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"content": "\u003cdiv class=\"post-body\">\u003cp>For those who care about their local scene, and want more than background noise, Bay Beats could be an antidote. Since its debut, the library’s streaming service has amassed an eclectic collection of over 300 albums by local artists that anyone can stream or download for free. The music on Bay Beats suits a wide variety of tastes: There’s the punchy synth-punk of \u003ca href=\"https://baybeats.sfpl.org/albums/cold-beat-war-garden\">Cold Beat\u003c/a>; raps about mindfulness from \u003ca href=\"https://baybeats.sfpl.org/albums/jahi-forward-future\">Jahi\u003c/a>; salsa by \u003ca href=\"https://baybeats.sfpl.org/albums/bululu-camuri\">Bululú\u003c/a>; and Arabic-infused psych rock by \u003ca href=\"https://baybeats.sfpl.org/albums/camellia-boutros-refuge\">Camellia Boutros\u003c/a>.\u003c/p>\n\u003cp>Bay Beats is also curating live shows at libraries, like an upcoming \u003ca href=\"https://baybeats.sfpl.org/special-message\">daytime concert with R&B and jazz singer Rita Lackey\u003c/a> on March 22 at the Ingleside branch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Artists who want to be featured on the Bay Beats streaming service submit two to three tracks for jurors to review. \u003ca href=\"https://baybeats.sfpl.org/faq\">To qualify\u003c/a>, artists must live in one of the Bay Area’s nine counties, and have an album’s worth of music (which the library defines as at least five tracks or 15 minutes).\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://baybeats.sfpl.org/curators\">judges panel\u003c/a> includes some heavy hitters. There’s Peter Kadin, head of marketing at EMPIRE, a record label that started in San Francisco and has since gone global; Yunfei Nan, a multi-instrumentalist and leader of the Mandarin-language indie pop band Howan; Jesse ‘Chuy’ Varela, the music and program director at KCSM JAZZ 91.1; and several others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information on \u003ca href=\"https://baybeats.sfpl.org/submit/album-data\">how to apply can be found here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13972927\" class=\"wp-caption aligncenter\" style=\"max-width: 1167px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939.jpg\" alt=\"Two women at a formal gathering pose for a photo.\" width=\"1167\" height=\"1078\" class=\"size-full wp-image-13972927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939.jpg 1167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-768x709.jpg 768w\" sizes=\"auto, (max-width: 1167px) 100vw, 1167px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s So Vicious and her mother, the late Loretta S. Wilcher, pose for a photo. \u003ccite>(Courtesy of So Vicious)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early February, as Bayview-Hunters Point rapper \u003ca href=\"https://www.instagram.com/soviciousofficial/\" target=\"_blank\" rel=\"noopener\">So Vicious\u003c/a> was busy recording a follow-up to her 2024 album \u003ca href=\"https://open.spotify.com/album/2RimAPKIydm4Jcx9Sy0wrd\" target=\"_blank\" rel=\"noopener\">\u003cem>Verbal Gymnastics\u003c/em>\u003c/a>, she left the studio, called her mom and decided to pay her a visit.\u003c/p>\n\u003cp>It would be the last time the two would see each other.\u003c/p>\n\u003cp>Her mother, \u003ca href=\"https://www.gofundme.com/f/honor-loretta-s-wilcher-support-her-memorial\" target=\"_blank\" rel=\"noopener\">Loretta S. Wilcher\u003c/a>, who’d suffered from heart complications, unexpectedly passed in her sleep on Feb. 9. With her mother’s passing, So Vicious is postponing her next release and taking some time off before taking over her mother’s business and furthering her legacy.\u003c/p>\n\u003cp>[aside postID='arts_13928057']So Vicious also plans to use her art to honor the legacy of women like her mother, starting with the upcoming \u003ca href=\"https://www.eventbrite.com/e/women-of-legacy-a-day-to-honor-herstory-tickets-1250248530009\" target=\"_blank\" rel=\"noopener\">Women of Legacy | A Day To Honor Herstory\u003c/a> event in Oakland, where she’ll perform alongside \u003ca href=\"https://www.instagram.com/alienmackitty/\" target=\"_blank\" rel=\"noopener\">Alien Mac Kitty\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\" target=\"_blank\" rel=\"noopener\">Conscious Daughters\u003c/a> and more.\u003c/p>\n\u003ch2>Inheriting a work ethic\u003c/h2>\n\u003cp>A proud representative for her city, So Vicious is a versatile lyrical artist who can recite gangsta bars, make party songs and drop introspective rhymes. She came on the scene a decade ago with the back-to-back releases \u003ca href=\"https://open.spotify.com/album/0YVe2oi4XuPqi0mghBonah\" target=\"_blank\" rel=\"noopener\">\u003cem>Vicious Lessons\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/album/1XlqrDOGBW8WYLlskNkcrI\" target=\"_blank\" rel=\"noopener\">\u003cem>Couples Therapy\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of her career, she’s worked with hometown artists like \u003ca href=\"https://www.youtube.com/watch?v=JUTcqkCo75w\" target=\"_blank\" rel=\"noopener\">RBL Posse’s Black C\u003c/a> and\u003ca href=\"https://open.spotify.com/track/3gIyHABjDFaYvqPfWHrhUi?si=7903a28396594905\" target=\"_blank\" rel=\"noopener\"> Lil Kayla\u003c/a>. Last year, So Vicious dropped \u003ca href=\"https://open.spotify.com/track/4rSrBkMRDz2rfF2OX74QDo\" target=\"_blank\" rel=\"noopener\">a standout verse\u003c/a> on \u003ca href=\"https://www.instagram.com/yunglott_flood/\">Yung Lott\u003c/a>’s innovative album \u003cem>F.l.o.o.d Project\u003c/em>, which revises classic songs with uplifting messages from Frisco artists.\u003c/p>\n\u003cfigure id=\"attachment_13972930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972930\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-800x903.jpg\" alt=\"A woman wearing a white shirt and posing for a photo. \" width=\"800\" height=\"903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-800x903.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-1020x1152.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-768x867.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887.jpg 1170w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist So Vicious says she owes her work ethic to her mother. \u003ccite>(Courtesy of So Vicious)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Constantly working, over the past few months So Vicious has performed in Santa Cruz with Kamaiyah, in Modesto with ALLBLACK and in San Francisco during NBA All-Star Weekend.\u003c/p>\n\u003cp>“I learned my work ethic from my mom,” says the rapper, who started working with her mother at the age of 12.\u003c/p>\n\u003cp>One of two children, So Vicious saw her mother work for the Department of Justice up until retirement, and later as a \u003ca href=\"https://missionlocal.org/2022/06/nba-finals-people-we-meet-loretta-wilcher/\" target=\"_blank\" rel=\"noopener\">Chase Center security guard\u003c/a>. Her mother was also an entrepreneur, a certified notary and the owner of \u003ca href=\"https://www.instagram.com/love_shoe_boutique/?hl=en\" target=\"_blank\" rel=\"noopener\">Love Shoe Boutique\u003c/a>.\u003c/p>\n\u003cp>“Seeing her get up every day, going to work and coming back with the fly clothes, it motivated me,” says So Vicious. “I wanted to be like that.”\u003c/p>\n\u003cp>[aside postID='arts_13923766']\u003c/p>\n\u003ch2>‘I’ve got to make her proud’\u003c/h2>\n\u003cp>A pillar of the community, “Ms. Wilcher” or “Momma Vicious” (as she was known by some) was born and raised in San Francisco. Living between Bayview-Hunters Point, Double Rock and Potrero Hill, Wilcher would often attend Board of Supervisors meetings to speak on behalf of the community.\u003c/p>\n\u003cp>Initially a piano player and poet, So Vicious says her mother would listen as she put her lyrics to beats. As the artist grew, so did her mother’s support.\u003c/p>\n\u003cp>During one of her recent shows, her mother, standing stageside, was pushed by a fan who was excited to see So Vicious perform. “It made her feel good that somebody was that excited to see her daughter,” she reflects.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z5lAC9n3kEE\u003c/p>\n\u003cp>As humans we learn from everybody, but women bring life into the world, says So Vicious. “We say this is a man’s world,” she tells me, considering what it means to carry on her mother’s legacy, “but literally, I think it’s a woman’s world.”\u003c/p>\n\u003cp>The event in Oakland later this month will be an example of what it looks like when women to come together in a world — specifically, an entertainment industry — which often pits women against one another. “I feel like it’s strength in numbers,” says So Vicious of the lineup for the upcoming show. “You could do more and accomplish so much more when everybody comes together.”\u003c/p>\n\u003cp>And she’s personally committed to holding down her end of the bargain, especially for her mother.\u003c/p>\n\u003cp>“God must be showing me something,” So Vicious says, adding that she was also in a car accident at the start of this year. “Where I’m at emotionally and just in my grieving process, I just plan to even go even harder now. You know what I’m saying? I’ve got to make her proud.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>So Vicious appears at ‘Women of Legacy | A Day to Honor Herstory’ on Sunday, March 30, from 3 p.m.–8 p.m. at Lux Oakland (1100 Franklin St., Oakland). \u003ca href=\"https://www.eventbrite.com/e/women-of-legacy-a-day-to-honor-herstory-tickets-1250248530009\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13972927\" class=\"wp-caption aligncenter\" style=\"max-width: 1167px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939.jpg\" alt=\"Two women at a formal gathering pose for a photo.\" width=\"1167\" height=\"1078\" class=\"size-full wp-image-13972927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939.jpg 1167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-768x709.jpg 768w\" sizes=\"auto, (max-width: 1167px) 100vw, 1167px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s So Vicious and her mother, the late Loretta S. Wilcher, pose for a photo. \u003ccite>(Courtesy of So Vicious)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early February, as Bayview-Hunters Point rapper \u003ca href=\"https://www.instagram.com/soviciousofficial/\" target=\"_blank\" rel=\"noopener\">So Vicious\u003c/a> was busy recording a follow-up to her 2024 album \u003ca href=\"https://open.spotify.com/album/2RimAPKIydm4Jcx9Sy0wrd\" target=\"_blank\" rel=\"noopener\">\u003cem>Verbal Gymnastics\u003c/em>\u003c/a>, she left the studio, called her mom and decided to pay her a visit.\u003c/p>\n\u003cp>It would be the last time the two would see each other.\u003c/p>\n\u003cp>Her mother, \u003ca href=\"https://www.gofundme.com/f/honor-loretta-s-wilcher-support-her-memorial\" target=\"_blank\" rel=\"noopener\">Loretta S. Wilcher\u003c/a>, who’d suffered from heart complications, unexpectedly passed in her sleep on Feb. 9. With her mother’s passing, So Vicious is postponing her next release and taking some time off before taking over her mother’s business and furthering her legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So Vicious also plans to use her art to honor the legacy of women like her mother, starting with the upcoming \u003ca href=\"https://www.eventbrite.com/e/women-of-legacy-a-day-to-honor-herstory-tickets-1250248530009\" target=\"_blank\" rel=\"noopener\">Women of Legacy | A Day To Honor Herstory\u003c/a> event in Oakland, where she’ll perform alongside \u003ca href=\"https://www.instagram.com/alienmackitty/\" target=\"_blank\" rel=\"noopener\">Alien Mac Kitty\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\" target=\"_blank\" rel=\"noopener\">Conscious Daughters\u003c/a> and more.\u003c/p>\n\u003ch2>Inheriting a work ethic\u003c/h2>\n\u003cp>A proud representative for her city, So Vicious is a versatile lyrical artist who can recite gangsta bars, make party songs and drop introspective rhymes. She came on the scene a decade ago with the back-to-back releases \u003ca href=\"https://open.spotify.com/album/0YVe2oi4XuPqi0mghBonah\" target=\"_blank\" rel=\"noopener\">\u003cem>Vicious Lessons\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/album/1XlqrDOGBW8WYLlskNkcrI\" target=\"_blank\" rel=\"noopener\">\u003cem>Couples Therapy\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the course of her career, she’s worked with hometown artists like \u003ca href=\"https://www.youtube.com/watch?v=JUTcqkCo75w\" target=\"_blank\" rel=\"noopener\">RBL Posse’s Black C\u003c/a> and\u003ca href=\"https://open.spotify.com/track/3gIyHABjDFaYvqPfWHrhUi?si=7903a28396594905\" target=\"_blank\" rel=\"noopener\"> Lil Kayla\u003c/a>. Last year, So Vicious dropped \u003ca href=\"https://open.spotify.com/track/4rSrBkMRDz2rfF2OX74QDo\" target=\"_blank\" rel=\"noopener\">a standout verse\u003c/a> on \u003ca href=\"https://www.instagram.com/yunglott_flood/\">Yung Lott\u003c/a>’s innovative album \u003cem>F.l.o.o.d Project\u003c/em>, which revises classic songs with uplifting messages from Frisco artists.\u003c/p>\n\u003cfigure id=\"attachment_13972930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972930\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-800x903.jpg\" alt=\"A woman wearing a white shirt and posing for a photo. \" width=\"800\" height=\"903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-800x903.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-1020x1152.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-768x867.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887.jpg 1170w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist So Vicious says she owes her work ethic to her mother. \u003ccite>(Courtesy of So Vicious)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Constantly working, over the past few months So Vicious has performed in Santa Cruz with Kamaiyah, in Modesto with ALLBLACK and in San Francisco during NBA All-Star Weekend.\u003c/p>\n\u003cp>“I learned my work ethic from my mom,” says the rapper, who started working with her mother at the age of 12.\u003c/p>\n\u003cp>One of two children, So Vicious saw her mother work for the Department of Justice up until retirement, and later as a \u003ca href=\"https://missionlocal.org/2022/06/nba-finals-people-we-meet-loretta-wilcher/\" target=\"_blank\" rel=\"noopener\">Chase Center security guard\u003c/a>. Her mother was also an entrepreneur, a certified notary and the owner of \u003ca href=\"https://www.instagram.com/love_shoe_boutique/?hl=en\" target=\"_blank\" rel=\"noopener\">Love Shoe Boutique\u003c/a>.\u003c/p>\n\u003cp>“Seeing her get up every day, going to work and coming back with the fly clothes, it motivated me,” says So Vicious. “I wanted to be like that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘I’ve got to make her proud’\u003c/h2>\n\u003cp>A pillar of the community, “Ms. Wilcher” or “Momma Vicious” (as she was known by some) was born and raised in San Francisco. Living between Bayview-Hunters Point, Double Rock and Potrero Hill, Wilcher would often attend Board of Supervisors meetings to speak on behalf of the community.\u003c/p>\n\u003cp>Initially a piano player and poet, So Vicious says her mother would listen as she put her lyrics to beats. As the artist grew, so did her mother’s support.\u003c/p>\n\u003cp>During one of her recent shows, her mother, standing stageside, was pushed by a fan who was excited to see So Vicious perform. “It made her feel good that somebody was that excited to see her daughter,” she reflects.\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/Z5lAC9n3kEE'\n title='//www.youtube.com/embed/Z5lAC9n3kEE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As humans we learn from everybody, but women bring life into the world, says So Vicious. “We say this is a man’s world,” she tells me, considering what it means to carry on her mother’s legacy, “but literally, I think it’s a woman’s world.”\u003c/p>\n\u003cp>The event in Oakland later this month will be an example of what it looks like when women to come together in a world — specifically, an entertainment industry — which often pits women against one another. “I feel like it’s strength in numbers,” says So Vicious of the lineup for the upcoming show. “You could do more and accomplish so much more when everybody comes together.”\u003c/p>\n\u003cp>And she’s personally committed to holding down her end of the bargain, especially for her mother.\u003c/p>\n\u003cp>“God must be showing me something,” So Vicious says, adding that she was also in a car accident at the start of this year. “Where I’m at emotionally and just in my grieving process, I just plan to even go even harder now. You know what I’m saying? I’ve got to make her proud.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>So Vicious appears at ‘Women of Legacy | A Day to Honor Herstory’ on Sunday, March 30, from 3 p.m.–8 p.m. at Lux Oakland (1100 Franklin St., Oakland). \u003ca href=\"https://www.eventbrite.com/e/women-of-legacy-a-day-to-honor-herstory-tickets-1250248530009\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/deedotjones/\">Dee Dot Jones\u003c/a> went to the Oakland Coliseum complex for so many A’s, Raiders and Warriors games as a kid, he says he was basically potty trained in the parking lot. Since all three teams left Oakland, the Coliseum is now the site of a huge come-up for another local squad: \u003ca href=\"https://www.kqed.org/news/12023859/oakland-roots-soul-want-to-play-in-the-coliseum-for-years-to-come\">Oakland Roots Soccer Club\u003c/a>, which will play its first home game of the season there on March 22, after years of competing at California State University East Bay. Jones, who performed at the Roots’ halftime show last season, is the voice of the team’s new anthem, “Tru 2 My Roots.”\u003c/p>\n\u003cp>In the new music video for the track, Jones raps on the same Coliseum field he once could only peer at from the bleachers. Turf dancers contort their arms in back-breaking dance moves. Roots players put on their game faces. Old-school cars with gleaming rims swing donuts in a display of Town pride.\u003c/p>\n\u003cp>“Even to have been on the field in that context is a very surreal moment,” Jones says.\u003c/p>\n\u003cp>https://youtu.be/dntXxjV1mv8?si=g96vEdSoRwGtb0-7\u003c/p>\n\u003cp>Coming up with an anthem bold enough to hype up an entire stadium might sound like a challenge. But Jones says the track came together entirely organically. The rapper’s connection to the Roots goes way back. A decade ago, the Oakland-raised Jones met future Roots co-founder Edreece Arghandiwal, who let Jones record music in the office of his tech start-up. They kept in touch and remained close over the years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In April 2024, the night before the Roots’ last home opener, Jones went to the studio and recorded what would become “Tru 2 My Roots.” He sent it to Arghandiwal. “He just wanted to run it,” Jones says. “It was just all by surprise. It was pretty much all just improvised.”\u003c/p>\n\u003cp>[aside postid='arts_13972889,arts_13972636,arts_13971354']Now, the track will blast through the Coliseum speakers as Roots players jog onto the field. It’s just the latest example of the Bay Area’s cross-pollination between sports and hip-hop. \u003ca href=\"https://www.kqed.org/arts/tag/too-hort\">Too $hort\u003c/a> will perform at halftime during the Roots’ home opener on March 22. Along with Green Day’s Billy Joe Armstrong, the rap legend also recently purchased an ownership stake in another upstart team, \u003ca href=\"https://www.kqed.org/arts/13972636/billie-joe-armstrong-too-short-oakland-ballers-baseball\">the Ballers\u003c/a>, who began competing in the Pioneer baseball league last year.\u003c/p>\n\u003cp>E-40 — whose 2014 song “Choices” is an unofficial Golden State Warriors anthem — has become a high-profile supporter of the Bay Area’s new WNBA team, the Golden State Valkyries, whose debut season begins at Chase Center in May. The Warriors also recently launched a music and film division, Golden State Entertainment, which teamed up with San Francisco label EMPIRE to put out P-Lo’s latest album, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13971354/p-lo-for-the-soil-warriors-golden-state-entertainment-nba-all-star-weekend\">For the Soil\u003c/a>\u003c/i>, the soundtrack of last month’s NBA All-Star Weekend.\u003c/p>\n\u003cfigure id=\"attachment_13973034\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000.jpg\" alt=\"man in teal jersey with mic on green soccer field\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dot Jones performing at an Oakland Roots vs. Monterey Bay match in 2024. \u003ccite>(Oakland Roots SC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While sports teams and local pride go hand in hand, the Roots take repping Oakland a step further. Since their beginnings in 2018, \u003ca href=\"https://oaklandside.org/2022/06/28/oakland-roots-homegrown-soccer-club-community-part-2/\">community service\u003c/a> is baked into what they do. The Roots and their sister team, Oakland Soul, work with a long list of youth sports leagues, after-school arts programs and organizations that champion gender and racial equity.\u003c/p>\n\u003cp>Soccer might not be as popular in the U.S. as it is in other parts of the world, but there are plenty of immigrant diasporas in Oakland from Latin America, the Arab world, Africa and Asia who grew up with a deep love of the sport. And with several other sports leagues now gone from Oakland, the Roots have an opportunity to expand appreciation for soccer and its culture in the Town as the team grows.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is here for it. “The story that we’re telling is definitely my favorite part of it,” he says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/deedotjones/\">Dee Dot Jones\u003c/a> went to the Oakland Coliseum complex for so many A’s, Raiders and Warriors games as a kid, he says he was basically potty trained in the parking lot. Since all three teams left Oakland, the Coliseum is now the site of a huge come-up for another local squad: \u003ca href=\"https://www.kqed.org/news/12023859/oakland-roots-soul-want-to-play-in-the-coliseum-for-years-to-come\">Oakland Roots Soccer Club\u003c/a>, which will play its first home game of the season there on March 22, after years of competing at California State University East Bay. Jones, who performed at the Roots’ halftime show last season, is the voice of the team’s new anthem, “Tru 2 My Roots.”\u003c/p>\n\u003cp>In the new music video for the track, Jones raps on the same Coliseum field he once could only peer at from the bleachers. Turf dancers contort their arms in back-breaking dance moves. Roots players put on their game faces. Old-school cars with gleaming rims swing donuts in a display of Town pride.\u003c/p>\n\u003cp>“Even to have been on the field in that context is a very surreal moment,” Jones says.\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/dntXxjV1mv8'\n title='//www.youtube.com/embed/dntXxjV1mv8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Coming up with an anthem bold enough to hype up an entire stadium might sound like a challenge. But Jones says the track came together entirely organically. The rapper’s connection to the Roots goes way back. A decade ago, the Oakland-raised Jones met future Roots co-founder Edreece Arghandiwal, who let Jones record music in the office of his tech start-up. They kept in touch and remained close over the years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In April 2024, the night before the Roots’ last home opener, Jones went to the studio and recorded what would become “Tru 2 My Roots.” He sent it to Arghandiwal. “He just wanted to run it,” Jones says. “It was just all by surprise. It was pretty much all just improvised.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, the track will blast through the Coliseum speakers as Roots players jog onto the field. It’s just the latest example of the Bay Area’s cross-pollination between sports and hip-hop. \u003ca href=\"https://www.kqed.org/arts/tag/too-hort\">Too $hort\u003c/a> will perform at halftime during the Roots’ home opener on March 22. Along with Green Day’s Billy Joe Armstrong, the rap legend also recently purchased an ownership stake in another upstart team, \u003ca href=\"https://www.kqed.org/arts/13972636/billie-joe-armstrong-too-short-oakland-ballers-baseball\">the Ballers\u003c/a>, who began competing in the Pioneer baseball league last year.\u003c/p>\n\u003cp>E-40 — whose 2014 song “Choices” is an unofficial Golden State Warriors anthem — has become a high-profile supporter of the Bay Area’s new WNBA team, the Golden State Valkyries, whose debut season begins at Chase Center in May. The Warriors also recently launched a music and film division, Golden State Entertainment, which teamed up with San Francisco label EMPIRE to put out P-Lo’s latest album, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13971354/p-lo-for-the-soil-warriors-golden-state-entertainment-nba-all-star-weekend\">For the Soil\u003c/a>\u003c/i>, the soundtrack of last month’s NBA All-Star Weekend.\u003c/p>\n\u003cfigure id=\"attachment_13973034\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000.jpg\" alt=\"man in teal jersey with mic on green soccer field\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dot Jones performing at an Oakland Roots vs. Monterey Bay match in 2024. \u003ccite>(Oakland Roots SC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While sports teams and local pride go hand in hand, the Roots take repping Oakland a step further. Since their beginnings in 2018, \u003ca href=\"https://oaklandside.org/2022/06/28/oakland-roots-homegrown-soccer-club-community-part-2/\">community service\u003c/a> is baked into what they do. The Roots and their sister team, Oakland Soul, work with a long list of youth sports leagues, after-school arts programs and organizations that champion gender and racial equity.\u003c/p>\n\u003cp>Soccer might not be as popular in the U.S. as it is in other parts of the world, but there are plenty of immigrant diasporas in Oakland from Latin America, the Arab world, Africa and Asia who grew up with a deep love of the sport. And with several other sports leagues now gone from Oakland, the Roots have an opportunity to expand appreciation for soccer and its culture in the Town as the team grows.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is here for it. “The story that we’re telling is definitely my favorite part of it,” he says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Poppy has a habit of kicking off her tours in the Bay Area; she’s played at Cornerstone, the Great American Music Hall and the UC Theatre. Last night, the viral-video star turned experimental metal artist began her \u003ca href=\"https://impoppy.com/pages/tour?srsltid=AfmBOor5Gwgv3gh3iNSDJz8xAJCUhLT_kNbmZflIo6-Bg-ejyUwu0x5c\">new tour\u003c/a>, ‘They’re All Around Us,’ with a sold-out show at \u003ca href=\"https://www.kqed.org/arts/tag/the-fillmore\">The Fillmore\u003c/a> in San Francisco. \u003c/p>\n\u003cp>Attendees dressed accordingly: black lipstick, dark eyeshadow, fishnets, tights, spiked silver collars, a variety of facial piercings and hand tattoos, and plenty of Poppy T-shirts from tours past. The occasion summoned a range of ages, from undergrads to graying metalheads, lining up against the barricade at the front of the stage. \u003c/p>\n\u003cfigure id=\"attachment_13973023\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poppy’s 2025 tour comes amid a flurry of activity for the 30-year-old. The night before the San Francisco show, she performed “the cost of giving up,” from her new album Negative Spaces, on Jimmy Kimmel Live! In Los Angeles. Just a few months ago, she received \u003ca href=\"https://www.billboard.com/music/awards/grammy-nominations-2025-full-list-1235823165/\">her second Grammy nomination\u003c/a> for best metal performance for her feature on the Knocked Loose song “Suffocate.” (She may not have won that Grammy, but she went viral when \u003ca href=\"https://www.youtube.com/watch?v=oGi843XWcNA\">a reporter mistook a vocalist from Spiritbox for her on the red carpet\u003c/a>.) \u003c/p>\n\u003cp>At the show, Poppy’s set design was simple, with white risers and a screen that showed occasional black-and-white VCR clips, but her apparel was anything but. Poppy took the stage wearing a piece from Selkie’s Fall/Winter 2025 collection: a \u003ca href=\"https://selkiecollection.com/collections/nyfw-fall-2025-libertine/products/the-dark-red-drama-military-coat\">deep red, floor-length military style jacket\u003c/a> with gold embroidery. For the first half of the show, she paired the jacket with a short layered skirt, switching out of it by the end to wear the jacket on its own with a matching pair of red shoes. Her mic stand, too, sparkled with red stones, while her guitarists wore all black, including matching ski masks that sparkled as they shredded. \u003c/p>\n\u003cfigure id=\"attachment_13973021\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686.jpg\" alt=\"\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13973021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the opening bars of set opener “have you had enough?,” the crowd came alive, singing along while Poppy worked the stage, using every square inch available to get low and close to fans. I found myself screaming and thrashing right along with them when she transitioned into “BLOODMONEY,” a track from her 2020 album “I Disagree.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t long before the Fillmore floorboards beneath our feet were creaking and bending for the entirety of her song “crystallized.” The \u003ca href=\"https://www.setlist.fm/setlist/poppy/2025/the-fillmore-san-francisco-ca-635e2237.html\">ensuing setlist\u003c/a> included older songs, like “Anything Like Me,” while newer fans were able to bang their heads along to recent tracks like “push go.” \u003c/p>\n\u003cfigure id=\"attachment_13973018\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Poppy asked the crowd to split into two sides. Immediately the temperature in the venue rose as we crammed together to accommodate a mosh pit. At one point, after a sudden, sharp pain on my shoulder, I turned around to survey the chaos. Whether the sudden siege against those of us up front came from a rogue wave of moshers or a fallen crowdsurfer, I couldn’t tell. But I at least fared better than the person behind me, who was hit in the head so hard that their hair clip broke into pieces. \u003c/p>\n\u003cp>“I wanna see a really fast circle pit!” Poppy exhorted toward the end of the show. “Can you do that for me?” Everyone scrambled to comply, a freshly formed pit gaining more people as concertgoers from the back moved up to participate. “Faster…” she said, watching the mayhem. “Faster!” Another wave of heat moved through the crowd as the pit picked up speed. When she was satisfied, her band kicked off “Bite Your Teeth,” making the audience roar. The energy remained high for the next song, “Concrete,” giving crowdsurfers the perfect opportunity to rise above the rest of us and be passed forward until collapsing at the foot of the stage. \u003c/p>\n\u003cfigure id=\"attachment_13973022\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As concert goers decompressed before the encore, Poppy’s voice floated out to the crowd from backstage. “Was it real?” she asked the audience. “Or all a dream?” She paused. “I think I liked it,” she decided.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We did, too. \u003c/p>\n\n",
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"title": "Review: Poppy's Tour Kickoff in SF Was Beautiful Chaos | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poppy has a habit of kicking off her tours in the Bay Area; she’s played at Cornerstone, the Great American Music Hall and the UC Theatre. Last night, the viral-video star turned experimental metal artist began her \u003ca href=\"https://impoppy.com/pages/tour?srsltid=AfmBOor5Gwgv3gh3iNSDJz8xAJCUhLT_kNbmZflIo6-Bg-ejyUwu0x5c\">new tour\u003c/a>, ‘They’re All Around Us,’ with a sold-out show at \u003ca href=\"https://www.kqed.org/arts/tag/the-fillmore\">The Fillmore\u003c/a> in San Francisco. \u003c/p>\n\u003cp>Attendees dressed accordingly: black lipstick, dark eyeshadow, fishnets, tights, spiked silver collars, a variety of facial piercings and hand tattoos, and plenty of Poppy T-shirts from tours past. The occasion summoned a range of ages, from undergrads to graying metalheads, lining up against the barricade at the front of the stage. \u003c/p>\n\u003cfigure id=\"attachment_13973023\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poppy’s 2025 tour comes amid a flurry of activity for the 30-year-old. The night before the San Francisco show, she performed “the cost of giving up,” from her new album Negative Spaces, on Jimmy Kimmel Live! In Los Angeles. Just a few months ago, she received \u003ca href=\"https://www.billboard.com/music/awards/grammy-nominations-2025-full-list-1235823165/\">her second Grammy nomination\u003c/a> for best metal performance for her feature on the Knocked Loose song “Suffocate.” (She may not have won that Grammy, but she went viral when \u003ca href=\"https://www.youtube.com/watch?v=oGi843XWcNA\">a reporter mistook a vocalist from Spiritbox for her on the red carpet\u003c/a>.) \u003c/p>\n\u003cp>At the show, Poppy’s set design was simple, with white risers and a screen that showed occasional black-and-white VCR clips, but her apparel was anything but. Poppy took the stage wearing a piece from Selkie’s Fall/Winter 2025 collection: a \u003ca href=\"https://selkiecollection.com/collections/nyfw-fall-2025-libertine/products/the-dark-red-drama-military-coat\">deep red, floor-length military style jacket\u003c/a> with gold embroidery. For the first half of the show, she paired the jacket with a short layered skirt, switching out of it by the end to wear the jacket on its own with a matching pair of red shoes. Her mic stand, too, sparkled with red stones, while her guitarists wore all black, including matching ski masks that sparkled as they shredded. \u003c/p>\n\u003cfigure id=\"attachment_13973021\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686.jpg\" alt=\"\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13973021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the opening bars of set opener “have you had enough?,” the crowd came alive, singing along while Poppy worked the stage, using every square inch available to get low and close to fans. I found myself screaming and thrashing right along with them when she transitioned into “BLOODMONEY,” a track from her 2020 album “I Disagree.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t long before the Fillmore floorboards beneath our feet were creaking and bending for the entirety of her song “crystallized.” The \u003ca href=\"https://www.setlist.fm/setlist/poppy/2025/the-fillmore-san-francisco-ca-635e2237.html\">ensuing setlist\u003c/a> included older songs, like “Anything Like Me,” while newer fans were able to bang their heads along to recent tracks like “push go.” \u003c/p>\n\u003cfigure id=\"attachment_13973018\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Poppy asked the crowd to split into two sides. Immediately the temperature in the venue rose as we crammed together to accommodate a mosh pit. At one point, after a sudden, sharp pain on my shoulder, I turned around to survey the chaos. Whether the sudden siege against those of us up front came from a rogue wave of moshers or a fallen crowdsurfer, I couldn’t tell. But I at least fared better than the person behind me, who was hit in the head so hard that their hair clip broke into pieces. \u003c/p>\n\u003cp>“I wanna see a really fast circle pit!” Poppy exhorted toward the end of the show. “Can you do that for me?” Everyone scrambled to comply, a freshly formed pit gaining more people as concertgoers from the back moved up to participate. “Faster…” she said, watching the mayhem. “Faster!” Another wave of heat moved through the crowd as the pit picked up speed. When she was satisfied, her band kicked off “Bite Your Teeth,” making the audience roar. The energy remained high for the next song, “Concrete,” giving crowdsurfers the perfect opportunity to rise above the rest of us and be passed forward until collapsing at the foot of the stage. \u003c/p>\n\u003cfigure id=\"attachment_13973022\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As concert goers decompressed before the encore, Poppy’s voice floated out to the crowd from backstage. “Was it real?” she asked the audience. “Or all a dream?” She paused. “I think I liked it,” she decided.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We did, too. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "selena-look-alike-contest-pub-crawl-mission-loteria-san-francisco",
"title": "A Selena Look-Alike Contest in the Mission Pays Homage to the Tejano Queen",
"publishDate": 1741733966,
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"headTitle": "A Selena Look-Alike Contest in the Mission Pays Homage to the Tejano Queen | KQED",
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"content": "\u003cp>During the Great Depression, 24-hour dance marathons became a craze; in today’s political climate, we go to \u003ca href=\"https://www.kqed.org/arts/13968413/zendaya-look-alike-contest-oakland-winner\">celebrity look-alike contests\u003c/a> for a little bit of levity.\u003c/p>\n\u003cp>The trend has been going strong since Timothée Chalamet famously showed up at the search for his doppelgänger in New York last October. Since then, these sorts of organic meet-ups have brought different fandoms together around the nation. The latest one in San Francisco? A \u003ca href=\"https://www.instagram.com/p/DGUDx8fyk3w/?igsh=NTc4MTIwNjQ2YQ%3D%3D&img_index=1\">Selena look-alike contest\u003c/a> this Saturday, March 15 at 2 p.m. in Dolores Park.\u003c/p>\n\u003cp>[aside postID='arts_13968413,arts_13968233' label='doppelgänger news']The queen of Tejano music has a massive fanbase in the Bay Area. Each year, the San Francisco Lowrider Council honors her with a special cruise down Mission Street, where they bring out their flyest cars and finest fits in memory of the “Como La Flor” songstress.\u003c/p>\n\u003cp>When the Lowrider Council canceled this year’s cruise, Luis Quiroz knew Selena fans still needed a place to get together. Quiroz is the community manager of \u003ca href=\"https://www.instagram.com/missionloteria/\">Mission Lotería\u003c/a>, a local group that organizes events that promote the neighborhood’s Latinx-owned small businesses, like their recent Cafecito Tour of 24th Street.\u003c/p>\n\u003cp>“Selena is such an icon in music, but also in Latino culture in particular,” says Quiroz. “She’s cross-generational. So our mission is really to bring families together, bring different groups of people together. … Everyone has a core memory of Selena.”\u003c/p>\n\u003cfigure id=\"attachment_13972975\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mission Lotería, which organized the Selena look-alike contest, puts on social events and tours in the neighborhood. \u003ccite>(Courtesy of Mission Lotería)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, as journalist Maria Garcia pointed out in her \u003ca href=\"https://www.wbur.org/podcasts/anythingforselena\">Selena podcast\u003c/a>, the singer’s career took off in the early ’90s just as Latinos started to become recognized as a major U.S. demographic with political power. And with her affable stage presence and imperfect Spanish in interviews, Selena validated the experience of first-, second- and third-generation immigrants who grew up between two cultures. When “Bidi Bidi Bom Bom” or “Amor Prohibido” climbed the charts, millions of people felt like they were winning, too. When Selena was murdered in 1995, she became a symbol of unity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think at the core, Selena fans — the first thing that comes [to mind] is ‘\u003ca href=\"https://www.youtube.com/watch?v=Kkl4-30oHVU\">anything for Selenas\u003c/a>,’” says Quiroz, quoting a popular line from the 1997 biopic about the star. “Like that just shows that you’re just \u003ci>down\u003c/i>. You’re down for the cause, you’re down for the people, you’re down for community.”\u003c/p>\n\u003cp>In addition to her musical talent, Selena was a \u003ca href=\"https://people.com/style/selena-quintanilla-best-fashion-moments/\">fashion icon\u003c/a>. Whether it’s her bedazzled bustiers and matching hats or the plum-colored bell-bottom jumpsuit she wore in her final televised performance, fans entering the lookalike contest will have plenty of material to work with as they practice their cumbia steps and finalize their outfits.\u003c/p>\n\u003cp>The winner of the look-alike contest gets a $100 prize — not a major payday, but that’s not really the point of these events. There’s an opportunity to make new friends (or even find love) while bonding with fellow fans over a favorite star. To foster that sense of connection, after the contest Quiroz will take everyone on a Selena-themed bar crawl through the Mission, which will make stops at Mission Bowling Club, the plant-filled wine bar Arcana, Senegalese restaurant Bissap Baobab and more.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://lu.ma/4t17con7\">Selena look-alike contest\u003c/a> takes place March 15, 2 p.m. at Dolores Park, in front of the Miguel Hidalgo statue. The \u003ca href=\"https://lu.ma/4720m94h\">Selena pub crawl\u003c/a> departs from the park at 5 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the Great Depression, 24-hour dance marathons became a craze; in today’s political climate, we go to \u003ca href=\"https://www.kqed.org/arts/13968413/zendaya-look-alike-contest-oakland-winner\">celebrity look-alike contests\u003c/a> for a little bit of levity.\u003c/p>\n\u003cp>The trend has been going strong since Timothée Chalamet famously showed up at the search for his doppelgänger in New York last October. Since then, these sorts of organic meet-ups have brought different fandoms together around the nation. The latest one in San Francisco? A \u003ca href=\"https://www.instagram.com/p/DGUDx8fyk3w/?igsh=NTc4MTIwNjQ2YQ%3D%3D&img_index=1\">Selena look-alike contest\u003c/a> this Saturday, March 15 at 2 p.m. in Dolores Park.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The queen of Tejano music has a massive fanbase in the Bay Area. Each year, the San Francisco Lowrider Council honors her with a special cruise down Mission Street, where they bring out their flyest cars and finest fits in memory of the “Como La Flor” songstress.\u003c/p>\n\u003cp>When the Lowrider Council canceled this year’s cruise, Luis Quiroz knew Selena fans still needed a place to get together. Quiroz is the community manager of \u003ca href=\"https://www.instagram.com/missionloteria/\">Mission Lotería\u003c/a>, a local group that organizes events that promote the neighborhood’s Latinx-owned small businesses, like their recent Cafecito Tour of 24th Street.\u003c/p>\n\u003cp>“Selena is such an icon in music, but also in Latino culture in particular,” says Quiroz. “She’s cross-generational. So our mission is really to bring families together, bring different groups of people together. … Everyone has a core memory of Selena.”\u003c/p>\n\u003cfigure id=\"attachment_13972975\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mission Lotería, which organized the Selena look-alike contest, puts on social events and tours in the neighborhood. \u003ccite>(Courtesy of Mission Lotería)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, as journalist Maria Garcia pointed out in her \u003ca href=\"https://www.wbur.org/podcasts/anythingforselena\">Selena podcast\u003c/a>, the singer’s career took off in the early ’90s just as Latinos started to become recognized as a major U.S. demographic with political power. And with her affable stage presence and imperfect Spanish in interviews, Selena validated the experience of first-, second- and third-generation immigrants who grew up between two cultures. When “Bidi Bidi Bom Bom” or “Amor Prohibido” climbed the charts, millions of people felt like they were winning, too. When Selena was murdered in 1995, she became a symbol of unity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think at the core, Selena fans — the first thing that comes [to mind] is ‘\u003ca href=\"https://www.youtube.com/watch?v=Kkl4-30oHVU\">anything for Selenas\u003c/a>,’” says Quiroz, quoting a popular line from the 1997 biopic about the star. “Like that just shows that you’re just \u003ci>down\u003c/i>. You’re down for the cause, you’re down for the people, you’re down for community.”\u003c/p>\n\u003cp>In addition to her musical talent, Selena was a \u003ca href=\"https://people.com/style/selena-quintanilla-best-fashion-moments/\">fashion icon\u003c/a>. Whether it’s her bedazzled bustiers and matching hats or the plum-colored bell-bottom jumpsuit she wore in her final televised performance, fans entering the lookalike contest will have plenty of material to work with as they practice their cumbia steps and finalize their outfits.\u003c/p>\n\u003cp>The winner of the look-alike contest gets a $100 prize — not a major payday, but that’s not really the point of these events. There’s an opportunity to make new friends (or even find love) while bonding with fellow fans over a favorite star. To foster that sense of connection, after the contest Quiroz will take everyone on a Selena-themed bar crawl through the Mission, which will make stops at Mission Bowling Club, the plant-filled wine bar Arcana, Senegalese restaurant Bissap Baobab and more.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://lu.ma/4t17con7\">Selena look-alike contest\u003c/a> takes place March 15, 2 p.m. at Dolores Park, in front of the Miguel Hidalgo statue. The \u003ca href=\"https://lu.ma/4720m94h\">Selena pub crawl\u003c/a> departs from the park at 5 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The rising \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">rapper\u003c/a> Doechii has earned the title of Billboard’s 2025 Woman of the Year, landing her in the same company as \u003ca href=\"https://www.kqed.org/arts/tag/taylor-swift\">Taylor Swift\u003c/a>, SZA, Lady Gaga and as last year’s honoree, Karol G.\u003c/p>\n\u003cp>The news arrives just one month after Doechii won the Grammy for best rap album, only the third woman to win in that category.\u003c/p>\n\u003cp>When it came time to give her award speech, the tears were immediate. “This category was introduced in 1989. Two women have won, Lauryn Hill —” she said, correcting herself. “Three women have won. Lauryn Hill, Cardi B and Doechii.”\u003c/p>\n\u003cp>[aside postID='arts_13971948']Now she will be honored as Woman of the Year at the Billboard Women in Music Awards on March 29. Previous honorees include Madonna, Cardi B, Billie Eilish, Selena Gomez and Ariana Grande.\u003c/p>\n\u003cp>In 2024, the Associated Press named Doechii’s breakout mixtape, \u003cem>Alligator Bites Never Heal\u003c/em>, one of the best albums of the year — a versatile album that teeters from the romance of her smooth R&B and the acuity of her flows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Doechii is taking pop culture by storm, this year becoming the third woman in history to win a Grammy best rap album, and dazzling fans of every musical genre with her breathtaking performances, ultra-candid lyrics and utterly unique sound, style and spirit,” said Hannah Karp, editor in chief of Billboard, in a statement. “We are thrilled to celebrate Doechii and cheer on her continued success.”\u003c/p>\n\u003cp>[aside postID='arts_13965374']Other award recipients at the Billboard Women in Music Awards include aespa, Ángela Aguilar, Erykah Badu, GloRilla, Gracie Abrams, Blackpink’s Jennie, Megan Moroney, Meghan Trainor, Muni Long and Tyla.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The awards show, hosted by Laverne Cox, will be held at the YouTube Theater at Hollywood Park in Los Angeles, and will air live on March 29 at 7 p.m. Pacific on VIZIO WatchFree+.\u003c/p>\n\n",
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"content": "\u003cp>The historic North Oakland nightclub Eli’s Mile High Club is in danger of closing, its owner has announced. \u003c/p>\n\u003cp>On Wednesday, during a small community meeting at the club, Eli’s owner and operator Matthew Patane told the audience that Eli’s was in immediate need of financial and legal assistance, primarily due to the City of Oakland closing its large back patio. \u003c/p>\n\u003cp>“The city became aware of some zoning issues about two and a half years ago,” Patane said to the crowd. “Our patio was never on their radar, or they never really knew it existed.”\u003c/p>\n\u003cfigure id=\"attachment_13972745\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The now-closed back patio at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, seen here on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After months of negotiating with the city, Patane said, code enforcement officers slapped the patio with a red tag in November 2024, despite the fact that fire marshals and health department officials had previously inspected and had no issue with the space.\u003c/p>\n\u003cp>As a result, Patane said the club has been forced to downsize employment, reduce hours and relocate show opportunities to other venues. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My concerns are for my staff, they’re losing their jobs,” Patane said. “My concern is for the 50 years of history this place has given to the East Bay.”\u003c/p>\n\u003cp>Oakland code enforcement officials did not respond to inquiries from KQED regarding the patio closure.\u003c/p>\n\u003cfigure id=\"attachment_13972746\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner and operator Matthew Patane, center, holds a community meeting at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, the club is hoping to raise funds and get help from the community to make up for lost revenue and put money toward legal assistance. \u003c/p>\n\u003cp>“We are reaching out for any pro bono legal aid, whether it be property, business or entertainment law, zoning or planning — anybody that has experience or is willing to help,” said Patane.\u003c/p>\n\u003cp>The club is also asking for the community to \u003ca href=\"%E2%80%9Dmailto:elismhbar@gmail.com%E2%80%9D\">email testimonials and vintage photographs\u003c/a> of the back patio space. Anything from the club’s opening in 1974 to the present day is welcome, but photos at least 10 years old are extra helpful in order to show preexisting use. \u003c/p>\n\u003cfigure id=\"attachment_13972747\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A message board shows the schedule of Monday Night Blues at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, Eli’s is downscaling their business model to make ends meet.\u003c/p>\n\u003cp>“I’m hoping that…we can keep the doors open long enough to just get through this,” Patane said. “We’re in total compliance with this process,” he added, “We would just like it to happen a little faster than our bank account can afford.” \u003c/p>\n\u003cp>Jessie Leigh Smith, a musician and associate publisher at San Francisco Magazine, has been attending Eli’s Monday Blues Nights regularly since 2018, and said it would be a huge loss to the Bay Area music scene if the club were to close for good. She first discovered Eli’s through her harmonica mentor, who told her to attend every week as if her life depended on it. \u003c/p>\n\u003cp>“It was one of those things where you go by yourself every week but as soon as you get there, you’re not alone,” Smith said. “You’re there with a whole group of really warm, welcoming people, you really feel that sense of community.”\u003c/p>\n\u003cfigure id=\"attachment_13972748\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, seen here on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith also noted the diversity of its patrons, from Berkeley undergrads to blues legends in their 80s. “It’s like an intergenerational melting pot, age just kind of fades away when you’re there,” she said. “It’s a special place.” \u003c/p>\n\u003cp>Patane said he’s made contact with Oakland councilmember Carroll Fife’s office, and is hoping for an opportunity to discuss the club’s situation at a public meeting with the city of Oakland. \u003c/p>\n\u003cp>“I feel really blessed to be part of this community, hearing stories from patrons that have been coming here for decades to people who’ve just discovered it,” Patane said, his voice breaking a bit. “I just want to keep the doors open.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eli’s Mile High Club is currently soliciting donations via \u003ca href=\"https://www.gofundme.com/f/keep-elis-mile-high-club-alive-in-oakland\">GoFundMe\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The historic nightclub, over 50 years old, recently had its large patio shut down by the city. \r\n",
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"title": "Eli’s Mile High Club in Oakland Is in Danger of Closing, Owner Says | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The historic North Oakland nightclub Eli’s Mile High Club is in danger of closing, its owner has announced. \u003c/p>\n\u003cp>On Wednesday, during a small community meeting at the club, Eli’s owner and operator Matthew Patane told the audience that Eli’s was in immediate need of financial and legal assistance, primarily due to the City of Oakland closing its large back patio. \u003c/p>\n\u003cp>“The city became aware of some zoning issues about two and a half years ago,” Patane said to the crowd. “Our patio was never on their radar, or they never really knew it existed.”\u003c/p>\n\u003cfigure id=\"attachment_13972745\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The now-closed back patio at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, seen here on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After months of negotiating with the city, Patane said, code enforcement officers slapped the patio with a red tag in November 2024, despite the fact that fire marshals and health department officials had previously inspected and had no issue with the space.\u003c/p>\n\u003cp>As a result, Patane said the club has been forced to downsize employment, reduce hours and relocate show opportunities to other venues. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My concerns are for my staff, they’re losing their jobs,” Patane said. “My concern is for the 50 years of history this place has given to the East Bay.”\u003c/p>\n\u003cp>Oakland code enforcement officials did not respond to inquiries from KQED regarding the patio closure.\u003c/p>\n\u003cfigure id=\"attachment_13972746\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner and operator Matthew Patane, center, holds a community meeting at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, the club is hoping to raise funds and get help from the community to make up for lost revenue and put money toward legal assistance. \u003c/p>\n\u003cp>“We are reaching out for any pro bono legal aid, whether it be property, business or entertainment law, zoning or planning — anybody that has experience or is willing to help,” said Patane.\u003c/p>\n\u003cp>The club is also asking for the community to \u003ca href=\"%E2%80%9Dmailto:elismhbar@gmail.com%E2%80%9D\">email testimonials and vintage photographs\u003c/a> of the back patio space. Anything from the club’s opening in 1974 to the present day is welcome, but photos at least 10 years old are extra helpful in order to show preexisting use. \u003c/p>\n\u003cfigure id=\"attachment_13972747\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A message board shows the schedule of Monday Night Blues at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, Eli’s is downscaling their business model to make ends meet.\u003c/p>\n\u003cp>“I’m hoping that…we can keep the doors open long enough to just get through this,” Patane said. “We’re in total compliance with this process,” he added, “We would just like it to happen a little faster than our bank account can afford.” \u003c/p>\n\u003cp>Jessie Leigh Smith, a musician and associate publisher at San Francisco Magazine, has been attending Eli’s Monday Blues Nights regularly since 2018, and said it would be a huge loss to the Bay Area music scene if the club were to close for good. She first discovered Eli’s through her harmonica mentor, who told her to attend every week as if her life depended on it. \u003c/p>\n\u003cp>“It was one of those things where you go by yourself every week but as soon as you get there, you’re not alone,” Smith said. “You’re there with a whole group of really warm, welcoming people, you really feel that sense of community.”\u003c/p>\n\u003cfigure id=\"attachment_13972748\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, seen here on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith also noted the diversity of its patrons, from Berkeley undergrads to blues legends in their 80s. “It’s like an intergenerational melting pot, age just kind of fades away when you’re there,” she said. “It’s a special place.” \u003c/p>\n\u003cp>Patane said he’s made contact with Oakland councilmember Carroll Fife’s office, and is hoping for an opportunity to discuss the club’s situation at a public meeting with the city of Oakland. \u003c/p>\n\u003cp>“I feel really blessed to be part of this community, hearing stories from patrons that have been coming here for decades to people who’ve just discovered it,” Patane said, his voice breaking a bit. “I just want to keep the doors open.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eli’s Mile High Club is currently soliciting donations via \u003ca href=\"https://www.gofundme.com/f/keep-elis-mile-high-club-alive-in-oakland\">GoFundMe\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>D’Wayne Wiggins, founding member of the legendary R&B group Tony! Toni! Toné!, died Friday morning. He was 64. \u003c/p>\n\u003cp>The cause of death was complications from bladder cancer, which he had been battling for the past year, according to an Instagram post from the Wiggins family. \u003c/p>\n\u003cp>“D’Wayne’s life was incomparable, and his music and service impacted millions around the world, including in his hometown of Oakland, California,” the family wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">D’Wayne Wiggins performs at 94.7 The WAVE’s Soulful Summer Concert at The Greek Theatre on July 3, 2015 in Los Angeles, California. \u003ccite>(Leon Bennett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With his brother Raphael Saadiq and cousin Timothy Christian Riley, Wiggins formed Tony! Toni! Toné! in 1986 and enjoyed huge success on the R&B charts. But it was his mentorship of younger artists and community work in his hometown of Oakland that made him especially beloved locally.\u003c/p>\n\u003cp>After founding his West Oakland recording studio House of Music, Wiggins worked with young artists like Beyoncé, Keyshia Cole, Kehlani and Zendaya, giving each much-needed support either in the studio or in management at early stages of their careers. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So very sad to hear this news,” \u003ca href=\"https://www.instagram.com/p/DG6wr2Fy56C/\">Tina Knowles wrote on Instagram\u003c/a>, reporting that she and her daughter Beyoncé had just reminisced at length about Wiggins securing a record deal for Destiny’s Child when the members were just 15 and 16. Wiggins also recorded and produced the group’s first album. \u003c/p>\n\u003cp>“He was so kind. So patient, so multi-talented and generous. Beyoncé said that he influenced and taught her so much,” she wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972823\" class=\"wp-caption aligncenter\" style=\"max-width: 1392px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg\" alt=\"\" width=\"1392\" height=\"2000\" class=\"size-full wp-image-13972823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg 1392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-800x1149.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1020x1466.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-768x1103.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1069x1536.jpg 1069w\" sizes=\"auto, (max-width: 1392px) 100vw, 1392px\">\u003cfigcaption class=\"wp-caption-text\">D’wayne Wiggins poses for photos at V-103 FM radio in Chicago, Illinois in May 1999. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an award-winning guitarist, songwriter and producer, Wiggins’ list of hits includes “Anniversary,” “Whatever You Want” and “Feels Good.” With Tony! Toni! Toné!, he released four albums that went either Gold, Platinum, or Double Platinum. \u003c/p>\n\u003cp>“The music is the score to our lives, you know,” Wiggins \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">told KQED in 2023\u003c/a>. “It helped us stay focused.” \u003c/p>\n\u003cp>Wiggins also produced films, including \u003cem>Life Is\u003c/em>, a documentary of Oakland rapper Too Short, and produced songs for Bay Area rap artists like San Quinn, The Coup and Messy Marv. \u003c/p>\n\u003cp>[aside postID='arts_13937961']After the 1998 release of the group’s final album \u003cem>House of Music\u003c/em>, Wiggins continued Tony! Toni! Toné! as a touring act with other members.\u003c/p>\n\u003cp>“We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue,” Wiggins told KQED.\u003c/p>\n\u003cp>In 2023, original members Wiggins, Saadiq and Riley reunited for a Tony! Toni! Toné! tour, including two sold-out shows at Oakland’s Paramount Theatre. \u003c/p>\n\u003cfigure id=\"attachment_13972824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg\" alt=\"\" width=\"2000\" height=\"1285\" class=\"size-full wp-image-13972824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1536x987.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1920x1234.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Singer and musician D’Wayne Wiggins of Tony! Toni! Toné! performs during the WGCI-FM ‘Power Fest ’88’ concert at Navy Pier in Chicago, Illinois in August 1988. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An active member of his Oakland community, Wiggins worked with East Oakland’s Youth Uprising, a community center adjacent to Wiggins’ alma mater Castlemont High School. He started \u003ca href=\"https://www.facebook.com/youthaidnonprofit/posts/653125888163449/\">MindSeed Studios\u003c/a>, which provided after school programming to children and youth in East Oakland. He also launched social spaces like the cafe Jahva House, near downtown Oakland.\u003c/p>\n\u003cp>“I didn’t wanna do any clubs. I saw the noise that came with clubs,” Wiggins told KQED about Jahva House. “And my daughter, I wanted her to see family business. So that was a life-changer for me. I learned so much … It was very reciprocal for the Town.”\u003c/p>\n\u003cp>Wiggins also was known for quiet acts of assistance to those in need. As just one example, Kimmie Fresh, one of the Bay Area’s first female rappers, \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">told KQED\u003c/a> that during a time when she was couch-surfing, Wiggins built her a cafe in his studio so she could start her own business and get on her feet again. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wiggins was surrounded by friends and family Friday morning, the family wrote. Services have not yet been announced. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>D’Wayne Wiggins, founding member of the legendary R&B group Tony! Toni! Toné!, died Friday morning. He was 64. \u003c/p>\n\u003cp>The cause of death was complications from bladder cancer, which he had been battling for the past year, according to an Instagram post from the Wiggins family. \u003c/p>\n\u003cp>“D’Wayne’s life was incomparable, and his music and service impacted millions around the world, including in his hometown of Oakland, California,” the family wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">D’Wayne Wiggins performs at 94.7 The WAVE’s Soulful Summer Concert at The Greek Theatre on July 3, 2015 in Los Angeles, California. \u003ccite>(Leon Bennett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With his brother Raphael Saadiq and cousin Timothy Christian Riley, Wiggins formed Tony! Toni! Toné! in 1986 and enjoyed huge success on the R&B charts. But it was his mentorship of younger artists and community work in his hometown of Oakland that made him especially beloved locally.\u003c/p>\n\u003cp>After founding his West Oakland recording studio House of Music, Wiggins worked with young artists like Beyoncé, Keyshia Cole, Kehlani and Zendaya, giving each much-needed support either in the studio or in management at early stages of their careers. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So very sad to hear this news,” \u003ca href=\"https://www.instagram.com/p/DG6wr2Fy56C/\">Tina Knowles wrote on Instagram\u003c/a>, reporting that she and her daughter Beyoncé had just reminisced at length about Wiggins securing a record deal for Destiny’s Child when the members were just 15 and 16. Wiggins also recorded and produced the group’s first album. \u003c/p>\n\u003cp>“He was so kind. So patient, so multi-talented and generous. Beyoncé said that he influenced and taught her so much,” she wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972823\" class=\"wp-caption aligncenter\" style=\"max-width: 1392px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg\" alt=\"\" width=\"1392\" height=\"2000\" class=\"size-full wp-image-13972823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg 1392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-800x1149.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1020x1466.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-768x1103.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1069x1536.jpg 1069w\" sizes=\"auto, (max-width: 1392px) 100vw, 1392px\">\u003cfigcaption class=\"wp-caption-text\">D’wayne Wiggins poses for photos at V-103 FM radio in Chicago, Illinois in May 1999. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an award-winning guitarist, songwriter and producer, Wiggins’ list of hits includes “Anniversary,” “Whatever You Want” and “Feels Good.” With Tony! Toni! Toné!, he released four albums that went either Gold, Platinum, or Double Platinum. \u003c/p>\n\u003cp>“The music is the score to our lives, you know,” Wiggins \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">told KQED in 2023\u003c/a>. “It helped us stay focused.” \u003c/p>\n\u003cp>Wiggins also produced films, including \u003cem>Life Is\u003c/em>, a documentary of Oakland rapper Too Short, and produced songs for Bay Area rap artists like San Quinn, The Coup and Messy Marv. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After the 1998 release of the group’s final album \u003cem>House of Music\u003c/em>, Wiggins continued Tony! Toni! Toné! as a touring act with other members.\u003c/p>\n\u003cp>“We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue,” Wiggins told KQED.\u003c/p>\n\u003cp>In 2023, original members Wiggins, Saadiq and Riley reunited for a Tony! Toni! Toné! tour, including two sold-out shows at Oakland’s Paramount Theatre. \u003c/p>\n\u003cfigure id=\"attachment_13972824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg\" alt=\"\" width=\"2000\" height=\"1285\" class=\"size-full wp-image-13972824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1536x987.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1920x1234.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Singer and musician D’Wayne Wiggins of Tony! Toni! Toné! performs during the WGCI-FM ‘Power Fest ’88’ concert at Navy Pier in Chicago, Illinois in August 1988. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An active member of his Oakland community, Wiggins worked with East Oakland’s Youth Uprising, a community center adjacent to Wiggins’ alma mater Castlemont High School. He started \u003ca href=\"https://www.facebook.com/youthaidnonprofit/posts/653125888163449/\">MindSeed Studios\u003c/a>, which provided after school programming to children and youth in East Oakland. He also launched social spaces like the cafe Jahva House, near downtown Oakland.\u003c/p>\n\u003cp>“I didn’t wanna do any clubs. I saw the noise that came with clubs,” Wiggins told KQED about Jahva House. “And my daughter, I wanted her to see family business. So that was a life-changer for me. I learned so much … It was very reciprocal for the Town.”\u003c/p>\n\u003cp>Wiggins also was known for quiet acts of assistance to those in need. As just one example, Kimmie Fresh, one of the Bay Area’s first female rappers, \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">told KQED\u003c/a> that during a time when she was couch-surfing, Wiggins built her a cafe in his studio so she could start her own business and get on her feet again. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wiggins was surrounded by friends and family Friday morning, the family wrote. Services have not yet been announced. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Lady Gaga You Loved and Missed Returns With ‘Mayhem’",
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"content": "\u003cp>She hath returned: A new Lady Gaga, like the old Lady Gaga, but a different Lady Gaga.\u003c/p>\n\u003cp>\u003cem>Mayhem\u003c/em>, released Friday, is a satisfying full-length project of big pop material, both a return to her roots and a hard press on the gas pedal.\u003c/p>\n\u003cp>Her 2008 debut \u003cem>The Fame\u003c/em> introduced a new generation to the addictive properties of expertly crafted electropop. \u003cem>The Fame Monster\u003c/em> a year later cemented her position as a modern great, a savior of theatrical pop that once recalled Madonna and now serves as a reminder that big belts are cinema. Then came the genre explorations of \u003cem>Born This Way\u003c/em>, \u003cem>Artpop\u003c/em>, \u003cem>Joanne\u003c/em> (arriving years before pop would go country — she has long been prescient), and 2020’s \u003cem>Chromatica\u003c/em>.\u003c/p>\n\u003cp>Half a decade later, is the world ready again for her club anthems? Or is \u003cem>Mayhem\u003c/em> an attempt to revitalize a big pop sound left behind in the streaming era? Can an artist return home without playing some parody of themselves?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vBynw9Isr28\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The answer, of course, is up to the listener. Some will hear “Abracadabra” as life-affirming dance music. Others will press play on “Killah” and balk at its Gesaffelstein-aided sound. They might read the earworm “Disease” as a song that too easily recalls the mid-2010s of her heyday, but to do so would strip it of stadium-sized pleasures. It is a great song, a familiar song, a return to a classic Gaga. (And for what it is worth, there’s a lot more energy there than in the Grammy-winning power ballad “Die with a Smile,” her collaboration with Bruno Mars.)\u003c/p>\n\u003cp>The truth is, Gaga has reclaimed her early dark-pop sensibilities and ushered them into her 2025 reality across \u003cem>Mayhem\u003c/em>. It manifests in a few ways, most prominently in her delivery. Lady Gaga sounds like she is having fun here, from the modular Moog of the ballad fake-out “Vanish Into You” and the “Bad Romance” easter egg of “Garden of Eden,” to the springy synth of “Perfect Celebrity,” which furthers Gaga’s quest to use fame to question fame’s legitimacy. Now that is timeless pop meta-commentary.\u003c/p>\n\u003cp>Autonomy was top of mind for Gaga on \u003cem>Mayhem\u003c/em>, and it’s yielded great results. “Something that was really important to me on this was really taking from myself my own inventions,” she told The Associated Press in a recent interview. “I was the creator. This was my work. It was just not a character I was playing. It was something that I made.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mayhem\u003c/em> will sound familiar to Gaga listeners, there’s no doubt about that. But they will hear an evolved version — not an easy play at nostalgia, nor an artist appeasing contemporary trends. It is Gaga staying true to herself, as she has been known to do.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She hath returned: A new Lady Gaga, like the old Lady Gaga, but a different Lady Gaga.\u003c/p>\n\u003cp>\u003cem>Mayhem\u003c/em>, released Friday, is a satisfying full-length project of big pop material, both a return to her roots and a hard press on the gas pedal.\u003c/p>\n\u003cp>Her 2008 debut \u003cem>The Fame\u003c/em> introduced a new generation to the addictive properties of expertly crafted electropop. \u003cem>The Fame Monster\u003c/em> a year later cemented her position as a modern great, a savior of theatrical pop that once recalled Madonna and now serves as a reminder that big belts are cinema. Then came the genre explorations of \u003cem>Born This Way\u003c/em>, \u003cem>Artpop\u003c/em>, \u003cem>Joanne\u003c/em> (arriving years before pop would go country — she has long been prescient), and 2020’s \u003cem>Chromatica\u003c/em>.\u003c/p>\n\u003cp>Half a decade later, is the world ready again for her club anthems? Or is \u003cem>Mayhem\u003c/em> an attempt to revitalize a big pop sound left behind in the streaming era? Can an artist return home without playing some parody of themselves?\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/vBynw9Isr28'\n title='//www.youtube.com/embed/vBynw9Isr28'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The answer, of course, is up to the listener. Some will hear “Abracadabra” as life-affirming dance music. Others will press play on “Killah” and balk at its Gesaffelstein-aided sound. They might read the earworm “Disease” as a song that too easily recalls the mid-2010s of her heyday, but to do so would strip it of stadium-sized pleasures. It is a great song, a familiar song, a return to a classic Gaga. (And for what it is worth, there’s a lot more energy there than in the Grammy-winning power ballad “Die with a Smile,” her collaboration with Bruno Mars.)\u003c/p>\n\u003cp>The truth is, Gaga has reclaimed her early dark-pop sensibilities and ushered them into her 2025 reality across \u003cem>Mayhem\u003c/em>. It manifests in a few ways, most prominently in her delivery. Lady Gaga sounds like she is having fun here, from the modular Moog of the ballad fake-out “Vanish Into You” and the “Bad Romance” easter egg of “Garden of Eden,” to the springy synth of “Perfect Celebrity,” which furthers Gaga’s quest to use fame to question fame’s legitimacy. Now that is timeless pop meta-commentary.\u003c/p>\n\u003cp>Autonomy was top of mind for Gaga on \u003cem>Mayhem\u003c/em>, and it’s yielded great results. “Something that was really important to me on this was really taking from myself my own inventions,” she told The Associated Press in a recent interview. “I was the creator. This was my work. It was just not a character I was playing. It was something that I made.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mayhem\u003c/em> will sound familiar to Gaga listeners, there’s no doubt about that. But they will hear an evolved version — not an easy play at nostalgia, nor an artist appeasing contemporary trends. It is Gaga staying true to herself, as she has been known to do.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hear Dolly Parton’s Touching New Song About Her Late Husband, Carl Dean",
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"content": "\u003cp>Dolly Parton has released a breathtaking new ballad in tribute to her late husband, Carl Dean.\u003c/p>\n\u003cp>Dean, who was Parton’s devoted husband of nearly 60 years, died Monday. He avoided the spotlight and inspired her timeless hit “Jolene.” He was 82.\u003c/p>\n\u003cp>“I fell in love with Carl Dean when I was 18 years old. We have spent 60 precious and meaningful years together. Like all great love stories, they never end. They live on in memory and song,” Parton wrote on Instagram Friday morning. “He will always be the star of my life story, and I dedicate this song to him.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JPzwXz1RX4s\u003c/p>\n\u003cp>The song, titled “If You Hadn’t Been There,” enters the pantheon of great, big-hearted Parton ballads. “If you hadn’t been there/Well, who would I be?” she sings. “You always see the best in me/You’re loving arms have cradled me.” The music swells and on the chorus, she’s joined by a choir, her voice soaring.\u003cbr>\nAt the end, she retreats back to a whisper for the song’s titular line: “I wouldn’t be here/If you hadn’t been there.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parton met Dean outside the Wishy Washy Laundromat the day she moved to Nashville at age 18. They married two years later, on Memorial Day in 1966. Dean also inspired one of Parton’s best-known songs, “Jolene,” after a flirty bank teller seemed to take innocent interest in her husband.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Parton and Dean kept strict privacy around their relationship for decades, Parton telling The Associated Press in 1984: “A lot of people say there’s no Carl Dean, that he’s just somebody I made up to keep other people off me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dolly Parton has released a breathtaking new ballad in tribute to her late husband, Carl Dean.\u003c/p>\n\u003cp>Dean, who was Parton’s devoted husband of nearly 60 years, died Monday. He avoided the spotlight and inspired her timeless hit “Jolene.” He was 82.\u003c/p>\n\u003cp>“I fell in love with Carl Dean when I was 18 years old. We have spent 60 precious and meaningful years together. Like all great love stories, they never end. They live on in memory and song,” Parton wrote on Instagram Friday morning. “He will always be the star of my life story, and I dedicate this song to him.”\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/JPzwXz1RX4s'\n title='//www.youtube.com/embed/JPzwXz1RX4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The song, titled “If You Hadn’t Been There,” enters the pantheon of great, big-hearted Parton ballads. “If you hadn’t been there/Well, who would I be?” she sings. “You always see the best in me/You’re loving arms have cradled me.” The music swells and on the chorus, she’s joined by a choir, her voice soaring.\u003cbr>\nAt the end, she retreats back to a whisper for the song’s titular line: “I wouldn’t be here/If you hadn’t been there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Parton met Dean outside the Wishy Washy Laundromat the day she moved to Nashville at age 18. They married two years later, on Memorial Day in 1966. Dean also inspired one of Parton’s best-known songs, “Jolene,” after a flirty bank teller seemed to take innocent interest in her husband.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Parton and Dean kept strict privacy around their relationship for decades, Parton telling The Associated Press in 1984: “A lot of people say there’s no Carl Dean, that he’s just somebody I made up to keep other people off me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Life Happened. Richmond’s Mani Draper Chose How to React.",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/manidraper/\">Mani Draper\u003c/a>, a rapper, DJ and producer from Richmond, is the embodiment of that old saying, “You can’t control what happens to you, but you can control how you react.”\u003c/p>\n\u003cp>On his late 2024 project \u003ca href=\"https://open.spotify.com/album/05W3z5ghO4Z8ceGLXyhPR6\">\u003ci>Winning Formxla\u003c/i>\u003c/a> (produced by \u003ca href=\"https://www.instagram.com/stevenanderson_art/\">Steven King\u003c/a>), the lyricist poetically illustrates his urge to make it as a rapper in the Bay Area while navigating all that life throws at him.\u003c/p>\n\u003cp>On the song “\u003ca href=\"https://open.spotify.com/track/5llrSHYS6oFoFDzt0C62tB?si=bbdb9991f99e415d\">Stones Throw\u003c/a>,” he raps, “In spite of everything I lost and what its cost / I can say its been a good year.” The drums on the track fade, giving room to clearly hear his final adlib: “I love you dad.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CUeDryZbQgQ\u003c/p>\n\u003cp>Draper’s father passed away last May, leaving the artist in a state of mourning. Ever since, Draper has been on a mission to use his pain to build, not destroy. And despite the death of his father, his own health conditions and a case of possible artistic infringement, Draper has held tight to how he’s chosen to react.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last month he returned with another album, \u003ca href=\"https://open.spotify.com/album/2tn7HHSseYxNjd3RMLCmBF\">\u003cem>blxckmxrket\u003c/em>\u003c/a>. Produced by \u003ca href=\"https://www.instagram.com/heirmaxjordan?igsh=NTc4MTIwNjQ2YQ%3D%3D\">Heirmax Jordan\u003c/a>, the album is a byproduct of the mourning process, Draper says — the celebration that comes after the tears.\u003c/p>\n\u003cp>On standout track “Winner Is…,” there’s a cold beat switch halfway through the song, during which Draper recites a mini-mantra, “Keep going, tell them to meet you at the top / Plot big, lock in, give it to God.”\u003c/p>\n\u003cp>As the track transitions, Draper, a member of the East Bay-based Grand Nationxl crew, addresses an elephant that’s been in the room since late last year.\u003c/p>\n\u003cfigure id=\"attachment_13972658\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-scaled.jpg\" alt=\"Man in green hat and white football jersey poses for a photo.\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13972658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Mani Draper pauses for a photo while on the set of a recent video shoot. \u003ccite>(Jonel Seon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Kenny came and took the name, swear for God he did / Beat the block with a Ginger Ale, only God know where the body is,” raps Draper.\u003c/p>\n\u003cp>In November, Kendrick Lamar dropped an album titled \u003cem>GNX\u003c/em>, inspired by the Buick Grand National automobile. For the past half-decade, Draper’s been a part of a collective named after that same vehicle.\u003c/p>\n\u003cp>When the album dropped Draper says the crew had mixed emotions. Personally, he felt “a cloud of disappointment for a few days in the region.”\u003c/p>\n\u003cp>He was getting calls and texts, but no one was saying anything publicly. “Like, dog, you make a post about everything else,” he says. “You could totally just make a post about that. Why the fuck are you on my phone?”\u003c/p>\n\u003cp>But after a call his from his mother, he found a more constructive response. “The biggest rapper in the world is aligned with the shit that we on,” Draper says, happy to be sharing the same sentiment. “No matter how big you are, no matter how rich you are, where we come from, it don’t get no more lit than a GN.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4OHNGAfWKOs&\u003c/p>\n\u003cp>Dispelling any notions of appropriation by Lamar or Los Angeles-based artists, Draper elaborates on his “die-hard” love for L.A., noting deep family connections and annual trips to the Garment District for school shopping.\u003c/p>\n\u003cp>The soundtrack to those trips, Draper reflects, were CDs he’d purchase from the Slauson swap meet. “You’re slapping that shit all the way back to the Bay,” he remembers, “and you didn’t even know it was \u003cem>Bullets Ain’t Got No Name\u003c/em>,” referring to the 2008 mixtape from the late Nipsey Hussle.\u003c/p>\n\u003cp>Ultimately, the experience of seeing Lamar’s rise and the use of the “Grand National” title encouraged Draper to be even more proud of the work he’s working on. And make no mistakes, \u003cem>he’s been working\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_13967973']For years, Draper’s been behind the scenes, producing, writing and collaborating with the likes of \u003ca href=\"https://www.instagram.com/msjanehandcock/\">Jane Handcock\u003c/a>, \u003ca href=\"https://www.instagram.com/iamsu/\">IamSu\u003c/a> and \u003ca href=\"https://www.instagram.com/kvnalln/\">Kevin “Erk Tha Jerk” Allen\u003c/a>.\u003c/p>\n\u003cp>“It don’t get more talented than those three,” says Draper. He sees being in their proximity as a blessing, pushing him to expand his individual artistry and work as a collective. “Stay close to them, and be willing to step in the service role to help them to maximize their dreams,” Draper explains of his collaborative approach. “And then we just gon’ mob.”\u003c/p>\n\u003cp>As team-oriented as he is, he’s clearly stepping into his own light. On his recent projects he’s rapping it into existence — with a mix of reflection.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q3H8bQDW1mk\u003c/p>\n\u003cp>“Them keloids humbled you, now you know you not Spawn,” Draper raps on one track. “Face behind my beard / couldn’t hide the keloids, can’t forget the one on my ear,” he raps on another. \u003c/p>\n\u003cp>I ask how he got comfortable with rapping about his keloids, which are visible on his face.\u003c/p>\n\u003cp>“I’ve had two surgeries at this point,” he tells me. Before one of them, a plastic surgery operation, he was advised that while it could potentially eradicate the growth, it came with the risk of having them come back bigger.\u003c/p>\n\u003cp>The surgery worked, initially. But oddly, it was the fact that the keloids were momentarily removed that changed him the most.\u003c/p>\n\u003cp>[aside postID='arts_13957988']In 2017, Draper took a trip to Amsterdam. While there he hit it off with a barista. When he returned to Europe a year later, after having the keloids removed, she didn’t recognize him.\u003c/p>\n\u003cp>“She’s like, ‘What did you do?’” Draper recalls being confused: “I’m like, ‘Huh?’”\u003c/p>\n\u003cp>The barista told him that the keloids are “the things that make you \u003cem>you\u003c/em>.”\u003c/p>\n\u003cp>It was the first time he realized he had a beauty mark as opposed to a deficiency. “It fucked me up,” Draper says. “I never considered it as the thing — like, I can’t be mistaken for \u003cem>nobody\u003c/em>.”\u003c/p>\n\u003cp>That experience, coupled with working directly with little kids during his day job as an educator, made him choose to work on being more comfortable in his own skin.\u003c/p>\n\u003cp>Speaking in basketball metaphors, Draper tells me that as an artist, he had to learn how to dribble with his off-hand. “It’s that Kobe shit,” he says. “Work on your weaknesses — be obsessed with your weaknesses, and then eventually that can become your strengths.”\u003c/p>\n\u003cp>Through that commitment he’s not only grown as an artist, but as a human, and the artistic community around him has benefited because of it.\u003c/p>\n\u003cp>And especially over the past year, that dedication to growing and the results thereof constitute possibly no better way to honor the legacy of a deceased parent.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m so dialed in on behalf of \u003cem>us\u003c/em>,” says Draper. “And I’m gonna make us proud every time.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/manidraper/\">Mani Draper\u003c/a>, a rapper, DJ and producer from Richmond, is the embodiment of that old saying, “You can’t control what happens to you, but you can control how you react.”\u003c/p>\n\u003cp>On his late 2024 project \u003ca href=\"https://open.spotify.com/album/05W3z5ghO4Z8ceGLXyhPR6\">\u003ci>Winning Formxla\u003c/i>\u003c/a> (produced by \u003ca href=\"https://www.instagram.com/stevenanderson_art/\">Steven King\u003c/a>), the lyricist poetically illustrates his urge to make it as a rapper in the Bay Area while navigating all that life throws at him.\u003c/p>\n\u003cp>On the song “\u003ca href=\"https://open.spotify.com/track/5llrSHYS6oFoFDzt0C62tB?si=bbdb9991f99e415d\">Stones Throw\u003c/a>,” he raps, “In spite of everything I lost and what its cost / I can say its been a good year.” The drums on the track fade, giving room to clearly hear his final adlib: “I love you dad.”\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/CUeDryZbQgQ'\n title='//www.youtube.com/embed/CUeDryZbQgQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Draper’s father passed away last May, leaving the artist in a state of mourning. Ever since, Draper has been on a mission to use his pain to build, not destroy. And despite the death of his father, his own health conditions and a case of possible artistic infringement, Draper has held tight to how he’s chosen to react.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last month he returned with another album, \u003ca href=\"https://open.spotify.com/album/2tn7HHSseYxNjd3RMLCmBF\">\u003cem>blxckmxrket\u003c/em>\u003c/a>. Produced by \u003ca href=\"https://www.instagram.com/heirmaxjordan?igsh=NTc4MTIwNjQ2YQ%3D%3D\">Heirmax Jordan\u003c/a>, the album is a byproduct of the mourning process, Draper says — the celebration that comes after the tears.\u003c/p>\n\u003cp>On standout track “Winner Is…,” there’s a cold beat switch halfway through the song, during which Draper recites a mini-mantra, “Keep going, tell them to meet you at the top / Plot big, lock in, give it to God.”\u003c/p>\n\u003cp>As the track transitions, Draper, a member of the East Bay-based Grand Nationxl crew, addresses an elephant that’s been in the room since late last year.\u003c/p>\n\u003cfigure id=\"attachment_13972658\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-scaled.jpg\" alt=\"Man in green hat and white football jersey poses for a photo.\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13972658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/dscf0291-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Mani Draper pauses for a photo while on the set of a recent video shoot. \u003ccite>(Jonel Seon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Kenny came and took the name, swear for God he did / Beat the block with a Ginger Ale, only God know where the body is,” raps Draper.\u003c/p>\n\u003cp>In November, Kendrick Lamar dropped an album titled \u003cem>GNX\u003c/em>, inspired by the Buick Grand National automobile. For the past half-decade, Draper’s been a part of a collective named after that same vehicle.\u003c/p>\n\u003cp>When the album dropped Draper says the crew had mixed emotions. Personally, he felt “a cloud of disappointment for a few days in the region.”\u003c/p>\n\u003cp>He was getting calls and texts, but no one was saying anything publicly. “Like, dog, you make a post about everything else,” he says. “You could totally just make a post about that. Why the fuck are you on my phone?”\u003c/p>\n\u003cp>But after a call his from his mother, he found a more constructive response. “The biggest rapper in the world is aligned with the shit that we on,” Draper says, happy to be sharing the same sentiment. “No matter how big you are, no matter how rich you are, where we come from, it don’t get no more lit than a GN.”\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/4OHNGAfWKOs'\n title='//www.youtube.com/embed/4OHNGAfWKOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dispelling any notions of appropriation by Lamar or Los Angeles-based artists, Draper elaborates on his “die-hard” love for L.A., noting deep family connections and annual trips to the Garment District for school shopping.\u003c/p>\n\u003cp>The soundtrack to those trips, Draper reflects, were CDs he’d purchase from the Slauson swap meet. “You’re slapping that shit all the way back to the Bay,” he remembers, “and you didn’t even know it was \u003cem>Bullets Ain’t Got No Name\u003c/em>,” referring to the 2008 mixtape from the late Nipsey Hussle.\u003c/p>\n\u003cp>Ultimately, the experience of seeing Lamar’s rise and the use of the “Grand National” title encouraged Draper to be even more proud of the work he’s working on. And make no mistakes, \u003cem>he’s been working\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For years, Draper’s been behind the scenes, producing, writing and collaborating with the likes of \u003ca href=\"https://www.instagram.com/msjanehandcock/\">Jane Handcock\u003c/a>, \u003ca href=\"https://www.instagram.com/iamsu/\">IamSu\u003c/a> and \u003ca href=\"https://www.instagram.com/kvnalln/\">Kevin “Erk Tha Jerk” Allen\u003c/a>.\u003c/p>\n\u003cp>“It don’t get more talented than those three,” says Draper. He sees being in their proximity as a blessing, pushing him to expand his individual artistry and work as a collective. “Stay close to them, and be willing to step in the service role to help them to maximize their dreams,” Draper explains of his collaborative approach. “And then we just gon’ mob.”\u003c/p>\n\u003cp>As team-oriented as he is, he’s clearly stepping into his own light. On his recent projects he’s rapping it into existence — with a mix of reflection.\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/q3H8bQDW1mk'\n title='//www.youtube.com/embed/q3H8bQDW1mk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Them keloids humbled you, now you know you not Spawn,” Draper raps on one track. “Face behind my beard / couldn’t hide the keloids, can’t forget the one on my ear,” he raps on another. \u003c/p>\n\u003cp>I ask how he got comfortable with rapping about his keloids, which are visible on his face.\u003c/p>\n\u003cp>“I’ve had two surgeries at this point,” he tells me. Before one of them, a plastic surgery operation, he was advised that while it could potentially eradicate the growth, it came with the risk of having them come back bigger.\u003c/p>\n\u003cp>The surgery worked, initially. But oddly, it was the fact that the keloids were momentarily removed that changed him the most.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2017, Draper took a trip to Amsterdam. While there he hit it off with a barista. When he returned to Europe a year later, after having the keloids removed, she didn’t recognize him.\u003c/p>\n\u003cp>“She’s like, ‘What did you do?’” Draper recalls being confused: “I’m like, ‘Huh?’”\u003c/p>\n\u003cp>The barista told him that the keloids are “the things that make you \u003cem>you\u003c/em>.”\u003c/p>\n\u003cp>It was the first time he realized he had a beauty mark as opposed to a deficiency. “It fucked me up,” Draper says. “I never considered it as the thing — like, I can’t be mistaken for \u003cem>nobody\u003c/em>.”\u003c/p>\n\u003cp>That experience, coupled with working directly with little kids during his day job as an educator, made him choose to work on being more comfortable in his own skin.\u003c/p>\n\u003cp>Speaking in basketball metaphors, Draper tells me that as an artist, he had to learn how to dribble with his off-hand. “It’s that Kobe shit,” he says. “Work on your weaknesses — be obsessed with your weaknesses, and then eventually that can become your strengths.”\u003c/p>\n\u003cp>Through that commitment he’s not only grown as an artist, but as a human, and the artistic community around him has benefited because of it.\u003c/p>\n\u003cp>And especially over the past year, that dedication to growing and the results thereof constitute possibly no better way to honor the legacy of a deceased parent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m so dialed in on behalf of \u003cem>us\u003c/em>,” says Draper. “And I’m gonna make us proud every time.”\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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"marketplace": {
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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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"masters-of-scale": {
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"mindshift": {
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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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.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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