deadpan comedic aside. Though it’s about a breakup, it doesn’t leave the listener with much room to wallow (except “Lesson,” where McFerrin’s airy soprano over moody strings might leave you crumpled on the floor). The dreamy neo-soul groove of “Ain’t It Nice” is perfect for locking eyes with someone on the dance floor and moving in close; “Over > Forever,” with its four-on-the-floor house beat, offers comic relief in a softly sung harmony of “It’s time for you to get your shit together.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McFerrin credits her songwriting process with allowing her to untangle herself from the relationship and step into a more empowered place. “I think I needed to get away from it, de-center it, center myself, understand who I am, understand what my needs are, understand just who I want to be as a person,” she says, noting that she’s now happily in love with someone else.\u003c/p>\n\u003cp>McFerrin is now preparing to take the album on tour, with a stop at \u003ca href=\"https://www.augusthallsf.com/tm-event/madison-mcferrin/\">August Hall in San Francisco on Oct. 3\u003c/a>. (No trip home, she adds, is complete without a stop for carnitas at La Taqueria, which her parents have proudly patronized since 1979.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve told a joke on stage about how I make art out of my trauma, and we might as well dance to my trauma,” McFerrin says. “’Cause, why not? It feels better.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Country star Shaboozey is scheduled to play a massive all-ages show at San Francisco’s Civic Center on Saturday, Sept. 13, and it’s \u003ca href=\"https://www.empire15.com/\">free to attend with RSVP\u003c/a>.\u003c/p>\n\u003cp>The performance is part of \u003ca href=\"https://www.empire15.com/\">EMPIRE 15\u003c/a>, a 15th anniversary concert for the San Francisco record label \u003ca href=\"https://www.kqed.org/arts/13870578/empire-brought-the-music-industry-back-to-san-francisco\">EMPIRE\u003c/a>, which began as a humble hip-hop distribution service in 2010 and has since grown into the largest privately held label in the United States. Over the past decade and a half, EMPIRE has helped break major acts like Migos, XXXtentacion and Shaboozey, whose inescapable 2024 hit “A Bar Song (Tipsy)” tied with Lil Nas X’s “Old Town Road” as the longest-running No.1 hit of all time with 19 weeks atop the Billboard Hot 100. [aside postid='arts_13870578']\u003c/p>\n\u003cp>Joining Shaboozey on stage at EMPIRE 15 will be Fireboy DML, a Nigerian singer-songwriter who recorded his 2021 Ed Sheeran-featuring hit “Peru” \u003ca href=\"https://www.kqed.org/arts/13920633/finding-musical-gems-in-the-bay-areas-african-club-scene\">at EMPIRE’s San Francisco studio\u003c/a>, expanding the label’s influence in the West African music scene. Red Leather, a country artist from Nevada, is also on the lineup, with more acts to be announced.\u003c/p>\n\u003cfigure id=\"attachment_13933120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933120\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>EMPIRE 15 is sponsored by the San Francisco Recreation and Parks Department and Mayor Daniel Lurie’s office, along with Outside Lands concert producer Another Planet Entertainment and others. Before Shaboozey takes over the Civic Center, disco-pop band Poolside will also play \u003ca href=\"https://laylo.com/poolside/DaytimeDiscoSF\">a free show\u003c/a> supported by the same organizers on Sunday, Sept. 7 at Union Square in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Country star Shaboozey is scheduled to play a massive all-ages show at San Francisco’s Civic Center on Saturday, Sept. 13, and it’s \u003ca href=\"https://www.empire15.com/\">free to attend with RSVP\u003c/a>.\u003c/p>\n\u003cp>The performance is part of \u003ca href=\"https://www.empire15.com/\">EMPIRE 15\u003c/a>, a 15th anniversary concert for the San Francisco record label \u003ca href=\"https://www.kqed.org/arts/13870578/empire-brought-the-music-industry-back-to-san-francisco\">EMPIRE\u003c/a>, which began as a humble hip-hop distribution service in 2010 and has since grown into the largest privately held label in the United States. Over the past decade and a half, EMPIRE has helped break major acts like Migos, XXXtentacion and Shaboozey, whose inescapable 2024 hit “A Bar Song (Tipsy)” tied with Lil Nas X’s “Old Town Road” as the longest-running No.1 hit of all time with 19 weeks atop the Billboard Hot 100. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joining Shaboozey on stage at EMPIRE 15 will be Fireboy DML, a Nigerian singer-songwriter who recorded his 2021 Ed Sheeran-featuring hit “Peru” \u003ca href=\"https://www.kqed.org/arts/13920633/finding-musical-gems-in-the-bay-areas-african-club-scene\">at EMPIRE’s San Francisco studio\u003c/a>, expanding the label’s influence in the West African music scene. Red Leather, a country artist from Nevada, is also on the lineup, with more acts to be announced.\u003c/p>\n\u003cfigure id=\"attachment_13933120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933120\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>EMPIRE 15 is sponsored by the San Francisco Recreation and Parks Department and Mayor Daniel Lurie’s office, along with Outside Lands concert producer Another Planet Entertainment and others. Before Shaboozey takes over the Civic Center, disco-pop band Poolside will also play \u003ca href=\"https://laylo.com/poolside/DaytimeDiscoSF\">a free show\u003c/a> supported by the same organizers on Sunday, Sept. 7 at Union Square in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "anticon-history-doseone-jel-sole-alias-clouddead-odd-nosdam-oakland",
"title": "Remembering Anticon and Hip-Hop’s Reckoning With Weirdness",
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"content": "\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, an ongoing KQED series about \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>“While hip-hop was struggling to digest us, \u003ci>music\u003c/i> was accepting us,” said Adam Drucker, the rapper, producer and vocalist also known as Doseone, while telling me about the Anticon collective back in 2023. This was during the height of celebrations for hip-hop’s ostensible 50th anniversary, generating all-star concerts, award-show tributes and, in the Bay Area, \u003ca href=\"https://www.kqed.org/bayareahiphop\">\u003ci>That’s My Word\u003c/i>\u003c/a>, KQED’s ongoing initiative spotlighting the history of local hip-hop.\u003c/p>\n\u003cp>But it also inspired reflections about who’s traditionally considered part of that history, and who is often left out. For Doseone, a founding member of the iconoclastic Anticon collective in Oakland established by Tim “Sole” Holland and James “Pedestrian” Best in 1998, the moment generated complicated feelings.\u003c/p>\n\u003cp>“What you find out sometimes,” he told me, is that “if you make something exactly the way you want it because it’s never been done before, and it’s a little bit of that and a little bit of this, it’s a smaller group of people with a more refined palette [that appreciate it]. It doesn’t mean success. It doesn’t mean being included in lists. It doesn’t mean trophies. But it does \u003ci>exist\u003c/i>.”\u003c/p>\n\u003cfigure id=\"attachment_13979251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Logan, better known as the hip-hop producer Jel and co-founder of the Anticon label, sits at the mixing board at Wyldwood Studios in Berkeley on July 28, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two years later, that feeling of being underappreciated has subsided. That may be due in part to the critical acclaim Doseone, who now lives in Colorado, has received for \u003ci>All Portrait, No Chorus\u003c/i>, released this year by popular New York label Backwoodz Studioz, making it Dose’s most high-profile album in years. (He’s also a video-game composer for popular games like \u003ci>Enter the Gungeon\u003c/i>.) Or the fact that onetime Anticon producer Jeffrey “Jel” Logan continues to work with a wide range of artists, from M. Sayyid of Antipop Consortium to indie pioneers \u003ca href=\"https://www.kqed.org/arts/13929861/latyrx-lateef-lyrics-born-solesides-quannum\">Latyrx\u003c/a>, all while DJing at local spots like the Berkeley vintage store B League. And last year, producer David “Odd Nosdam” Madson remastered \u003ci>cLOUDDEAD\u003c/i>, his 2001 album with Dose and Yoni “Why?” Wolf, for the San Francisco imprint Superior Viaduct. The collection of tracks, which shift between meandering singsong raps, yearning synth washes, and elliptical, poetic lyrics, have been cited as an inspiration by TV on the Radio and many others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Listening to [Frank Ocean’s alt-R&B masterwork] \u003ci>Blonde\u003c/i>, there’s moments where I’m, like, this somehow feels like the \u003ci>cLOUDDEAD \u003c/i>feeling, the way things are stretched out and collage-y with the ambient parts,” says Odd Nosdam, the Berkeley-based producer whose evocative ambient loops helped define the project.\u003c/p>\n\u003cp>But even if the R&B enigma didn’t mainline \u003ci>cLOUDDEAD\u003c/i> excursions like “Bike” and “I Promise to Never Get Paint on My Glasses Again” before making \u003ci>Blonde\u003c/i>, it’s clear that in the early aughts, Anticon helped innovate a hard-to-define sound, still prominent today, that vacillates between lo-fi electronics, shoegaze-y dynamics, winsome singsong raps, and hip-hop breaks. They anticipated much of current popular music, from the “cloud rap” trend of the early 2010s buoyed by Bay acts like Lil B and Main Attrakionz to a certain incorporation of melody that continues to define modern rap. Perhaps they don’t get as much mainstream credit as others. But their peers have begun to understand Anticon’s singular place in the underground hip-hop canon.\u003c/p>\n\u003cfigure id=\"attachment_13979365\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">What started as Anticon’s fearless experimentation in underground rap “became so much more that that,” says Doseone, pictured. \u003ccite>(Don Hicks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You listen back to all that music, and there’s still really nothing else like it. It’s really original,” says Zack Kasten, who runs Handsmade Records in Oakland. He’s organizing an Aug. 2 memorial event for Dax Pierson, a musician and longtime friend of Anticon who passed away on Dec. 30, 2024, at the age of 54. Doseone and Jel will perform, as well as Paris-based rapper/producer Sayyid (who once lived in San Jose and worked with SF performance artists Survival Research Laboratories), rising Oakland producer Mars Kumari, and openers Golden Champagne and Flavored Sweatshirt. Proceeds go to Pierson’s life partner, Chuck Nanney.\u003c/p>\n\u003ch2>A cross-country coalescing\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>Anticon began as a Bay Area phenomenon. Its core seven members relocated from other parts of the country like Maine (Sole and Brendon “Alias” Whitney), Los Angeles (The Pedestrian), Cincinnati (Odd Nosdam and Yoni Wolf as well as Doseone, via New Jersey), and Chicago (Jel).\u003c/p>\n\u003cp>Each had a history of being the one white guy in their neighborhood who really got into hip-hop in the late ’80s and early ’90s. They befriended one another as the underground hip-hop scene took shape in the mid- to late-’90s, with the 1997 Scribble Jam festival in Cincinnati – where \u003ca href=\"https://www.youtube.com/watch?v=EgZVZE5USl4\">Doseone competed alongside Eminem\u003c/a> in a now-legendary freestyle battle – as a key event. Doseone, a fan of Bay underground icons like \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">Saafir\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del the Funky Homosapien\u003c/a>, recalls sending his material to Lyrics Born for approval; then creating the conspiracy-minded Presage project (1998’s \u003ci>Outer Perimeter\u003c/i>) with Jel and Minneapolis DJ Mr. Dibbs for the San Francisco label Future Primitive Sound.\u003c/p>\n\u003cfigure id=\"attachment_13979366\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg\" alt=\"\" width=\"2000\" height=\"1483\" class=\"size-full wp-image-13979366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-1536x1139.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yoni Wolf, Odd Nosdam, Sole, Mr. Pennsylvania (of Grand Buffet), Doseone, Passage, Jel and Lord Grunge (of Grand Buffet) in Pittsburgh, sometime in the early 2000s. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late \u003ca href=\"https://www.kqed.org/arts/13810229/remembering-dj-stef-a-bay-area-underground-hip-hop-icon\">Stephanie “DJ Stef” Ornelas\u003c/a> invited Sole to one of her Vinyl Exchange events in San Francisco. “She showed me an amazing time, and the reception I got through her world was, like, night and day compared to trying to break into the East Coast scene,” he remembered. “I was, like, the Bay is where it’s at. This is where I’m going.” He soon convinced the rest of the group, which had begun expanding with sundry associates like Chris “DJ Mayonnaise” Greer, David “Passage” Bryant, Tommy “Controller 7” McMahon, Rus “Rev. Destructo” Laich and Dave “Moodswing9” Cuzner, to accompany him.\u003c/p>\n\u003cp>The fledgling Anticon camp crammed into a two-and-a-half-bedroom apartment on Lester Avenue in Lake Merritt. “[We] were not rich, man. Everybody was lower middle class. We did not come from shit,” says Dose, remembering how they worked temp jobs while struggling to launch their careers. Later, some of them moved into a warehouse space in West Oakland. They sold CD-Rs on Telegraph Avenue near the UC Berkeley campus, continuing a tradition begun by the Mystik Journeymen, Hobo Junction, and Kemetic Suns crews earlier in the decade. And they founded their own label, Anticon, or “ant icon” — explaining that it stood for anti-conventionalism and anti-conformity. \u003c/p>\n\u003cp>It was during this era when \u003ca href=\"https://www.kqed.org/forum/2010101891144/with-zines-and-mixtapes-writer-hua-hsu-found-identity-friendship-and-consolation\">Hua Hsu\u003c/a>, then a UC Berkeley student and now a Pulitzer Prize-winning staff writer for \u003ci>The New Yorker\u003c/i>, first met the Anticon crew. “In the late nineties or early two-thousands, there were still tons of people hawking tapes and homemade CDs around Telegraph,” Hsu wrote to me via email in 2023. “I started hanging out with Sole and visiting him and the other Anticon guys once they moved into a house together in Oakland. I liked the music, but I was drawn to them more as this collection of oddballs who had somehow found one another.”\u003c/p>\n\u003cfigure id=\"attachment_13979360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg\" alt=\"\" width=\"2000\" height=\"1621\" class=\"size-full wp-image-13979360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-1536x1245.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jel, Doseone, Sole, Mayo and Alias at the Anticon warehouse in West Oakland, circa 1999. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the collective also generated tension for their sheer industriousness – issuing dozens of recordings a year, including Sole’s 1999 bow \u003ci>Bottle of Humans \u003c/i>and Doseone and Jel’s 2000 pairing \u003ci>Them\u003c/i> (a title inspired by the 1954 horror movie \u003ci>Them!\u003c/i>), all at a time when putting out so much official music was still relatively unusual. Tongue-in-cheek claims by Sole, perhaps the crew’s most visible mouthpiece, that Anticon represented a kind of massive leap in hip-hop artistry rankled detractors. Their breakout national release was the 1999 compilation \u003ci>Music for the Advancement of Hip-Hop\u003c/i>.\u003c/p>\n\u003cp>“For all their intellectualized bravado, I personally found them fundamentally really sweet, more pranksters than trolls,” Hsu observed. Nevertheless, by reacting to a “jiggy” era led by the likes of Sean “Puff Daddy” Combs and Jay-Z, they were typical of countless indie rappers who felt artistically superior to an ethos seemingly defined by the trappings of excessive wealth.\u003c/p>\n\u003cp>“There was a lot of anxiety about success and purity. The idea of DIY success was really prized, and our local heroes were people like \u003ca href=\"https://www.kqed.org/arts/tag/hieroglyphics\">Hiero\u003c/a> and Living Legends, this idea of never compromising and doing everything from the ground up,” Hsu adds. “Even if you weren’t into \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a>, that idea of hustling tapes from a trunk (or on Telegraph) was part of the local DNA.”\u003c/p>\n\u003cfigure id=\"attachment_13979359\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left, Alias, Doseone, Odd Nosdam and Dax Pierson at the 6months Distribution office in Emeryville in 2002. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dax opened us up’\u003c/h2>\n\u003cp>Then there was the fact that Anticon consisted of white transplants that swiftly turned into a briefly dominant local presence, successfully mounting shows at local venues like Slim’s and Bottom of the Hill that, at the time, seemed otherwise averse to booking hip-hop acts. As local weeklies like the \u003ci>San Francisco Bay Guardian \u003c/i>(where I worked for a time) and \u003ci>SF Weekly \u003c/i>as well as \u003ci>Spin \u003c/i>and other national magazines covered their rise, the resulting backlash took on racial overtones. “It’s just ridiculous high school shit to me,” says Jel.\u003c/p>\n\u003cp>Less forgivably, Wolf acknowledges, Anticon was also an all-male crew whose lyrics could be carelessly demeaning of women. They weren’t alone: the underground scene was dominated by men. “It was so sausage-festy, for sure,” said Wolf. “I love each and every one of the dudes. But when you get a bunch of guys together, it’s a lot of testosterone.” \u003c/p>\n\u003cp>But even as Anticon grew alienated from the cloistered yet combative backpacker world, they also found plenty of supporters, and not just the white collegiates that only listened to “conscious” rap. From 1999 to 2000, they held events at Rico’s Loft, a now-shuttered nightclub in San Francisco’s SoMa district. A showcase for the rapidly expanding crew’s talents, it offered an opportunity to book and perform alongside heroes like Myka 9 and P.E.A.C.E. from pioneering Los Angeles group Freestyle Fellowship, and break bread with local acts like Kirby Dominant.\u003c/p>\n\u003cfigure id=\"attachment_13979372\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg\" alt=\"\" width=\"2000\" height=\"1310\" class=\"size-full wp-image-13979372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-1536x1006.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dax Pierson and Doseone in an undated photo. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there was Dax Pierson, a buyer at Amoeba Records as well as a keyboardist for local bands like Winfred E. Eye. “Dax opened us up, one by one, to all of the other parallel [to Anticon] but completely different forms of music: Boards of Canada, Pinback, Merzbow, Tortoise, Robert Wyatt, This Heat,” says Doseone. “It started to change everyone’s concept of music.” Pierson helped form Subtle, a fusion of melodic rap and electronic music, with Doseone, Jel, Jordan Dalrymple, Marton Dowers and Alex Kort. Subtle eventually signed a major-label deal with Lex Records in the UK for critically acclaimed mid-aughts albums like 2004’s \u003ci>A New White \u003c/i>and 2006’s \u003ci>For Hero : For Fool, \u003c/i>released amid a posthumous surge back home in popularity of Bay Area icon Mac Dre.\u003c/p>\n\u003cp>Anticon’s burgeoning activity undoubtedly felt irrelevant to the average rap fan more interested in hyphy; Anticon’s members found more acceptance within the broader realm of indie music than American rap. The secretive yet revered Scottish electronic duo Boards of Canada were noted fans of cLOUDDEAD, and remixed one of their singles, 2003’s “Dead Dogs Two.” Subtle collaborated with German indie group the Notwist on a 2005 project, 13&God. Yoni Wolf assembled twee electronic pop projects like Hymie’s Basement, a 2003 collaboration with Andrew “Fog” Broder. \u003c/p>\n\u003cp>Meanwhile, as a record label, Anticon proved ahead of its time, yielding an expansive catalogue that encompassed dozens of recordings while challenging and widening notions of what hip-hop can encompass. “Whether it’s Baths, Thee More Shallows, Dosh, Young Fathers, Why?, Sole, or myself, all that stuff started as these underground rap people,” says Doseone. “But it became more than that, and that’s why I think it was significant and important.”\u003c/p>\n\u003cp>“We just got more experimental,” says Jel. “We fit in the ‘weirdness’ section of hip-hop in the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13979364\" class=\"wp-caption aligncenter\" style=\"max-width: 1081px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg\" alt=\"\" width=\"1081\" height=\"745\" class=\"size-full wp-image-13979364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg 1081w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-768x529.jpg 768w\" sizes=\"auto, (max-width: 1081px) 100vw, 1081px\">\u003cfigcaption class=\"wp-caption-text\">Subtle, with members Alex Kort, Doseone, Jordan Dalrymple, Dax Pierson, Jel and Marty Dowers. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dissolving and dispersing\u003c/h2>\n\u003cp>Today, only Jel and Odd Nosdam still live in the Bay Area. Despite popular Anticon releases by Wolf’s band Why? (2005’s \u003ci>Elephant Eyelash\u003c/i> and 2008’s \u003ci>Alopecia\u003c/i>, in particular) as well as Chicago rapper Serengeti (2011’s \u003ci>Family&Friends\u003c/i>), the record label eventually collapsed in 2018 amid internal acrimony. Sole, whose angst-ridden lyricism and heroic panache once fueled the collective, now lives happily on a farm in Maine while releasing\u003ca href=\"https://www.patreon.com/soleone\"> music via Patreon\u003c/a>. Wolf moved back to Cincinnati and released \u003ci>The Well I Fell Into \u003c/i>last year. The Pedestrian, who once sparked national headlines with his \u003ca href=\"https://eastbayexpress.com/black-like-me-1/\">2003 \u003ci>East Bay Express \u003c/i>cover story on message board-rapper-turned-jihadist John Walker Lindh\u003c/a>, more recently worked as a lecturer at UCLA.\u003c/p>\n\u003cp>Sadly, Brendon “Alias” Whitney passed away in 2018 at the age of 41. Whitney was an uncommonly kind and gentle soul, and the kind of person that could innately make you reflect on the vulnerability and sensitivity of humankind. His best work, like 2002’s \u003ci>The Other Side of the Looking Glass\u003c/i> and 2018’s \u003ci>Less Is Orchestra\u003c/i>, the latter a posthumous collaboration with Doseone, reflected those traits.\u003c/p>\n\u003cp>Last February, Doseone returned to Oakland to help lead a memorial service for Pierson, who \u003ca href=\"https://www.sfgate.com/sf-culture/article/revered-bay-area-musician-dax-pierson-dies-20051711.php\">passed away in 2024\u003c/a> after years of life as a paraplegic. Despite being paralyzed in a 2005 car crash while touring with Subtle, he continued to perform with the band from a wheelchair. In 2021, he released the haunting yet optimistic instrumental electronic album, \u003ci>Nerve Bumps (A Queer Divine Dissatisfaction)\u003c/i>, via San Francisco dance label \u003ca href=\"https://www.kqed.org/arts/13961027/dark-entries-records-15th-anniversary-parties-san-francisco\">Dark Entries\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ratskin-records\">Ratskin Records\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979371\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Patrick Scott, Marty Dowers, Jeff “Jel” Logan, Alex Kort, Adam “Doseone” Drucker and Jordan Dalrymple at a memorial for Dax Pierson at Chapel of the Chimes in Oakland in 2025.\u003cbr> \u003ccite>(Lily Hussey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the untimely passing of Pierson as well as Whitney, Doseone – who will be arriving from a Japan tour for this weekend’s memorial concert – can’t help but reflect on how distant those years when Anticon was shaking up the music world feel now. \u003c/p>\n\u003cp>“You really see that the friends you make when you’re a burning ball of gas and young and passionate, if you can keep those friends, man, you just don’t make them again,” he says. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://grayarea.org/event/dax-pierson-celebration-of-life/\">A Celebration of Life for Dax Pierson\u003c/a>’ features performances by Doseone, M.Sayyid, Jel, Golden Champagne, Flavored Sweatshirt and Mars Kumari on Saturday, Aug. 2, at Gray Area Theater in San Francisco.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, an ongoing KQED series about \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>“While hip-hop was struggling to digest us, \u003ci>music\u003c/i> was accepting us,” said Adam Drucker, the rapper, producer and vocalist also known as Doseone, while telling me about the Anticon collective back in 2023. This was during the height of celebrations for hip-hop’s ostensible 50th anniversary, generating all-star concerts, award-show tributes and, in the Bay Area, \u003ca href=\"https://www.kqed.org/bayareahiphop\">\u003ci>That’s My Word\u003c/i>\u003c/a>, KQED’s ongoing initiative spotlighting the history of local hip-hop.\u003c/p>\n\u003cp>But it also inspired reflections about who’s traditionally considered part of that history, and who is often left out. For Doseone, a founding member of the iconoclastic Anticon collective in Oakland established by Tim “Sole” Holland and James “Pedestrian” Best in 1998, the moment generated complicated feelings.\u003c/p>\n\u003cp>“What you find out sometimes,” he told me, is that “if you make something exactly the way you want it because it’s never been done before, and it’s a little bit of that and a little bit of this, it’s a smaller group of people with a more refined palette [that appreciate it]. It doesn’t mean success. It doesn’t mean being included in lists. It doesn’t mean trophies. But it does \u003ci>exist\u003c/i>.”\u003c/p>\n\u003cfigure id=\"attachment_13979251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Logan, better known as the hip-hop producer Jel and co-founder of the Anticon label, sits at the mixing board at Wyldwood Studios in Berkeley on July 28, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two years later, that feeling of being underappreciated has subsided. That may be due in part to the critical acclaim Doseone, who now lives in Colorado, has received for \u003ci>All Portrait, No Chorus\u003c/i>, released this year by popular New York label Backwoodz Studioz, making it Dose’s most high-profile album in years. (He’s also a video-game composer for popular games like \u003ci>Enter the Gungeon\u003c/i>.) Or the fact that onetime Anticon producer Jeffrey “Jel” Logan continues to work with a wide range of artists, from M. Sayyid of Antipop Consortium to indie pioneers \u003ca href=\"https://www.kqed.org/arts/13929861/latyrx-lateef-lyrics-born-solesides-quannum\">Latyrx\u003c/a>, all while DJing at local spots like the Berkeley vintage store B League. And last year, producer David “Odd Nosdam” Madson remastered \u003ci>cLOUDDEAD\u003c/i>, his 2001 album with Dose and Yoni “Why?” Wolf, for the San Francisco imprint Superior Viaduct. The collection of tracks, which shift between meandering singsong raps, yearning synth washes, and elliptical, poetic lyrics, have been cited as an inspiration by TV on the Radio and many others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Listening to [Frank Ocean’s alt-R&B masterwork] \u003ci>Blonde\u003c/i>, there’s moments where I’m, like, this somehow feels like the \u003ci>cLOUDDEAD \u003c/i>feeling, the way things are stretched out and collage-y with the ambient parts,” says Odd Nosdam, the Berkeley-based producer whose evocative ambient loops helped define the project.\u003c/p>\n\u003cp>But even if the R&B enigma didn’t mainline \u003ci>cLOUDDEAD\u003c/i> excursions like “Bike” and “I Promise to Never Get Paint on My Glasses Again” before making \u003ci>Blonde\u003c/i>, it’s clear that in the early aughts, Anticon helped innovate a hard-to-define sound, still prominent today, that vacillates between lo-fi electronics, shoegaze-y dynamics, winsome singsong raps, and hip-hop breaks. They anticipated much of current popular music, from the “cloud rap” trend of the early 2010s buoyed by Bay acts like Lil B and Main Attrakionz to a certain incorporation of melody that continues to define modern rap. Perhaps they don’t get as much mainstream credit as others. But their peers have begun to understand Anticon’s singular place in the underground hip-hop canon.\u003c/p>\n\u003cfigure id=\"attachment_13979365\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">What started as Anticon’s fearless experimentation in underground rap “became so much more that that,” says Doseone, pictured. \u003ccite>(Don Hicks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You listen back to all that music, and there’s still really nothing else like it. It’s really original,” says Zack Kasten, who runs Handsmade Records in Oakland. He’s organizing an Aug. 2 memorial event for Dax Pierson, a musician and longtime friend of Anticon who passed away on Dec. 30, 2024, at the age of 54. Doseone and Jel will perform, as well as Paris-based rapper/producer Sayyid (who once lived in San Jose and worked with SF performance artists Survival Research Laboratories), rising Oakland producer Mars Kumari, and openers Golden Champagne and Flavored Sweatshirt. Proceeds go to Pierson’s life partner, Chuck Nanney.\u003c/p>\n\u003ch2>A cross-country coalescing\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>Anticon began as a Bay Area phenomenon. Its core seven members relocated from other parts of the country like Maine (Sole and Brendon “Alias” Whitney), Los Angeles (The Pedestrian), Cincinnati (Odd Nosdam and Yoni Wolf as well as Doseone, via New Jersey), and Chicago (Jel).\u003c/p>\n\u003cp>Each had a history of being the one white guy in their neighborhood who really got into hip-hop in the late ’80s and early ’90s. They befriended one another as the underground hip-hop scene took shape in the mid- to late-’90s, with the 1997 Scribble Jam festival in Cincinnati – where \u003ca href=\"https://www.youtube.com/watch?v=EgZVZE5USl4\">Doseone competed alongside Eminem\u003c/a> in a now-legendary freestyle battle – as a key event. Doseone, a fan of Bay underground icons like \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">Saafir\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del the Funky Homosapien\u003c/a>, recalls sending his material to Lyrics Born for approval; then creating the conspiracy-minded Presage project (1998’s \u003ci>Outer Perimeter\u003c/i>) with Jel and Minneapolis DJ Mr. Dibbs for the San Francisco label Future Primitive Sound.\u003c/p>\n\u003cfigure id=\"attachment_13979366\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg\" alt=\"\" width=\"2000\" height=\"1483\" class=\"size-full wp-image-13979366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-1536x1139.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yoni Wolf, Odd Nosdam, Sole, Mr. Pennsylvania (of Grand Buffet), Doseone, Passage, Jel and Lord Grunge (of Grand Buffet) in Pittsburgh, sometime in the early 2000s. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late \u003ca href=\"https://www.kqed.org/arts/13810229/remembering-dj-stef-a-bay-area-underground-hip-hop-icon\">Stephanie “DJ Stef” Ornelas\u003c/a> invited Sole to one of her Vinyl Exchange events in San Francisco. “She showed me an amazing time, and the reception I got through her world was, like, night and day compared to trying to break into the East Coast scene,” he remembered. “I was, like, the Bay is where it’s at. This is where I’m going.” He soon convinced the rest of the group, which had begun expanding with sundry associates like Chris “DJ Mayonnaise” Greer, David “Passage” Bryant, Tommy “Controller 7” McMahon, Rus “Rev. Destructo” Laich and Dave “Moodswing9” Cuzner, to accompany him.\u003c/p>\n\u003cp>The fledgling Anticon camp crammed into a two-and-a-half-bedroom apartment on Lester Avenue in Lake Merritt. “[We] were not rich, man. Everybody was lower middle class. We did not come from shit,” says Dose, remembering how they worked temp jobs while struggling to launch their careers. Later, some of them moved into a warehouse space in West Oakland. They sold CD-Rs on Telegraph Avenue near the UC Berkeley campus, continuing a tradition begun by the Mystik Journeymen, Hobo Junction, and Kemetic Suns crews earlier in the decade. And they founded their own label, Anticon, or “ant icon” — explaining that it stood for anti-conventionalism and anti-conformity. \u003c/p>\n\u003cp>It was during this era when \u003ca href=\"https://www.kqed.org/forum/2010101891144/with-zines-and-mixtapes-writer-hua-hsu-found-identity-friendship-and-consolation\">Hua Hsu\u003c/a>, then a UC Berkeley student and now a Pulitzer Prize-winning staff writer for \u003ci>The New Yorker\u003c/i>, first met the Anticon crew. “In the late nineties or early two-thousands, there were still tons of people hawking tapes and homemade CDs around Telegraph,” Hsu wrote to me via email in 2023. “I started hanging out with Sole and visiting him and the other Anticon guys once they moved into a house together in Oakland. I liked the music, but I was drawn to them more as this collection of oddballs who had somehow found one another.”\u003c/p>\n\u003cfigure id=\"attachment_13979360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg\" alt=\"\" width=\"2000\" height=\"1621\" class=\"size-full wp-image-13979360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-1536x1245.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jel, Doseone, Sole, Mayo and Alias at the Anticon warehouse in West Oakland, circa 1999. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the collective also generated tension for their sheer industriousness – issuing dozens of recordings a year, including Sole’s 1999 bow \u003ci>Bottle of Humans \u003c/i>and Doseone and Jel’s 2000 pairing \u003ci>Them\u003c/i> (a title inspired by the 1954 horror movie \u003ci>Them!\u003c/i>), all at a time when putting out so much official music was still relatively unusual. Tongue-in-cheek claims by Sole, perhaps the crew’s most visible mouthpiece, that Anticon represented a kind of massive leap in hip-hop artistry rankled detractors. Their breakout national release was the 1999 compilation \u003ci>Music for the Advancement of Hip-Hop\u003c/i>.\u003c/p>\n\u003cp>“For all their intellectualized bravado, I personally found them fundamentally really sweet, more pranksters than trolls,” Hsu observed. Nevertheless, by reacting to a “jiggy” era led by the likes of Sean “Puff Daddy” Combs and Jay-Z, they were typical of countless indie rappers who felt artistically superior to an ethos seemingly defined by the trappings of excessive wealth.\u003c/p>\n\u003cp>“There was a lot of anxiety about success and purity. The idea of DIY success was really prized, and our local heroes were people like \u003ca href=\"https://www.kqed.org/arts/tag/hieroglyphics\">Hiero\u003c/a> and Living Legends, this idea of never compromising and doing everything from the ground up,” Hsu adds. “Even if you weren’t into \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a>, that idea of hustling tapes from a trunk (or on Telegraph) was part of the local DNA.”\u003c/p>\n\u003cfigure id=\"attachment_13979359\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left, Alias, Doseone, Odd Nosdam and Dax Pierson at the 6months Distribution office in Emeryville in 2002. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dax opened us up’\u003c/h2>\n\u003cp>Then there was the fact that Anticon consisted of white transplants that swiftly turned into a briefly dominant local presence, successfully mounting shows at local venues like Slim’s and Bottom of the Hill that, at the time, seemed otherwise averse to booking hip-hop acts. As local weeklies like the \u003ci>San Francisco Bay Guardian \u003c/i>(where I worked for a time) and \u003ci>SF Weekly \u003c/i>as well as \u003ci>Spin \u003c/i>and other national magazines covered their rise, the resulting backlash took on racial overtones. “It’s just ridiculous high school shit to me,” says Jel.\u003c/p>\n\u003cp>Less forgivably, Wolf acknowledges, Anticon was also an all-male crew whose lyrics could be carelessly demeaning of women. They weren’t alone: the underground scene was dominated by men. “It was so sausage-festy, for sure,” said Wolf. “I love each and every one of the dudes. But when you get a bunch of guys together, it’s a lot of testosterone.” \u003c/p>\n\u003cp>But even as Anticon grew alienated from the cloistered yet combative backpacker world, they also found plenty of supporters, and not just the white collegiates that only listened to “conscious” rap. From 1999 to 2000, they held events at Rico’s Loft, a now-shuttered nightclub in San Francisco’s SoMa district. A showcase for the rapidly expanding crew’s talents, it offered an opportunity to book and perform alongside heroes like Myka 9 and P.E.A.C.E. from pioneering Los Angeles group Freestyle Fellowship, and break bread with local acts like Kirby Dominant.\u003c/p>\n\u003cfigure id=\"attachment_13979372\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg\" alt=\"\" width=\"2000\" height=\"1310\" class=\"size-full wp-image-13979372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-1536x1006.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dax Pierson and Doseone in an undated photo. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there was Dax Pierson, a buyer at Amoeba Records as well as a keyboardist for local bands like Winfred E. Eye. “Dax opened us up, one by one, to all of the other parallel [to Anticon] but completely different forms of music: Boards of Canada, Pinback, Merzbow, Tortoise, Robert Wyatt, This Heat,” says Doseone. “It started to change everyone’s concept of music.” Pierson helped form Subtle, a fusion of melodic rap and electronic music, with Doseone, Jel, Jordan Dalrymple, Marton Dowers and Alex Kort. Subtle eventually signed a major-label deal with Lex Records in the UK for critically acclaimed mid-aughts albums like 2004’s \u003ci>A New White \u003c/i>and 2006’s \u003ci>For Hero : For Fool, \u003c/i>released amid a posthumous surge back home in popularity of Bay Area icon Mac Dre.\u003c/p>\n\u003cp>Anticon’s burgeoning activity undoubtedly felt irrelevant to the average rap fan more interested in hyphy; Anticon’s members found more acceptance within the broader realm of indie music than American rap. The secretive yet revered Scottish electronic duo Boards of Canada were noted fans of cLOUDDEAD, and remixed one of their singles, 2003’s “Dead Dogs Two.” Subtle collaborated with German indie group the Notwist on a 2005 project, 13&God. Yoni Wolf assembled twee electronic pop projects like Hymie’s Basement, a 2003 collaboration with Andrew “Fog” Broder. \u003c/p>\n\u003cp>Meanwhile, as a record label, Anticon proved ahead of its time, yielding an expansive catalogue that encompassed dozens of recordings while challenging and widening notions of what hip-hop can encompass. “Whether it’s Baths, Thee More Shallows, Dosh, Young Fathers, Why?, Sole, or myself, all that stuff started as these underground rap people,” says Doseone. “But it became more than that, and that’s why I think it was significant and important.”\u003c/p>\n\u003cp>“We just got more experimental,” says Jel. “We fit in the ‘weirdness’ section of hip-hop in the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13979364\" class=\"wp-caption aligncenter\" style=\"max-width: 1081px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg\" alt=\"\" width=\"1081\" height=\"745\" class=\"size-full wp-image-13979364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg 1081w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-768x529.jpg 768w\" sizes=\"auto, (max-width: 1081px) 100vw, 1081px\">\u003cfigcaption class=\"wp-caption-text\">Subtle, with members Alex Kort, Doseone, Jordan Dalrymple, Dax Pierson, Jel and Marty Dowers. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dissolving and dispersing\u003c/h2>\n\u003cp>Today, only Jel and Odd Nosdam still live in the Bay Area. Despite popular Anticon releases by Wolf’s band Why? (2005’s \u003ci>Elephant Eyelash\u003c/i> and 2008’s \u003ci>Alopecia\u003c/i>, in particular) as well as Chicago rapper Serengeti (2011’s \u003ci>Family&Friends\u003c/i>), the record label eventually collapsed in 2018 amid internal acrimony. Sole, whose angst-ridden lyricism and heroic panache once fueled the collective, now lives happily on a farm in Maine while releasing\u003ca href=\"https://www.patreon.com/soleone\"> music via Patreon\u003c/a>. Wolf moved back to Cincinnati and released \u003ci>The Well I Fell Into \u003c/i>last year. The Pedestrian, who once sparked national headlines with his \u003ca href=\"https://eastbayexpress.com/black-like-me-1/\">2003 \u003ci>East Bay Express \u003c/i>cover story on message board-rapper-turned-jihadist John Walker Lindh\u003c/a>, more recently worked as a lecturer at UCLA.\u003c/p>\n\u003cp>Sadly, Brendon “Alias” Whitney passed away in 2018 at the age of 41. Whitney was an uncommonly kind and gentle soul, and the kind of person that could innately make you reflect on the vulnerability and sensitivity of humankind. His best work, like 2002’s \u003ci>The Other Side of the Looking Glass\u003c/i> and 2018’s \u003ci>Less Is Orchestra\u003c/i>, the latter a posthumous collaboration with Doseone, reflected those traits.\u003c/p>\n\u003cp>Last February, Doseone returned to Oakland to help lead a memorial service for Pierson, who \u003ca href=\"https://www.sfgate.com/sf-culture/article/revered-bay-area-musician-dax-pierson-dies-20051711.php\">passed away in 2024\u003c/a> after years of life as a paraplegic. Despite being paralyzed in a 2005 car crash while touring with Subtle, he continued to perform with the band from a wheelchair. In 2021, he released the haunting yet optimistic instrumental electronic album, \u003ci>Nerve Bumps (A Queer Divine Dissatisfaction)\u003c/i>, via San Francisco dance label \u003ca href=\"https://www.kqed.org/arts/13961027/dark-entries-records-15th-anniversary-parties-san-francisco\">Dark Entries\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ratskin-records\">Ratskin Records\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979371\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Patrick Scott, Marty Dowers, Jeff “Jel” Logan, Alex Kort, Adam “Doseone” Drucker and Jordan Dalrymple at a memorial for Dax Pierson at Chapel of the Chimes in Oakland in 2025.\u003cbr> \u003ccite>(Lily Hussey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the untimely passing of Pierson as well as Whitney, Doseone – who will be arriving from a Japan tour for this weekend’s memorial concert – can’t help but reflect on how distant those years when Anticon was shaking up the music world feel now. \u003c/p>\n\u003cp>“You really see that the friends you make when you’re a burning ball of gas and young and passionate, if you can keep those friends, man, you just don’t make them again,” he says. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://grayarea.org/event/dax-pierson-celebration-of-life/\">A Celebration of Life for Dax Pierson\u003c/a>’ features performances by Doseone, M.Sayyid, Jel, Golden Champagne, Flavored Sweatshirt and Mars Kumari on Saturday, Aug. 2, at Gray Area Theater in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fans Pour Into SF for Grateful Dead’s 60th at Golden Gate Park",
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"content": "\u003cp>Fans of the \u003ca href=\"https://www.kqed.org/arts/tag/grateful-dead\">Grateful Dead\u003c/a> are pouring into \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> for three days of concerts and festivities marking the 60th anniversary of the scruffy jam band that came to embody a city where people once wore flowers in their hair and made love, not war.\u003c/p>\n\u003cp>Dead & Company, featuring original Grateful Dead members \u003ca href=\"https://www.kqed.org/arts/11682940/bob-weir-criticizes-politicians-on-stage-at-bonnaroo\">Bob Weir\u003c/a> and \u003ca href=\"https://www.kqed.org/forum/201206251000/mickey-hart\">Mickey Hart\u003c/a>, will play \u003ca href=\"https://www.kqed.org/news/tag/golden-gate-park\">Golden Gate Park\u003c/a>’s Polo Field starting Friday with an estimated 60,000 attendees each day. The last time the band played that part of the park was in 1991 — a free show following the death of concert promoter and longtime Deadhead \u003ca href=\"https://www.kqed.org/arts/11409279/bill-graham-the-personality-no-museum-could-possibly-contain\">Bill Graham\u003c/a>.\u003c/p>\n\u003cp>Certainly, times have changed.\u003c/p>\n\u003cp>A general admissions ticket for all three days is $635 — a shock for many longtime fans who remember when a joint cost more than a Dead concert ticket.\u003c/p>\n\u003cp>But Deadhead David Aberdeen is thrilled anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is the spiritual home of the Grateful Dead,” said Aberdeen, who works at \u003ca href=\"https://www.kqed.org/news/25014/amoeba-music-named-best-record-store-in-u-s-by-rolling-stone\">Amoeba Music\u003c/a> in the Haight. “It seems very right to me that they celebrate it in this way.”\u003c/p>\n\u003cp>Formed in 1965, the Grateful Dead is synonymous with San Francisco and its counterculture. Members lived in a dirt-cheap Victorian in the Haight and later became a significant part of 1967’s \u003ca href=\"https://www.kqed.org/arts/tag/summer-of-love\">Summer of Love\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13925408']That summer eventually soured into bad acid trips and police raids, and prompted the band’s move to \u003ca href=\"https://www.kqed.org/arts/tag/marin-county\">Marin County\u003c/a> on the other end of the \u003ca href=\"https://www.kqed.org/arts/13913489\">Golden Gate Bridge\u003c/a>. But new Deadheads kept cropping up — even after iconic guitarist and singer \u003ca href=\"https://www.kqed.org/arts/13342850/jerry-garcias-guitar-heads-to-auction-could-fetch-1m\">Jerry Garcia\u003c/a>’s 1995 death — aided by cover bands and offshoots like Dead & Company.\u003c/p>\n\u003cp>“There are 18-year-olds who were obviously not even a twinkle in somebody’s eyes when Jerry died, and these 18-year-olds get the values of Deadheads,” said former Grateful Dead publicist and author Dennis McNally.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925413\" 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\" 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=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead on the corner of Haight and Ashbury. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fitting in, feeling at home\u003c/h2>\n\u003cp>Deadheads can reel off why and how, and the moment they fell in love with the music. Fans love that no two shows are the same; the band plays different songs each time. They also embrace the community that comes with a Dead show.\u003c/p>\n\u003cp>Sunshine Powers didn’t have friends until age 13, when she stepped off a city bus and into the Haight-Ashbury neighborhood.\u003c/p>\n\u003cp>[aside postid='arts_13853019']“I, all of a sudden, felt like I fit in. Or like I didn’t have to fit in,” says Powers, now 45 and the owner of tie-dye emporium \u003ca href=\"https://loveonhaightsf.com/\">Love on Haight\u003c/a>. “I don’t know which one it was, but I know it was like, OK.”\u003c/p>\n\u003cp>Similarly, her friend Taylor Swope, 47, survived a tough freshman year at a new school with the help of a Grateful Dead mixtape. The owner of the Little Hippie gift shop is driving from Brooklyn, New York, to sell merchandise, reconnect with friends and see the shows.\u003c/p>\n\u003cp>“The sense of, ‘I found my people, I didn’t fit in anywhere else and then I found this, and I felt at home.’ So that’s a big part of it,” she said of the allure.\u003c/p>\n\u003ch2>Magical live shows\u003c/h2>\n\u003cp>Sometimes, becoming a Deadhead is a process.\u003c/p>\n\u003cp>Thor Cromer, 60, had attended several Dead shows, but was ambivalent about the hippies. That changed on March 15, 1990, in Landover, Maryland.\u003c/p>\n\u003cp>“That show, whatever it was, whatever magic hit,” he said, “it was injected right into my brain.”\u003c/p>\n\u003cp>Cromer, who worked for the U.S. Senate then, eventually took time off to follow the band on tour and saw an estimated 400 shows from spring 1990 until \u003ca href=\"https://www.kqed.org/news/10630061/20-years-ago-today-captain-trips-died-and-the-dot-com-boom-took-off\">Garcia’s death\u003c/a>.\u003c/p>\n\u003cp>Cromer now works in technology and is flying in from Boston to join scores of fellow “rail riders” who dance in the rows closest to the stage.\u003c/p>\n\u003cp>[aside postid='arts_13967309']Aberdeen, 62, saw his first Dead show in 1984. As the only person in his college group with a driver’s license, he was tapped to drive a crowded VW Bug from Antioch College in Yellow Springs, Ohio, to Syracuse, New York.\u003c/p>\n\u003cp>“I thought it was pretty weird,” he said. “But I liked it.”\u003c/p>\n\u003cp>He fell in love the following summer, when the Dead played a venue near his college.\u003c/p>\n\u003cp>Aberdeen remembers rain pouring down in the middle of the show and a giant rainbow appearing over the band when they returned for their second act. They played “Comes a Time,” a rarely played Garcia ballad.\u003c/p>\n\u003cp>“There is a lot of excitement, and there will be a lot of people here,” Aberdeen said. “Who knows when we’ll have an opportunity to get together like this again?”\u003c/p>\n\u003cp>Fans were able to see Dead & Company in Las Vegas earlier this year, but no new dates have been announced. Guitarist Bob Weir is 77, and drummers Mickey Hart and Bill Kreutzmann are 81 and 79, respectively. Besides Garcia, founding members Ron “Pigpen” McKernan on keyboards died in 1973 and bassist \u003ca href=\"https://www.kqed.org/arts/13967309/the-grateful-dead-bassist-phil-lesh-dies-at-84\">Phil Lesh died\u003c/a> last year at age 84.\u003c/p>\n\u003cfigure id=\"attachment_13967310\" class=\"wp-caption aligncenter\" style=\"max-width: 1385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-52691498-scaled-e1753903266478.jpeg\" alt=\"An older white man with grey hair wearing a brown suede jacket holding up a book with the Grateful Dead logo on it.\" width=\"1385\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">Phil Lesh of the Grateful Dead holds a copy of his book, ‘Searching for the Sound: My Life with the Grateful Dead’ at the Los Angeles Times Festival of Books on April 24, 2005. \u003ccite>(Michael Buckner/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Multiple events planned for Dead’s 60th\u003c/h2>\n\u003cp>Mayor \u003ca href=\"https://www.kqed.org/news/tag/daniel-lurie\">Daniel Lurie\u003c/a>, who is not a Deadhead but counts “Sugar Magnolia” as his favorite Dead song, is overjoyed at the economic boost as San Francisco recovers from pandemic-related hits to its tech and tourism sectors.\u003c/p>\n\u003cp>“They are the reason why so many people know and love San Francisco,” he said.\u003c/p>\n\u003cp>[aside postid='arts_13284583']The weekend features parties, shows and celebrations throughout the city. Grahame Lesh & Friends will perform three nights starting Thursday. Lesh is the son of Phil Lesh.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Friday, which would have been Garcia’s 83rd birthday, officials will rename a street after the San Francisco native. On Saturday, visitors can celebrate the city’s annual Jerry Day at the Jerry Garcia Amphitheater located in a park near Garcia’s childhood home.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of the \u003ca href=\"https://www.kqed.org/arts/tag/grateful-dead\">Grateful Dead\u003c/a> are pouring into \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> for three days of concerts and festivities marking the 60th anniversary of the scruffy jam band that came to embody a city where people once wore flowers in their hair and made love, not war.\u003c/p>\n\u003cp>Dead & Company, featuring original Grateful Dead members \u003ca href=\"https://www.kqed.org/arts/11682940/bob-weir-criticizes-politicians-on-stage-at-bonnaroo\">Bob Weir\u003c/a> and \u003ca href=\"https://www.kqed.org/forum/201206251000/mickey-hart\">Mickey Hart\u003c/a>, will play \u003ca href=\"https://www.kqed.org/news/tag/golden-gate-park\">Golden Gate Park\u003c/a>’s Polo Field starting Friday with an estimated 60,000 attendees each day. The last time the band played that part of the park was in 1991 — a free show following the death of concert promoter and longtime Deadhead \u003ca href=\"https://www.kqed.org/arts/11409279/bill-graham-the-personality-no-museum-could-possibly-contain\">Bill Graham\u003c/a>.\u003c/p>\n\u003cp>Certainly, times have changed.\u003c/p>\n\u003cp>A general admissions ticket for all three days is $635 — a shock for many longtime fans who remember when a joint cost more than a Dead concert ticket.\u003c/p>\n\u003cp>But Deadhead David Aberdeen is thrilled anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is the spiritual home of the Grateful Dead,” said Aberdeen, who works at \u003ca href=\"https://www.kqed.org/news/25014/amoeba-music-named-best-record-store-in-u-s-by-rolling-stone\">Amoeba Music\u003c/a> in the Haight. “It seems very right to me that they celebrate it in this way.”\u003c/p>\n\u003cp>Formed in 1965, the Grateful Dead is synonymous with San Francisco and its counterculture. Members lived in a dirt-cheap Victorian in the Haight and later became a significant part of 1967’s \u003ca href=\"https://www.kqed.org/arts/tag/summer-of-love\">Summer of Love\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That summer eventually soured into bad acid trips and police raids, and prompted the band’s move to \u003ca href=\"https://www.kqed.org/arts/tag/marin-county\">Marin County\u003c/a> on the other end of the \u003ca href=\"https://www.kqed.org/arts/13913489\">Golden Gate Bridge\u003c/a>. But new Deadheads kept cropping up — even after iconic guitarist and singer \u003ca href=\"https://www.kqed.org/arts/13342850/jerry-garcias-guitar-heads-to-auction-could-fetch-1m\">Jerry Garcia\u003c/a>’s 1995 death — aided by cover bands and offshoots like Dead & Company.\u003c/p>\n\u003cp>“There are 18-year-olds who were obviously not even a twinkle in somebody’s eyes when Jerry died, and these 18-year-olds get the values of Deadheads,” said former Grateful Dead publicist and author Dennis McNally.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925413\" 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\" 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=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead on the corner of Haight and Ashbury. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fitting in, feeling at home\u003c/h2>\n\u003cp>Deadheads can reel off why and how, and the moment they fell in love with the music. Fans love that no two shows are the same; the band plays different songs each time. They also embrace the community that comes with a Dead show.\u003c/p>\n\u003cp>Sunshine Powers didn’t have friends until age 13, when she stepped off a city bus and into the Haight-Ashbury neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I, all of a sudden, felt like I fit in. Or like I didn’t have to fit in,” says Powers, now 45 and the owner of tie-dye emporium \u003ca href=\"https://loveonhaightsf.com/\">Love on Haight\u003c/a>. “I don’t know which one it was, but I know it was like, OK.”\u003c/p>\n\u003cp>Similarly, her friend Taylor Swope, 47, survived a tough freshman year at a new school with the help of a Grateful Dead mixtape. The owner of the Little Hippie gift shop is driving from Brooklyn, New York, to sell merchandise, reconnect with friends and see the shows.\u003c/p>\n\u003cp>“The sense of, ‘I found my people, I didn’t fit in anywhere else and then I found this, and I felt at home.’ So that’s a big part of it,” she said of the allure.\u003c/p>\n\u003ch2>Magical live shows\u003c/h2>\n\u003cp>Sometimes, becoming a Deadhead is a process.\u003c/p>\n\u003cp>Thor Cromer, 60, had attended several Dead shows, but was ambivalent about the hippies. That changed on March 15, 1990, in Landover, Maryland.\u003c/p>\n\u003cp>“That show, whatever it was, whatever magic hit,” he said, “it was injected right into my brain.”\u003c/p>\n\u003cp>Cromer, who worked for the U.S. Senate then, eventually took time off to follow the band on tour and saw an estimated 400 shows from spring 1990 until \u003ca href=\"https://www.kqed.org/news/10630061/20-years-ago-today-captain-trips-died-and-the-dot-com-boom-took-off\">Garcia’s death\u003c/a>.\u003c/p>\n\u003cp>Cromer now works in technology and is flying in from Boston to join scores of fellow “rail riders” who dance in the rows closest to the stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Aberdeen, 62, saw his first Dead show in 1984. As the only person in his college group with a driver’s license, he was tapped to drive a crowded VW Bug from Antioch College in Yellow Springs, Ohio, to Syracuse, New York.\u003c/p>\n\u003cp>“I thought it was pretty weird,” he said. “But I liked it.”\u003c/p>\n\u003cp>He fell in love the following summer, when the Dead played a venue near his college.\u003c/p>\n\u003cp>Aberdeen remembers rain pouring down in the middle of the show and a giant rainbow appearing over the band when they returned for their second act. They played “Comes a Time,” a rarely played Garcia ballad.\u003c/p>\n\u003cp>“There is a lot of excitement, and there will be a lot of people here,” Aberdeen said. “Who knows when we’ll have an opportunity to get together like this again?”\u003c/p>\n\u003cp>Fans were able to see Dead & Company in Las Vegas earlier this year, but no new dates have been announced. Guitarist Bob Weir is 77, and drummers Mickey Hart and Bill Kreutzmann are 81 and 79, respectively. Besides Garcia, founding members Ron “Pigpen” McKernan on keyboards died in 1973 and bassist \u003ca href=\"https://www.kqed.org/arts/13967309/the-grateful-dead-bassist-phil-lesh-dies-at-84\">Phil Lesh died\u003c/a> last year at age 84.\u003c/p>\n\u003cfigure id=\"attachment_13967310\" class=\"wp-caption aligncenter\" style=\"max-width: 1385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-52691498-scaled-e1753903266478.jpeg\" alt=\"An older white man with grey hair wearing a brown suede jacket holding up a book with the Grateful Dead logo on it.\" width=\"1385\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">Phil Lesh of the Grateful Dead holds a copy of his book, ‘Searching for the Sound: My Life with the Grateful Dead’ at the Los Angeles Times Festival of Books on April 24, 2005. \u003ccite>(Michael Buckner/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Multiple events planned for Dead’s 60th\u003c/h2>\n\u003cp>Mayor \u003ca href=\"https://www.kqed.org/news/tag/daniel-lurie\">Daniel Lurie\u003c/a>, who is not a Deadhead but counts “Sugar Magnolia” as his favorite Dead song, is overjoyed at the economic boost as San Francisco recovers from pandemic-related hits to its tech and tourism sectors.\u003c/p>\n\u003cp>“They are the reason why so many people know and love San Francisco,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The weekend features parties, shows and celebrations throughout the city. Grahame Lesh & Friends will perform three nights starting Thursday. Lesh is the son of Phil Lesh.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Friday, which would have been Garcia’s 83rd birthday, officials will rename a street after the San Francisco native. On Saturday, visitors can celebrate the city’s annual Jerry Day at the Jerry Garcia Amphitheater located in a park near Garcia’s childhood home.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>During an angry shower early in the pandemic, Zoe Young began spitting lyrics about \u003ca href=\"https://www.kqed.org/news/tag/climate-change\">the state of the planet\u003c/a>.\u003c/p>\n\u003cp>The San Francisco musician with short platinum hair and dark roots was thinking about the “scariest night” of her life when, back in 2017, she convinced her stubborn father to evacuate his home in Ojai as the \u003ca href=\"https://www.kqed.org/news/11636206/thomas-fire-becomes-5th-largest-in-state-history\">Thomas Fire\u003c/a> approached.\u003c/p>\n\u003cp>It was the first time our altered Earth had a clear impact on her life. Zoe needed an outlet, so she started a punk band, \u003ca href=\"https://furioustits.com/\">The Furious Tits\u003c/a>.\u003c/p>\n\u003cp>“A lot of what came out of my brain was based on climate, and they turned into these punk songs,” said Zoe, who was previously a writer for a large environmental organization.\u003c/p>\n\u003cp>The Furious Tits, whose members are mostly queer, blend lyrics about climate chaos with irreverent humor and sexuality. In “Cougar Town,” Zoe sings about P-22, a\u003ca href=\"https://www.npr.org/2023/03/07/1161569051/tribes-bury-p-22-southern-californias-famed-mountain-lion\"> deceased wild mountain lion\u003c/a> in Los Angeles, and dating older women. “Desperate Pleasures” is about finding love in a time of climate change and swipe-left culture, with lyrics like “we don’t need to break the ice because it’s breaking up on its own.” Their diss track about golf was inspired by a trip to Las Vegas last year, where they noticed a lush, green, empty golf course in the middle of the desert, watered by “ancient aquifers.” Their newest song, “\u003ca href=\"https://www.kqed.org/news/tag/microplastics\">Microplastics\u003c/a>,” details how scientists have found synthetic bits in human brains.\u003c/p>\n\u003cfigure id=\"attachment_13979090\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits performed live in San Francisco at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the \u003ca href=\"https://www.kqed.org/science/1997477/fishnets-and-fossil-fuels-meet-3-bay-area-climate-conscious-drag-artists\">links between climate, queerness\u003c/a> and punk may not be obvious, Zoe points to how the state of our warming planet affects, well, everything. “Climate change is coming for every aspect of our lives, including our sex lives,” said Zoe, whose bandmates lovingly refer to as the Band Domme. “You can’t hook up in your house if it’s burned down.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In mid-July, The Furious Tits performed at the Castro Night Market to a relatively wholesome crowd of kids, people eating barbecue and their diehard fans, who showed up in cropped black T-shirts emblazoned with different-sized cartoon breasts. Their usual venues, however, are more of a scene: dark dive bars, queer landmarks like El Rio and kinky events like San Francisco’s famed Folsom Street Fair.\u003c/p>\n\u003cp>“We found that it turns out the kinksters care about our planet,” said Miju, the band’s bassist, whose nickname is Punk Jesus. She took the stage in black boots and a black latex one-piece at last year’s festival. “I don’t think it was a bait-and-switch to play climate songs at Folsom. Kinky people care about other people.”\u003c/p>\n\u003cfigure id=\"attachment_13979083\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979083\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Furious Tits fan at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits create space for concert-goers to let out their frustration and anxiety about orange sky days and flash floods, inviting them to “tenderly mosh” to their songs. “It’s been amazing to look into the mosh pit and see the audience jump and elbow each other along to a song about how golf is unsustainable,” Zoe said.\u003c/p>\n\u003cp>For drummer William Renauld, whose alias is Will Yummy, joining The Furious Tits provided him a place to “push anger and aggression” about the climate crisis out of his body and into \u003ca href=\"https://www.kqed.org/science/1978547/writing-music-about-climate-change-oakland-artist-reclaims-feminine-power\">music that has the potential to sway culture\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1962210910/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“It’s this beautiful ball of angry, horny, hilarious joy that we just get to serve up to the people who listen to our music,” Will said. “Punk can be so gloriously scrappy, and I envision a climate future where that kind of resourcefulness and that kind of resilience is gonna be an absolute necessity.”\u003c/p>\n\u003cp>The band’s first climate song, “Desperate Pleasures,” came to lead guitarist David Griswold, known as Daddy in the band, as he was pondering online dating culture and the apocalypse. He came up with the lyric “desperate times call for desperate pleasures” to show listeners that “in the midst of these desperate times,” they have to find joy.\u003c/p>\n\u003cfigure id=\"attachment_13979242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The climate punk band The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits are currently writing a climate-themed album they plan to release in early 2026.\u003c/p>\n\u003cp>“What’s queer about our climate songs is that we’re talking about changing culture,” Miju said. “Queer people have always had to make new culture because it hasn’t existed before. That means we don’t always have role models. We have to chart our own course.”\u003c/p>\n\u003cp>As The Furious Tits think about the future, they ponder the higher purpose of their activism: Ensuring their families — and chosen families — are safe as wildfires rage, flooding increases and air quality worsens. [aside postid='science_1997477']\u003c/p>\n\u003cp>“It’s so overwhelming thinking about how I can leave my children a functional world where they can feel safe and experience joy amid all these overlapping crises,” David said. “Art is what continues to give me hope.”\u003c/p>\n\u003cp>As the band sets their sights on completing the album, Zoe and Miju want to explore a song about endangered coral reefs. Miju recalls a scene from the \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=aGGBGcjdjXA\">Chasing Coral\u003c/a>\u003c/em> documentary on Netflix, featuring an aerial view of fluorescent coral in shades of purple, blue and green. In the film, the documentarian notes the vibrant colors represent “the incredibly beautiful phase of death,” as if “the corals are saying, ‘Look at me, please notice.’”\u003c/p>\n\u003cp>Miju’s son burst into tears during the clip.\u003c/p>\n\u003cp>“I was like, ‘Holy cow, that’s the right response,’” Miju said.\u003c/p>\n\u003cp>Will, the drummer, dreams of turning lyrics about airplane emissions into the band’s “next hit song” as a way to explore his fears about the planet his future children will inherit.\u003c/p>\n\u003cfigure id=\"attachment_13979244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels so existentially grounding and artistically meaningful to throw these musical darts at these large climate targets,” said Will, “and eke out the hilarity and the joy while doing it.”\u003c/p>\n\u003cp>Sitting on mismatched couches in the band’s Oakland practice space, surrounded by gear and relics from previous tenants — lamps made from laced-up heels and lyric-filled white boards — Zoe and her bandmates reflect on how music can foster the kind of solidarity needed to survive the climate crisis.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We rely on each other, and that can be a model for the climate movement,” Zoe said. “This is a long fight, and we don’t even get the clean apocalypse where we’re all gonna die. We’re going to have to figure out how to live through it. There’s no way to do it if we don’t do it together.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During an angry shower early in the pandemic, Zoe Young began spitting lyrics about \u003ca href=\"https://www.kqed.org/news/tag/climate-change\">the state of the planet\u003c/a>.\u003c/p>\n\u003cp>The San Francisco musician with short platinum hair and dark roots was thinking about the “scariest night” of her life when, back in 2017, she convinced her stubborn father to evacuate his home in Ojai as the \u003ca href=\"https://www.kqed.org/news/11636206/thomas-fire-becomes-5th-largest-in-state-history\">Thomas Fire\u003c/a> approached.\u003c/p>\n\u003cp>It was the first time our altered Earth had a clear impact on her life. Zoe needed an outlet, so she started a punk band, \u003ca href=\"https://furioustits.com/\">The Furious Tits\u003c/a>.\u003c/p>\n\u003cp>“A lot of what came out of my brain was based on climate, and they turned into these punk songs,” said Zoe, who was previously a writer for a large environmental organization.\u003c/p>\n\u003cp>The Furious Tits, whose members are mostly queer, blend lyrics about climate chaos with irreverent humor and sexuality. In “Cougar Town,” Zoe sings about P-22, a\u003ca href=\"https://www.npr.org/2023/03/07/1161569051/tribes-bury-p-22-southern-californias-famed-mountain-lion\"> deceased wild mountain lion\u003c/a> in Los Angeles, and dating older women. “Desperate Pleasures” is about finding love in a time of climate change and swipe-left culture, with lyrics like “we don’t need to break the ice because it’s breaking up on its own.” Their diss track about golf was inspired by a trip to Las Vegas last year, where they noticed a lush, green, empty golf course in the middle of the desert, watered by “ancient aquifers.” Their newest song, “\u003ca href=\"https://www.kqed.org/news/tag/microplastics\">Microplastics\u003c/a>,” details how scientists have found synthetic bits in human brains.\u003c/p>\n\u003cfigure id=\"attachment_13979090\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits performed live in San Francisco at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the \u003ca href=\"https://www.kqed.org/science/1997477/fishnets-and-fossil-fuels-meet-3-bay-area-climate-conscious-drag-artists\">links between climate, queerness\u003c/a> and punk may not be obvious, Zoe points to how the state of our warming planet affects, well, everything. “Climate change is coming for every aspect of our lives, including our sex lives,” said Zoe, whose bandmates lovingly refer to as the Band Domme. “You can’t hook up in your house if it’s burned down.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In mid-July, The Furious Tits performed at the Castro Night Market to a relatively wholesome crowd of kids, people eating barbecue and their diehard fans, who showed up in cropped black T-shirts emblazoned with different-sized cartoon breasts. Their usual venues, however, are more of a scene: dark dive bars, queer landmarks like El Rio and kinky events like San Francisco’s famed Folsom Street Fair.\u003c/p>\n\u003cp>“We found that it turns out the kinksters care about our planet,” said Miju, the band’s bassist, whose nickname is Punk Jesus. She took the stage in black boots and a black latex one-piece at last year’s festival. “I don’t think it was a bait-and-switch to play climate songs at Folsom. Kinky people care about other people.”\u003c/p>\n\u003cfigure id=\"attachment_13979083\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979083\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Furious Tits fan at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits create space for concert-goers to let out their frustration and anxiety about orange sky days and flash floods, inviting them to “tenderly mosh” to their songs. “It’s been amazing to look into the mosh pit and see the audience jump and elbow each other along to a song about how golf is unsustainable,” Zoe said.\u003c/p>\n\u003cp>For drummer William Renauld, whose alias is Will Yummy, joining The Furious Tits provided him a place to “push anger and aggression” about the climate crisis out of his body and into \u003ca href=\"https://www.kqed.org/science/1978547/writing-music-about-climate-change-oakland-artist-reclaims-feminine-power\">music that has the potential to sway culture\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1962210910/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“It’s this beautiful ball of angry, horny, hilarious joy that we just get to serve up to the people who listen to our music,” Will said. “Punk can be so gloriously scrappy, and I envision a climate future where that kind of resourcefulness and that kind of resilience is gonna be an absolute necessity.”\u003c/p>\n\u003cp>The band’s first climate song, “Desperate Pleasures,” came to lead guitarist David Griswold, known as Daddy in the band, as he was pondering online dating culture and the apocalypse. He came up with the lyric “desperate times call for desperate pleasures” to show listeners that “in the midst of these desperate times,” they have to find joy.\u003c/p>\n\u003cfigure id=\"attachment_13979242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The climate punk band The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits are currently writing a climate-themed album they plan to release in early 2026.\u003c/p>\n\u003cp>“What’s queer about our climate songs is that we’re talking about changing culture,” Miju said. “Queer people have always had to make new culture because it hasn’t existed before. That means we don’t always have role models. We have to chart our own course.”\u003c/p>\n\u003cp>As The Furious Tits think about the future, they ponder the higher purpose of their activism: Ensuring their families — and chosen families — are safe as wildfires rage, flooding increases and air quality worsens. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s so overwhelming thinking about how I can leave my children a functional world where they can feel safe and experience joy amid all these overlapping crises,” David said. “Art is what continues to give me hope.”\u003c/p>\n\u003cp>As the band sets their sights on completing the album, Zoe and Miju want to explore a song about endangered coral reefs. Miju recalls a scene from the \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=aGGBGcjdjXA\">Chasing Coral\u003c/a>\u003c/em> documentary on Netflix, featuring an aerial view of fluorescent coral in shades of purple, blue and green. In the film, the documentarian notes the vibrant colors represent “the incredibly beautiful phase of death,” as if “the corals are saying, ‘Look at me, please notice.’”\u003c/p>\n\u003cp>Miju’s son burst into tears during the clip.\u003c/p>\n\u003cp>“I was like, ‘Holy cow, that’s the right response,’” Miju said.\u003c/p>\n\u003cp>Will, the drummer, dreams of turning lyrics about airplane emissions into the band’s “next hit song” as a way to explore his fears about the planet his future children will inherit.\u003c/p>\n\u003cfigure id=\"attachment_13979244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels so existentially grounding and artistically meaningful to throw these musical darts at these large climate targets,” said Will, “and eke out the hilarity and the joy while doing it.”\u003c/p>\n\u003cp>Sitting on mismatched couches in the band’s Oakland practice space, surrounded by gear and relics from previous tenants — lamps made from laced-up heels and lyric-filled white boards — Zoe and her bandmates reflect on how music can foster the kind of solidarity needed to survive the climate crisis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We rely on each other, and that can be a model for the climate movement,” Zoe said. “This is a long fight, and we don’t even get the clean apocalypse where we’re all gonna die. We’re going to have to figure out how to live through it. There’s no way to do it if we don’t do it together.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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"filters": [
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]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
