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"content": "\u003cp>It’s not \u003ca href=\"https://www.kqed.org/arts/tag/holidays\">the holiday season\u003c/a> until the house is full of \u003ca href=\"https://www.kqed.org/arts/13871003/christmas-single-cliche-bingo-2019-pop-music-edition\">festive music\u003c/a> across genres, for all to enjoy, be they classics, covers or reimaginations.\u003c/p>\n\u003cp>In honor of the most wonderful time of the year, here are some of the best new holiday releases for the 2024 season.\u003c/p>\n\u003ch2>Vince Gill and Amy Grant, ‘When I Think of Christmas’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42%E2%80%AFAM-1.png\" alt=\"\" width=\"1118\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42 AM-1.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42 AM-1-800x771.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42 AM-1-1020x984.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42 AM-1-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42 AM-1-768x741.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003c/p>\n\u003cp>When it comes to country music Christmas classics, Vince Gill and Amy Grant immediately come to mind. The couple is no stranger to the world of holiday music, and their latest collection, \u003cem>When I Think of Christmas\u003c/em>, channels the spirit of their popular \u003cem>Christmas at the Ryman\u003c/em> residency in Nashville, with two new recordings: a duet of “’Til the Season Comes Round Again” and Grant’s take on the title track.\u003c/p>\n\u003ch2>Carpenters, ‘Christmas Once More’\u003c/h2>\n\u003cp>Don’t fix what ain’t broke is an expression for a reason: Sometimes the best holiday album listening experience is enjoying the classics, but newly remixed and remastered. Enter the 16-track \u003cem>Christmas Once More\u003c/em> from the Carpenters. Fall in love with “Sleigh Ride” and “(There’s No Place Like) Home For The Holidays” all over again.\u003c/p>\n\u003ch2>Jennifer Hudson, ‘The Gift of Love’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.01.36%E2%80%AFAM.png\" alt=\"\" width=\"698\" height=\"698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.01.36 AM.png 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.01.36 AM-160x160.png 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jennifer Hudson has done a ton in her career — including winning an Emmy, Grammy, Oscar and Tony, making her the rare performer to EGOT, as the expression goes — but a holiday album? That’s new territory. \u003cem>The Gift of Love\u003c/em> is her first, full of big-hearted classics like “O Holy Night,” “Winter Wonderland,” “Auld Lang Syne” and “Carol of the Bells,” which features the South African a cappella-meets-Zulu music group The Joy. The album also contains some inventive originals. In that category: “Almost Christmas” with Common. If there is only one album to grab this holiday season, you’d be wise to make it this one.\u003c/p>\n\u003ch2>Little Big Town, ‘The Christmas Record’\u003c/h2>\n\u003cp>Another big name in contemporary music has released their first holiday album. Little Big Town’s \u003cem>The Christmas Record\u003c/em>, produced by the legendary Dave Cobb, is a country music spectacular. Like Hudson’s, this one is a collection of familiar tunes along with originals — like the opener “Glow,” and the cheery vocal harmony of its chorus: “That shine, that shimmer deep inside of you / Find that magic, let the light in you show / Let it go / Let it glow.”\u003c/p>\n\u003ch2>Toby Keith, ‘Christmas to Christmas’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.02.57%E2%80%AFAM.png\" alt=\"\" width=\"688\" height=\"674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.02.57 AM.png 688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.02.57 AM-160x157.png 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003c/p>\n\u003cp>In February, country superstar Toby Keith, a hit crafter of pro-American anthems who riled up critics and was loved by millions of fans, died at 62. In the time since, he’s been eulogized and celebrated, and that continues with a newly remastered reissue of his 1995 holiday classic, C\u003cem>hristmas to Christmas\u003c/em>.\u003c/p>\n\u003ch2>Clay Aiken, ‘Christmas Bells Are Ringing’\u003c/h2>\n\u003cp>Clay Aiken — you read that name correctly, the onetime \u003cem>American Idol\u003c/em> runner-up and politician — has returned with his first studio album in over a decade, \u003cem>Christmas Bells Are Ringing\u003c/em>. His voice sounds as sweet and theatrical as ever — a natural partner to holiday classics.\u003c/p>\n\u003ch2>Jimmy Fallon, ‘Holiday Seasoning’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968327\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.04.11%E2%80%AFAM.png\" alt=\"\" width=\"702\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.04.11 AM.png 702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.04.11 AM-160x165.png 160w\" sizes=\"(max-width: 702px) 100vw, 702px\">\u003c/p>\n\u003cp>At the intersection of Christmas and comedy albums comes Jimmy Fallon’s \u003cem>Holiday Seasoning\u003c/em>. The \u003cem>Tonight Show\u003c/em> host gets into the spirit of the season with jokes — and some A-list guests — included. Check out “Almost Too Early for Christmas” with Dolly Parton, “Hallmark Movie” with Cara Delevingne, and “New Year’s Eve Polka (5-4-3-2-1)” featuring the Roots and Weird Al. It’s exactly what it sounds like.\u003c/p>\n\u003ch2>The Philly Specials, ‘A Philly Special Christmas Party’\u003c/h2>\n\u003cp>For a third year in a row, the Philly Specials — former Philadelphia Eagle Jason Kelce and current Eagles Lane Johnson and Jordan Mailata — have released a holiday album for charity. \u003cem>A Philly Special Christmas Party\u003c/em> benefits a few organizations, including the Children’s Crisis Treatment Center and Children’s Hospital of Philadelphia. If getting NFL stars to sing sounds funny, well, that’s kind of the point. The fun and absurdity are this album’s superpowers: On the Americana “Maybe This Christmas,” Kelce (brother to Travis) and Stevie Nicks duet, singing, “And maybe forgiveness will ask us to call / Someone we love / Someone we’ve lost for reasons we can’t quite recall / Maybe this Christmas.” It’s moving.\u003c/p>\n\u003ch2>Ella Fitzgerald and Louis Armstrong, ‘Ella & Louis Wish You a Swinging Holiday’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.05.13%E2%80%AFAM.png\" alt=\"\" width=\"698\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.05.13 AM.png 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.05.13 AM-160x161.png 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003c/p>\n\u003cp>Let’s be honest here. Around Christmas, everyone wants to hear Ella Fitzgerald and Louis Armstrong. Why not hear them together? \u003cem>Ella & Louis Wish You a Swinging Holiday\u003c/em> is a new boxset, two jazz classics meeting in perfect harmony: \u003cem>Ella Wishes You a Swinging Christmas\u003c/em> and \u003cem>Louis Wishes You A Cool Yule\u003c/em>.\u003c/p>\n\u003ch2>The Temptations, ‘Give Love at Christmas’\u003c/h2>\n\u003cp>The holidays, like every day, are a time for listening to Motown Records’ vocal groups. This year, tuck into a new reissue of the Temptations’ 1980 album, \u003cem>Give Love at Christmas\u003c/em>. It’s for fans of five-part harmonies and soulful renditions of classics.\u003c/p>\n\u003ch2>Ben Folds, ‘Sleigher’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968329\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.06.21%E2%80%AFAM.png\" alt=\"\" width=\"698\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.06.21 AM.png 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.06.21 AM-160x161.png 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ben Folds might not be an obvious pick for holiday music — \u003cem>Sleigher\u003c/em> is his first Christmas album, after all — but it’s a match made in heaven. His indie piano pop has charmed horn-rimmed glasses wearers for many years; his delicate compositions hit like falling snow. There are seven originals here and three covers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not \u003ca href=\"https://www.kqed.org/arts/tag/holidays\">the holiday season\u003c/a> until the house is full of \u003ca href=\"https://www.kqed.org/arts/13871003/christmas-single-cliche-bingo-2019-pop-music-edition\">festive music\u003c/a> across genres, for all to enjoy, be they classics, covers or reimaginations.\u003c/p>\n\u003cp>In honor of the most wonderful time of the year, here are some of the best new holiday releases for the 2024 season.\u003c/p>\n\u003ch2>Vince Gill and Amy Grant, ‘When I Think of Christmas’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42%E2%80%AFAM-1.png\" alt=\"\" width=\"1118\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42 AM-1.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42 AM-1-800x771.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42 AM-1-1020x984.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42 AM-1-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-9.58.42 AM-1-768x741.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003c/p>\n\u003cp>When it comes to country music Christmas classics, Vince Gill and Amy Grant immediately come to mind. The couple is no stranger to the world of holiday music, and their latest collection, \u003cem>When I Think of Christmas\u003c/em>, channels the spirit of their popular \u003cem>Christmas at the Ryman\u003c/em> residency in Nashville, with two new recordings: a duet of “’Til the Season Comes Round Again” and Grant’s take on the title track.\u003c/p>\n\u003ch2>Carpenters, ‘Christmas Once More’\u003c/h2>\n\u003cp>Don’t fix what ain’t broke is an expression for a reason: Sometimes the best holiday album listening experience is enjoying the classics, but newly remixed and remastered. Enter the 16-track \u003cem>Christmas Once More\u003c/em> from the Carpenters. Fall in love with “Sleigh Ride” and “(There’s No Place Like) Home For The Holidays” all over again.\u003c/p>\n\u003ch2>Jennifer Hudson, ‘The Gift of Love’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.01.36%E2%80%AFAM.png\" alt=\"\" width=\"698\" height=\"698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.01.36 AM.png 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.01.36 AM-160x160.png 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jennifer Hudson has done a ton in her career — including winning an Emmy, Grammy, Oscar and Tony, making her the rare performer to EGOT, as the expression goes — but a holiday album? That’s new territory. \u003cem>The Gift of Love\u003c/em> is her first, full of big-hearted classics like “O Holy Night,” “Winter Wonderland,” “Auld Lang Syne” and “Carol of the Bells,” which features the South African a cappella-meets-Zulu music group The Joy. The album also contains some inventive originals. In that category: “Almost Christmas” with Common. If there is only one album to grab this holiday season, you’d be wise to make it this one.\u003c/p>\n\u003ch2>Little Big Town, ‘The Christmas Record’\u003c/h2>\n\u003cp>Another big name in contemporary music has released their first holiday album. Little Big Town’s \u003cem>The Christmas Record\u003c/em>, produced by the legendary Dave Cobb, is a country music spectacular. Like Hudson’s, this one is a collection of familiar tunes along with originals — like the opener “Glow,” and the cheery vocal harmony of its chorus: “That shine, that shimmer deep inside of you / Find that magic, let the light in you show / Let it go / Let it glow.”\u003c/p>\n\u003ch2>Toby Keith, ‘Christmas to Christmas’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.02.57%E2%80%AFAM.png\" alt=\"\" width=\"688\" height=\"674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.02.57 AM.png 688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.02.57 AM-160x157.png 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003c/p>\n\u003cp>In February, country superstar Toby Keith, a hit crafter of pro-American anthems who riled up critics and was loved by millions of fans, died at 62. In the time since, he’s been eulogized and celebrated, and that continues with a newly remastered reissue of his 1995 holiday classic, C\u003cem>hristmas to Christmas\u003c/em>.\u003c/p>\n\u003ch2>Clay Aiken, ‘Christmas Bells Are Ringing’\u003c/h2>\n\u003cp>Clay Aiken — you read that name correctly, the onetime \u003cem>American Idol\u003c/em> runner-up and politician — has returned with his first studio album in over a decade, \u003cem>Christmas Bells Are Ringing\u003c/em>. His voice sounds as sweet and theatrical as ever — a natural partner to holiday classics.\u003c/p>\n\u003ch2>Jimmy Fallon, ‘Holiday Seasoning’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968327\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.04.11%E2%80%AFAM.png\" alt=\"\" width=\"702\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.04.11 AM.png 702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.04.11 AM-160x165.png 160w\" sizes=\"(max-width: 702px) 100vw, 702px\">\u003c/p>\n\u003cp>At the intersection of Christmas and comedy albums comes Jimmy Fallon’s \u003cem>Holiday Seasoning\u003c/em>. The \u003cem>Tonight Show\u003c/em> host gets into the spirit of the season with jokes — and some A-list guests — included. Check out “Almost Too Early for Christmas” with Dolly Parton, “Hallmark Movie” with Cara Delevingne, and “New Year’s Eve Polka (5-4-3-2-1)” featuring the Roots and Weird Al. It’s exactly what it sounds like.\u003c/p>\n\u003ch2>The Philly Specials, ‘A Philly Special Christmas Party’\u003c/h2>\n\u003cp>For a third year in a row, the Philly Specials — former Philadelphia Eagle Jason Kelce and current Eagles Lane Johnson and Jordan Mailata — have released a holiday album for charity. \u003cem>A Philly Special Christmas Party\u003c/em> benefits a few organizations, including the Children’s Crisis Treatment Center and Children’s Hospital of Philadelphia. If getting NFL stars to sing sounds funny, well, that’s kind of the point. The fun and absurdity are this album’s superpowers: On the Americana “Maybe This Christmas,” Kelce (brother to Travis) and Stevie Nicks duet, singing, “And maybe forgiveness will ask us to call / Someone we love / Someone we’ve lost for reasons we can’t quite recall / Maybe this Christmas.” It’s moving.\u003c/p>\n\u003ch2>Ella Fitzgerald and Louis Armstrong, ‘Ella & Louis Wish You a Swinging Holiday’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.05.13%E2%80%AFAM.png\" alt=\"\" width=\"698\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.05.13 AM.png 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.05.13 AM-160x161.png 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003c/p>\n\u003cp>Let’s be honest here. Around Christmas, everyone wants to hear Ella Fitzgerald and Louis Armstrong. Why not hear them together? \u003cem>Ella & Louis Wish You a Swinging Holiday\u003c/em> is a new boxset, two jazz classics meeting in perfect harmony: \u003cem>Ella Wishes You a Swinging Christmas\u003c/em> and \u003cem>Louis Wishes You A Cool Yule\u003c/em>.\u003c/p>\n\u003ch2>The Temptations, ‘Give Love at Christmas’\u003c/h2>\n\u003cp>The holidays, like every day, are a time for listening to Motown Records’ vocal groups. This year, tuck into a new reissue of the Temptations’ 1980 album, \u003cem>Give Love at Christmas\u003c/em>. It’s for fans of five-part harmonies and soulful renditions of classics.\u003c/p>\n\u003ch2>Ben Folds, ‘Sleigher’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968329\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.06.21%E2%80%AFAM.png\" alt=\"\" width=\"698\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.06.21 AM.png 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-19-at-10.06.21 AM-160x161.png 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ben Folds might not be an obvious pick for holiday music — \u003cem>Sleigher\u003c/em> is his first Christmas album, after all — but it’s a match made in heaven. His indie piano pop has charmed horn-rimmed glasses wearers for many years; his delicate compositions hit like falling snow. There are seven originals here and three covers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 1978, Napa’s State Psychiatric Hospital Hosted a Now-Legendary Punk Show",
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"content": "\u003cp>On June 13, 1978, Joe Rees, the videographer that ran Mission District live venue/punk rock archive \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">Target Video\u003c/a>, packed up a portable Sony black-and-white camera and drove to Napa with his cohort, Jill Hoffman-Kowal.\u003c/p>\n\u003cp>The two were hitting the road to film a live show — something they did all the time. As documentarians that saw the importance of capturing every grimy little punk show they could, they were accustomed to making things work under chaotic circumstances.\u003c/p>\n\u003cp>Even by Target Video standards, however, this set would be a little bit different.\u003c/p>\n\u003cp>[aside postid='arts_13967161']That sunny June afternoon, The Cramps would play a free concert at Napa State Hospital, a psychiatric facility that had been around since 1875, and which provided mental health services to resident patients. San Francisco’s The Mutants — easily as anarchic as their New York City stagemates — had agreed to perform too.\u003c/p>\n\u003cp>By the time punk rock got to it, the Napa State Hospital already had quite the reputation. It first opened inside a beautiful brick building, complete with elegant arches and towers, to ease overcrowding at the Stockton State Hospital. But by 1891, Napa State itself housed more than 1,300 psychiatric patients — double the population it was designed for. By 1920, wards meant for 26 people were accommodating as many as 64, and \u003ca href=\"https://www.pbs.org/newshour/health/analysis-californias-forced-sterilization-programs-once-harmed-thousands-especially-latinas\">sterilization procedures became common\u003c/a>. In 1950, the hospital’s gorgeous architecture was demolished to build more practical, utilitarian structures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s what The Cramps and The Mutants encountered in 1978, as they set up their equipment in the courtyard outside the hospital building, next to the gym. How both bands got there was a series of twists masterminded by music impresario Howie Klein. Back then, Klein was best known as the host of punk rock radio show \u003ci>\u003ca href=\"https://radiothrills.com/outcastes.htm\">The Outcastes\u003c/a> \u003c/i>and the founder of \u003ca href=\"https://www.discogs.com/label/16439-415-Records\">415 Records\u003c/a>. When the San Francisco date of their tour fell through, The Cramps approached Klein and asked for advice. He took it upon himself to book the Napa State show and, already a big fan of the local band’s live antics, invited The Mutants along.\u003c/p>\n\u003cfigure id=\"attachment_13968185\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg\" alt=\"\" width=\"2000\" height=\"1346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1920x1292.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Mutants perform live at an outdoor show in the courtyard of Napa State Hospital, a psychiatric hospital in Napa, California, on June 13, 1978. \u003ccite>(Ruby Ray/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Remarkably, there was precedence for this in the North Bay: Sebastopol art-punks $27 Snap On Face had \u003ca href=\"https://bohemian.com/what-happened-to-those-guys-1/\">previously played at Sonoma State Hospital for the developmentally disabled\u003c/a>, and included the applause of patients on 1977’s \u003ca href=\"https://www.discogs.com/release/2778143-27-Snap-On-Face-Heterodyne-State-Hospital\">\u003cem>Heterodyne State Hospital\u003c/em>\u003c/a> album.)\u003c/p>\n\u003cp>Sally Webster of The Mutants later stated in 2021 documentary, \u003ca href=\"https://www.youtube.com/watch?v=KwwRQVgW-0g\">\u003cem>We Were There to Be There\u003c/em>\u003c/a>: “We were not thinking of it as ironic or weird or anything like that at the time. This is just an adventure for everyone.” Webster also admitted that she and a number of friends she brought along that day had taken LSD, which gave her a heightened sense of unity with everyone at the show. “It was just an inclusive situation,” she explained, “where the audience and the band were kinda one.”\u003c/p>\n\u003cp>[aside postid='arts_13845645']She may have been intoxicated at the time, but Webster was not exaggerating. During the Cramps’ eight-song set, hospital patients jumped onstage, mimed along, danced with band members and took over the mic and screamed into it. No one seemed at all concerned that some of those patients had come from a special unit at Napa State that housed individuals considered a danger to themselves or others.\u003c/p>\n\u003cp>“It was a beautiful, beautiful thing,” Rees later said of the show. “I mean, you don’t know who’s who in that video. The band members and the mental patients are the same.”\u003c/p>\n\u003cp>“Some people told me you people are crazy,” vocalist Lux Interior stated after The Cramps’ opening song, “Mystery Plane.” “But I’m not so sure about that. You seem to be alright to me…”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-JnkW2JhHJc\u003c/p>\n\u003cp>As can be clearly seen in Rees’ footage above, The Cramps were a hit with the Napa State residents that day.\u003c/p>\n\u003cp>“They were the people that were just discarded,” the filmmaker stated in his \u003cem>We Were There to Be There\u003c/em> interview, “and they were so overwhelmed by someone even caring to put on a show, and they got so into it.”\u003c/p>\n\u003cp>So into it, in fact, that rumors swirled afterward of several successful escape attempts by patients. “I think someone left with us, to be honest,” Webster vaguely recalled.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Klein’s memories of the ride home were more specific. “There was this one woman,” he recalled. “She was basically wearing a nightgown and she was running down the road, and I stopped and she jumped in [the van], and we drove back to San Francisco with her. And she became a stalwart in the San Francisco scene. She became a respected and loved member of the community.”\u003c/p>\n\u003cp>Alan Gill, a psychiatric technician at Napa State throughout the 1970s and ’80s noted that the show was most definitely not a hit with one very specific faction: the administration of the hospital.\u003c/p>\n\u003cp>“There was a lot of pushback,” he remembered. “Administrators obviously are the older folk — the suit-and-tie gang — and they were not at all pleased … I think there might even have been disciplinary action.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mutants’ set from Napa State is not currently streaming, but can be seen in\u003c/em> ‘\u003cem>\u003ca href=\"https://www.ebay.com/itm/196542461769?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&mkscid=101&itemid=196542461769&targetid=2299003535995&device=c&mktype=pla&googleloc=9032200&poi=&campaignid=21203633013&mkgroupid=162035688435&rlsatarget=pla-2299003535995&abcId=9407526&merchantid=101492502&gad_source=1&gclid=Cj0KCQiA_9u5BhCUARIsABbMSPtvlqrnnDOnRx5-MWYhjCC_9kD4bji3zHbAIHVnbFa7k30iRQTNWpcaAqc9EALw_wcB\">The Cramps and the Mutants: The Napa State Tapes\u003c/a>,’ available on DVD.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That sunny June afternoon, The Cramps would play a free concert at Napa State Hospital, a psychiatric facility that had been around since 1875, and which provided mental health services to resident patients. San Francisco’s The Mutants — easily as anarchic as their New York City stagemates — had agreed to perform too.\u003c/p>\n\u003cp>By the time punk rock got to it, the Napa State Hospital already had quite the reputation. It first opened inside a beautiful brick building, complete with elegant arches and towers, to ease overcrowding at the Stockton State Hospital. But by 1891, Napa State itself housed more than 1,300 psychiatric patients — double the population it was designed for. By 1920, wards meant for 26 people were accommodating as many as 64, and \u003ca href=\"https://www.pbs.org/newshour/health/analysis-californias-forced-sterilization-programs-once-harmed-thousands-especially-latinas\">sterilization procedures became common\u003c/a>. In 1950, the hospital’s gorgeous architecture was demolished to build more practical, utilitarian structures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s what The Cramps and The Mutants encountered in 1978, as they set up their equipment in the courtyard outside the hospital building, next to the gym. How both bands got there was a series of twists masterminded by music impresario Howie Klein. Back then, Klein was best known as the host of punk rock radio show \u003ci>\u003ca href=\"https://radiothrills.com/outcastes.htm\">The Outcastes\u003c/a> \u003c/i>and the founder of \u003ca href=\"https://www.discogs.com/label/16439-415-Records\">415 Records\u003c/a>. When the San Francisco date of their tour fell through, The Cramps approached Klein and asked for advice. He took it upon himself to book the Napa State show and, already a big fan of the local band’s live antics, invited The Mutants along.\u003c/p>\n\u003cfigure id=\"attachment_13968185\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg\" alt=\"\" width=\"2000\" height=\"1346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1920x1292.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Mutants perform live at an outdoor show in the courtyard of Napa State Hospital, a psychiatric hospital in Napa, California, on June 13, 1978. \u003ccite>(Ruby Ray/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Remarkably, there was precedence for this in the North Bay: Sebastopol art-punks $27 Snap On Face had \u003ca href=\"https://bohemian.com/what-happened-to-those-guys-1/\">previously played at Sonoma State Hospital for the developmentally disabled\u003c/a>, and included the applause of patients on 1977’s \u003ca href=\"https://www.discogs.com/release/2778143-27-Snap-On-Face-Heterodyne-State-Hospital\">\u003cem>Heterodyne State Hospital\u003c/em>\u003c/a> album.)\u003c/p>\n\u003cp>Sally Webster of The Mutants later stated in 2021 documentary, \u003ca href=\"https://www.youtube.com/watch?v=KwwRQVgW-0g\">\u003cem>We Were There to Be There\u003c/em>\u003c/a>: “We were not thinking of it as ironic or weird or anything like that at the time. This is just an adventure for everyone.” Webster also admitted that she and a number of friends she brought along that day had taken LSD, which gave her a heightened sense of unity with everyone at the show. “It was just an inclusive situation,” she explained, “where the audience and the band were kinda one.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She may have been intoxicated at the time, but Webster was not exaggerating. During the Cramps’ eight-song set, hospital patients jumped onstage, mimed along, danced with band members and took over the mic and screamed into it. No one seemed at all concerned that some of those patients had come from a special unit at Napa State that housed individuals considered a danger to themselves or others.\u003c/p>\n\u003cp>“It was a beautiful, beautiful thing,” Rees later said of the show. “I mean, you don’t know who’s who in that video. The band members and the mental patients are the same.”\u003c/p>\n\u003cp>“Some people told me you people are crazy,” vocalist Lux Interior stated after The Cramps’ opening song, “Mystery Plane.” “But I’m not so sure about that. You seem to be alright to me…”\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/-JnkW2JhHJc'\n title='//www.youtube.com/embed/-JnkW2JhHJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As can be clearly seen in Rees’ footage above, The Cramps were a hit with the Napa State residents that day.\u003c/p>\n\u003cp>“They were the people that were just discarded,” the filmmaker stated in his \u003cem>We Were There to Be There\u003c/em> interview, “and they were so overwhelmed by someone even caring to put on a show, and they got so into it.”\u003c/p>\n\u003cp>So into it, in fact, that rumors swirled afterward of several successful escape attempts by patients. “I think someone left with us, to be honest,” Webster vaguely recalled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Klein’s memories of the ride home were more specific. “There was this one woman,” he recalled. “She was basically wearing a nightgown and she was running down the road, and I stopped and she jumped in [the van], and we drove back to San Francisco with her. And she became a stalwart in the San Francisco scene. She became a respected and loved member of the community.”\u003c/p>\n\u003cp>Alan Gill, a psychiatric technician at Napa State throughout the 1970s and ’80s noted that the show was most definitely not a hit with one very specific faction: the administration of the hospital.\u003c/p>\n\u003cp>“There was a lot of pushback,” he remembered. “Administrators obviously are the older folk — the suit-and-tie gang — and they were not at all pleased … I think there might even have been disciplinary action.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mutants’ set from Napa State is not currently streaming, but can be seen in\u003c/em> ‘\u003cem>\u003ca href=\"https://www.ebay.com/itm/196542461769?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&mkscid=101&itemid=196542461769&targetid=2299003535995&device=c&mktype=pla&googleloc=9032200&poi=&campaignid=21203633013&mkgroupid=162035688435&rlsatarget=pla-2299003535995&abcId=9407526&merchantid=101492502&gad_source=1&gclid=Cj0KCQiA_9u5BhCUARIsABbMSPtvlqrnnDOnRx5-MWYhjCC_9kD4bji3zHbAIHVnbFa7k30iRQTNWpcaAqc9EALw_wcB\">The Cramps and the Mutants: The Napa State Tapes\u003c/a>,’ available on DVD.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "richie-rich-oakland-rap-larussell-second-act",
"title": "‘Never Underestimate the OG’: Richie Rich's Second Act",
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"headTitle": "‘Never Underestimate the OG’: Richie Rich’s Second Act | KQED",
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"content": "\u003cp>[dropcap]O[/dropcap]n a Sunday afternoon in mid-November, \u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener\">LaRussell\u003c/a> is onstage at The New Parish in Oakland, energetically hurling rhyme pyrotechnics, just days after the premiere of \u003ca href=\"https://www.youtube.com/watch?v=w40XbPyotj8\" target=\"_blank\" rel=\"noopener\">his NPR \u003cem>Tiny Desk\u003c/em> concert\u003c/a>.\u003c/p>\n\u003cp>Known for his clever lyrics, charismatic personality and nonstop production, LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">refused to sign with a major label\u003c/a>. He hosts sold-out shows at a small venue, The Pergola, built in his backyard. Staunchly independent, he’s paved his own lane in the rap game by investing in himself, his community and his culture.\u003c/p>\n\u003cp>His latest investment: the reintroduction of \u003ca href=\"https://www.instagram.com/tharealrichierich/\" target=\"_blank\" rel=\"noopener\">Richie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968024\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg\" alt='While on stage with rising Vallejo rap star LaRussell at the New Parish in Oakland, veteran rapper Richie Rich tells the crowd that \"Double R\" now stands for LaRussell and Rich.' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At the New Parish in Oakland on Nov. 10, 2024, veteran rapper Richie Rich tells the crowd that “Double R” now stands for LaRussell and Rich. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minutes into Sunday’s show, after LaRussell warms up the crowd with violinist \u003ca href=\"https://www.instagram.com/michaelprinceviolin/?hl=en\" target=\"_blank\" rel=\"noopener\">Michael Prince\u003c/a> and vocalist \u003ca href=\"https://www.instagram.com/shante_music/\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>, Rich walks out on stage.\u003c/p>\n\u003cp>Richie Rich’s pedigree is \u003cem>deep\u003c/em>. He’s a former Def Jam signee who influenced Snoop Dogg and was friends with Tupac. He had songs on \u003ca href=\"https://www.youtube.com/watch?v=YC_RQEby1JQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Nutty Professor\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/track/3EcVo3nMBveyqGi7MzTZdM\" target=\"_blank\" rel=\"noopener\">\u003cem>How To Be A Player\u003c/em>\u003c/a> soundtracks. His 1996 album \u003cem>Seasoned Veteran\u003c/em> spawned two singles on the Billboard Top 100. And his verse on \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#i-got-5-on-it-remix-a-meeting-of-greats-recorded-in-alameda\">the remix to the Luniz’ anthem “I Got 5 On It”\u003c/a> provided the Town with the classic line: “Where you from? Oakland. Smokin’.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fittingly, at the New Parish, the artist who founded the pioneering rap group 415 enters to the beat of one of his group’s best-known songs, 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=UsOeXoZoYPo\" target=\"_blank\" rel=\"noopener\">Side Show\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQGqYHg-uyI\u003c/p>\n\u003cp>Over a stripped-down instrumental on live keyboard, Rich raps bar-for-bar in his raspy, laid-back flow, crisp and clear, without any background vocals. When the chorus hits, LaRussell steps in and remixes it, pulling from \u003ca href=\"https://www.youtube.com/watch?v=h4d7UwaNrIQ\" target=\"_blank\" rel=\"noopener\">the 2006 remake, “The Sideshow,”\u003c/a> by the late Traxamillion, Too Short and Mistah FAB.\u003c/p>\n\u003cp>It becomes clear: this isn’t just a guest appearance of Richie Rich at a LaRussell show. No, this is two emcees, with an age gap of over 20 years, trading bars, innovating on stage and moving the crowd.\u003c/p>\n\u003cp>As the audience recites the lyrics, the energy builds. LaRussell and \u003ca href=\"https://www.instagram.com/splashthakidd/\" target=\"_blank\" rel=\"noopener\">Splash Tha Kidd\u003c/a> are on stage giggin’, jumping as they dance. After the second verse, the crowd is turned up.\u003c/p>\n\u003cp>Richie Rich, grounded, laughs and calmly says, “Na… that’s how you got me last time.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s3TM5WSCvZs\u003c/p>\n\u003cp>[dropcap]F[/dropcap]our months prior in LaRussell’s backyard, onstage at the Pergola, the energy got the best of Rich.\u003c/p>\n\u003cp>During a performance of the song “What We Doin!?” which features Richie Rich alongside LaRussell and \u003ca href=\"https://www.instagram.com/mal4chii/\" target=\"_blank\" rel=\"noopener\">an 18 year-old MC named MALACHI,\u003c/a> Rich was in go mode. The P-Lo–produced track, full of high energy, is the type of song that makes one jump on stage — even if they know damn well they shouldn’t.\u003c/p>\n\u003cp>Under the scorching August sun, Rich was a few bars into his verse when the 56-year-old rapper, bouncing alongside the crowd, turned to his left. Suddenly, his knee popped. Falling to the ground, he kept rapping without missing a beat, freestyling new lyrics to communicate what’d just happened to his leg — “blew my knee actin’ out my age” — and even diagnosing it as a torn lower patella.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YGqKGhZkuug\u003c/p>\n\u003cp>All of this could’ve easily become a huge setback. Instead, in a world where the elements of hip-hop have expanded to include viral moments and social media influence, the widely viewed footage of Richie Rich kicking culture while sustaining a painful injury only helped reestablish his footprint in the rap game.\u003c/p>\n\u003cp>I recently caught up with Rich for a long conversation at his home in the East Bay, his leg in a brace as he sat across from me. Rich is a mild-mannered person who was raised by well-to-do parents, but despite his upbringing — and lifelong issues with his knees — he ran the streets.\u003c/p>\n\u003cfigure id=\"attachment_13968025\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg\" alt=\"With a scar on one knee and the other in a brace, you can tell that Richie Rich has had some conversations with his knees-- and they've done most of the talking.\" width=\"1180\" height=\"1554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-800x1054.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1020x1343.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1166x1536.jpg 1166w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">With a scar on one knee and the other in a brace, it’s clear Richie Rich has had some conversations with his knees — and they’ve done most of the talking. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from up the hill, I’m not even from the flats,” says Rich, explaining his childhood and the topography of Deep East Oakland in one statement. “I went down the hill, and that shit changed me, bro,” he says.\u003c/p>\n\u003cp>“Them spokes that you see on that car out here?” Rich says, pointing to the gold rims of his cognac-colored 1972 Cutlass Oldsmobile. He first saw them, he explains, on a Falcon when he was 12. Little Rich ran to tell the driver how clean they were, but the light turned green and the driver pulled off. A few weeks later, Rich caught the driver at a red light and properly complemented him. The driver thanked him, and suggested he could one day have a car like that, too, before tapping the gas pedal and leaving tire treads in the intersection.\u003c/p>\n\u003cp>“If I live to be 90,” says Rich, fully committed to his cars, “I’ma have some gold ones and Vogues, you better know.”\u003c/p>\n\u003cfigure id=\"attachment_13968026\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg\" alt=\"Rapper Richie Rich poses in a Raiders Bo Jackson jersey, while standing in front of his Cutlass Oldsmobile.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In a Raiders Bo Jackson jersey, Richie Rich poses with his 1972 Oldsmobile Cutlass Supreme. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich’s street life and hillside upbringing brought about different perspectives. He had run-ins with the law, though he often evaded them. But the culture had a grip on him.\u003c/p>\n\u003cp>“I was two people,” says Rich, from behind dark sunglasses. “I was Richie Rich and I was Double R.”\u003c/p>\n\u003cp>He elaborates: “Double R was the dude who went down the hill, Richie Rich was the dude who lived up the hill. So Richie Rich wrote ‘Do G’s Get to Go to Heaven,’” he says. “Double R wrote ‘Side Show’ and ‘Snitches and Bitches.'”\u003c/p>\n\u003cp>There’s always been a tug-of-war between these two sides, he says. Fortunately his dad gave him constant reassurance, and his mom gave him spiritual guidance, even if it came in the form of heavy-handed discipline.\u003c/p>\n\u003cp>“My mom was so strict,” Rich reflects, “that when I got caught stealing at Longs Drugs and they told me they was going to call my mom, I said, ‘Na, call the police. Don’t call my momma!'”\u003c/p>\n\u003cp>Once his mother found the Lord, “she brought that spirituality to us and locked us in with it,” says Rich. A sweet woman who was very hard to impress, Rich says he’d get good grades and his mother would remark, “Want to impress me? Show me that you can fly.”\u003c/p>\n\u003cp>When Rich signed with Def Jam, the label sent a car to take him to the airport. Misty-eyed, he reflects on his mother’s reaction. “She knocked on my door, and said, ‘There’s a limousine out front, Richie.’” Fanning out, she asked, “Can I go outside and see?”\u003c/p>\n\u003cp>Rich recalls her floating out the door in her trademark blue robe, sitting in the stretch limo, finally understanding that her son had made something of himself.\u003c/p>\n\u003cfigure id=\"attachment_13968116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich pictured in New York City on Aug. 10, 1996, the day he signed with Def Jam Records. \u003ccite>(Al Pereira/Getty Images/Michael Ochs Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]R[/dropcap]ich had a conversation with his knees when he was a kid. They told him, “We’re gonna hold you down if the red and blue lights get behind you, or the dogs get to chasing you. Outside of that, don’t be attending those softball games and don’t play no three-on-threes,” he recalls.\u003c/p>\n\u003cp>Years later, Rich still has trouble walking in his own legacy. Almost 35 years since his 1990 debut solo album, \u003cem>Don’t Do It\u003c/em>, he’s on the verge of dropping a new project titled \u003cem>Richard\u003c/em>.\u003c/p>\n\u003cp>The album, set to release on the platform \u003ca href=\"https://get.even.biz/\" target=\"_blank\" rel=\"noopener\">Even\u003c/a> next month and then to all streaming services in January, features \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener\">Larry June\u003c/a>, \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener\">Young JR\u003c/a>, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener\">Jane Handcock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/thedelinquents86/?hl=en\">V. White of The Delinquents\u003c/a>. There’s a track where Rich pays homage to the slick players who came before him, as well as one with open critiques of current Oakland culture.\u003c/p>\n\u003cfigure id=\"attachment_13968027\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg\" alt='\"Top of the Rolex, top of the Rolex,\" Richie says as he addresses people during his regular social media video check-ins.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Top of the Rolex, top of the Rolex,’ Richie says as he addresses people during regular social media video check-ins. \u003ccite>(Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich has been open about his issues with the place that raised him. In January of this year the rapper made headlines for \u003ca href=\"https://www.tmz.com/watch/2024-01-19-011924-richie-rich-1761556-305/\" target=\"_blank\" rel=\"noopener\">a rant he posted on social media\u003c/a>, proclaiming that he was leaving California. “The cost of living here is going up, but the chances of living is going down,” he says in the video.\u003c/p>\n\u003cp>Today, he explains that Oakland losing its pro sports teams and his favorite restaurants hurts. He adds that it’s very clear that the chasm between classes is growing, and when the haves and have-nots are at odds it makes it hard to own nice things without becoming a target. (And being a known rapper from that place adds another layer.)\u003c/p>\n\u003cp>He stands by many of the things he said in the post, but given time to reflect, he says it’s more about where he’s at this point in life than the Golden State. “I think it’s the invisibility that I’m chasing, not so much a disdain for California,” he says.\u003c/p>\n\u003cp>Rich’s California love is motivated by his ties to the people, from family members to world renowned artists.\u003c/p>\n\u003cfigure id=\"attachment_13968115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968115\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich’s motorcycle, Makaveli, bears a portrait tribute to his late friend, Tupac Shakur. \u003ccite>(Courtesy of Richie Rich )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He says he’s appreciative that his friend, the late Tupac Shakur, has \u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\" target=\"_blank\" rel=\"noopener\">a street named in his honor\u003c/a> and that there’s been \u003ca href=\"https://www.npr.org/2023/09/29/1202754616/suspect-in-tupac-shakur-murder-arrested\" target=\"_blank\" rel=\"noopener\">an arrest in connection to his murder\u003c/a>. But Rich would prefer to see Pac alive now, enjoying all he accomplished.\u003c/p>\n\u003cp>Rich and Pac met around ’91 through a common friend, and became homies; not making music, just hanging out. As Rich’s career was in full swing and Shakur’s was just getting off the ground, Pac asked to be on a track with Rich. “Na, we’re doing gangsta music,” the rapper from the Rolling Hundreds told the young MC from Marin. “You on that Black Power shit.”\u003c/p>\n\u003cp>[aside postID='arts_13927810']The two stayed in contact, though, and Rich watched Tupac’s career explode. When Pac was incarcerated, they exchanged letters; mail that Rich wishes he would’ve kept. With a custom Harley motorcycle parked behind him, painted with Tupac’s face on it, Rich says, “When it’s your homeboy, you not planning on him dying and being one of the most famous people in the world.”\u003c/p>\n\u003cp>Before his death, Rich saw visible changes in Tupac. “He was moving too fast,” says Rich, who urged him to lead a more private life. But that didn’t happen. Rich had to accept that “my little homie became my big homie,” as he says. So Rich did his best to look out for him in life, and continues to represent for him after his death.\u003c/p>\n\u003cp>In addition to the customized motorcycle — named Makaveli — Rich has photos, a framed plaque of albums commemorating the songs they recorded together, and a set of coat hangers in the form of middle fingers. (Tupac loved flipping people off.) Rich also has a handwritten contract ensuring songwriting royalties for his contribution to the song “Heavy in the Game,” framed and mounted on the wall in his house — signed by Tupac and his late mother, Afeni Shakur, just months before Tupac’s death.\u003c/p>\n\u003cfigure id=\"attachment_13968028\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg\" alt=\"A handwritten contract by Tupac Shakur, ensuring Richie Rich gets royalties for their work together; written just months before Tupac's death.\" width=\"1800\" height=\"1510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1536x1289.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A handwritten contract by Tupac Shakur, ensuring that Richie Rich received royalties for their work together, written just months before Tupac’s death. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap]ll of the art in Rich’s house is properly positioned. His crib is well-kept and organized. His cars are pristine and his head is shaved clean. It’s all a reflection of who he is, and an extension of the discipline his mother instilled in him.\u003c/p>\n\u003cp>But there are still times when everything isn’t all put together. Instances when the unpredictable happens, like when he hits the stage and literally breaks a leg. That’s when the cool, calm, collected Rich takes a backseat, and Double R comes out.\u003c/p>\n\u003cp>“I know what happened that day,” says Rich, reflecting on the day he fell at the Pergola. He suspects that someone else showed up inside of him — someone he’s known for a while.\u003c/p>\n\u003cp>“He always shows up when I’m in distress,” says Rich. The persona never stays there long enough to introduce himself, but Rich brags, “He’s raw. He knows how to rap, how to ride motorcycles, he knows how to drive cars. Yeah, he’s good at a lot of things.”\u003c/p>\n\u003cfigure id=\"attachment_13968029\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968029\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg\" alt=\"LaRussell, excited to see Richie Rich perform again, says this show was extra-special for his mother and father who were in the audience at The New Parish during the show.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell, excited to see Richie Rich perform again, says the New Parish show was extra-special for his mother and father, who were in the audience. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song that started all of this, “What We Doin!?,” was released in June 2024 — with some subtly prophetic lines. On the first verse, recorded weeks before Rich injured his leg while performing the song, LaRussell says “Broke a leg, re-learned how to stand.” In the third verse, Rich advises: “If you know me, never underestimate the OG.” Doctors told him it would take eight months to heal. Four months later he was back on stage.\u003c/p>\n\u003cp>At The New Parish on that Sunday afternoon in Oakland, Rich was sharp throughout the hour-long performance. A few weeks before the show, LaRussell had pulled some of his favorite Richie Rich tracks and asked if he could add them to the setlist. And though they didn’t rehearse beforehand, the two didn’t miss a beat, going through hit after hit, like Rich’s 2000 track “Playboy” and LaRussell’s 2021 song “GT Coupe.” They reimagined songs in never-before-heard iterations, spanning generations.\u003c/p>\n\u003cp>The following day, Rich tells me his leg is doing fine. Talking just after getting off the phone with LaRussell, he adds that the younger rapper discussed future collaborations and offered continued encouragement to the rapper who, nearly 30 years after his Def Jam debut, has more than earned the title \u003cem>Seasoned Veteran\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I didn’t know you was a dog like that, Double,” LaRussell told him. “A unc, you still got it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n a Sunday afternoon in mid-November, \u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener\">LaRussell\u003c/a> is onstage at The New Parish in Oakland, energetically hurling rhyme pyrotechnics, just days after the premiere of \u003ca href=\"https://www.youtube.com/watch?v=w40XbPyotj8\" target=\"_blank\" rel=\"noopener\">his NPR \u003cem>Tiny Desk\u003c/em> concert\u003c/a>.\u003c/p>\n\u003cp>Known for his clever lyrics, charismatic personality and nonstop production, LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">refused to sign with a major label\u003c/a>. He hosts sold-out shows at a small venue, The Pergola, built in his backyard. Staunchly independent, he’s paved his own lane in the rap game by investing in himself, his community and his culture.\u003c/p>\n\u003cp>His latest investment: the reintroduction of \u003ca href=\"https://www.instagram.com/tharealrichierich/\" target=\"_blank\" rel=\"noopener\">Richie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968024\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg\" alt='While on stage with rising Vallejo rap star LaRussell at the New Parish in Oakland, veteran rapper Richie Rich tells the crowd that \"Double R\" now stands for LaRussell and Rich.' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At the New Parish in Oakland on Nov. 10, 2024, veteran rapper Richie Rich tells the crowd that “Double R” now stands for LaRussell and Rich. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minutes into Sunday’s show, after LaRussell warms up the crowd with violinist \u003ca href=\"https://www.instagram.com/michaelprinceviolin/?hl=en\" target=\"_blank\" rel=\"noopener\">Michael Prince\u003c/a> and vocalist \u003ca href=\"https://www.instagram.com/shante_music/\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>, Rich walks out on stage.\u003c/p>\n\u003cp>Richie Rich’s pedigree is \u003cem>deep\u003c/em>. He’s a former Def Jam signee who influenced Snoop Dogg and was friends with Tupac. He had songs on \u003ca href=\"https://www.youtube.com/watch?v=YC_RQEby1JQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Nutty Professor\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/track/3EcVo3nMBveyqGi7MzTZdM\" target=\"_blank\" rel=\"noopener\">\u003cem>How To Be A Player\u003c/em>\u003c/a> soundtracks. His 1996 album \u003cem>Seasoned Veteran\u003c/em> spawned two singles on the Billboard Top 100. And his verse on \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#i-got-5-on-it-remix-a-meeting-of-greats-recorded-in-alameda\">the remix to the Luniz’ anthem “I Got 5 On It”\u003c/a> provided the Town with the classic line: “Where you from? Oakland. Smokin’.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fittingly, at the New Parish, the artist who founded the pioneering rap group 415 enters to the beat of one of his group’s best-known songs, 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=UsOeXoZoYPo\" target=\"_blank\" rel=\"noopener\">Side Show\u003c/a>.”\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/SQGqYHg-uyI'\n title='//www.youtube.com/embed/SQGqYHg-uyI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over a stripped-down instrumental on live keyboard, Rich raps bar-for-bar in his raspy, laid-back flow, crisp and clear, without any background vocals. When the chorus hits, LaRussell steps in and remixes it, pulling from \u003ca href=\"https://www.youtube.com/watch?v=h4d7UwaNrIQ\" target=\"_blank\" rel=\"noopener\">the 2006 remake, “The Sideshow,”\u003c/a> by the late Traxamillion, Too Short and Mistah FAB.\u003c/p>\n\u003cp>It becomes clear: this isn’t just a guest appearance of Richie Rich at a LaRussell show. No, this is two emcees, with an age gap of over 20 years, trading bars, innovating on stage and moving the crowd.\u003c/p>\n\u003cp>As the audience recites the lyrics, the energy builds. LaRussell and \u003ca href=\"https://www.instagram.com/splashthakidd/\" target=\"_blank\" rel=\"noopener\">Splash Tha Kidd\u003c/a> are on stage giggin’, jumping as they dance. After the second verse, the crowd is turned up.\u003c/p>\n\u003cp>Richie Rich, grounded, laughs and calmly says, “Na… that’s how you got me last time.”\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/s3TM5WSCvZs'\n title='//www.youtube.com/embed/s3TM5WSCvZs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>our months prior in LaRussell’s backyard, onstage at the Pergola, the energy got the best of Rich.\u003c/p>\n\u003cp>During a performance of the song “What We Doin!?” which features Richie Rich alongside LaRussell and \u003ca href=\"https://www.instagram.com/mal4chii/\" target=\"_blank\" rel=\"noopener\">an 18 year-old MC named MALACHI,\u003c/a> Rich was in go mode. The P-Lo–produced track, full of high energy, is the type of song that makes one jump on stage — even if they know damn well they shouldn’t.\u003c/p>\n\u003cp>Under the scorching August sun, Rich was a few bars into his verse when the 56-year-old rapper, bouncing alongside the crowd, turned to his left. Suddenly, his knee popped. Falling to the ground, he kept rapping without missing a beat, freestyling new lyrics to communicate what’d just happened to his leg — “blew my knee actin’ out my age” — and even diagnosing it as a torn lower patella.\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/YGqKGhZkuug'\n title='//www.youtube.com/embed/YGqKGhZkuug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this could’ve easily become a huge setback. Instead, in a world where the elements of hip-hop have expanded to include viral moments and social media influence, the widely viewed footage of Richie Rich kicking culture while sustaining a painful injury only helped reestablish his footprint in the rap game.\u003c/p>\n\u003cp>I recently caught up with Rich for a long conversation at his home in the East Bay, his leg in a brace as he sat across from me. Rich is a mild-mannered person who was raised by well-to-do parents, but despite his upbringing — and lifelong issues with his knees — he ran the streets.\u003c/p>\n\u003cfigure id=\"attachment_13968025\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg\" alt=\"With a scar on one knee and the other in a brace, you can tell that Richie Rich has had some conversations with his knees-- and they've done most of the talking.\" width=\"1180\" height=\"1554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-800x1054.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1020x1343.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1166x1536.jpg 1166w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">With a scar on one knee and the other in a brace, it’s clear Richie Rich has had some conversations with his knees — and they’ve done most of the talking. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from up the hill, I’m not even from the flats,” says Rich, explaining his childhood and the topography of Deep East Oakland in one statement. “I went down the hill, and that shit changed me, bro,” he says.\u003c/p>\n\u003cp>“Them spokes that you see on that car out here?” Rich says, pointing to the gold rims of his cognac-colored 1972 Cutlass Oldsmobile. He first saw them, he explains, on a Falcon when he was 12. Little Rich ran to tell the driver how clean they were, but the light turned green and the driver pulled off. A few weeks later, Rich caught the driver at a red light and properly complemented him. The driver thanked him, and suggested he could one day have a car like that, too, before tapping the gas pedal and leaving tire treads in the intersection.\u003c/p>\n\u003cp>“If I live to be 90,” says Rich, fully committed to his cars, “I’ma have some gold ones and Vogues, you better know.”\u003c/p>\n\u003cfigure id=\"attachment_13968026\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg\" alt=\"Rapper Richie Rich poses in a Raiders Bo Jackson jersey, while standing in front of his Cutlass Oldsmobile.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In a Raiders Bo Jackson jersey, Richie Rich poses with his 1972 Oldsmobile Cutlass Supreme. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich’s street life and hillside upbringing brought about different perspectives. He had run-ins with the law, though he often evaded them. But the culture had a grip on him.\u003c/p>\n\u003cp>“I was two people,” says Rich, from behind dark sunglasses. “I was Richie Rich and I was Double R.”\u003c/p>\n\u003cp>He elaborates: “Double R was the dude who went down the hill, Richie Rich was the dude who lived up the hill. So Richie Rich wrote ‘Do G’s Get to Go to Heaven,’” he says. “Double R wrote ‘Side Show’ and ‘Snitches and Bitches.'”\u003c/p>\n\u003cp>There’s always been a tug-of-war between these two sides, he says. Fortunately his dad gave him constant reassurance, and his mom gave him spiritual guidance, even if it came in the form of heavy-handed discipline.\u003c/p>\n\u003cp>“My mom was so strict,” Rich reflects, “that when I got caught stealing at Longs Drugs and they told me they was going to call my mom, I said, ‘Na, call the police. Don’t call my momma!'”\u003c/p>\n\u003cp>Once his mother found the Lord, “she brought that spirituality to us and locked us in with it,” says Rich. A sweet woman who was very hard to impress, Rich says he’d get good grades and his mother would remark, “Want to impress me? Show me that you can fly.”\u003c/p>\n\u003cp>When Rich signed with Def Jam, the label sent a car to take him to the airport. Misty-eyed, he reflects on his mother’s reaction. “She knocked on my door, and said, ‘There’s a limousine out front, Richie.’” Fanning out, she asked, “Can I go outside and see?”\u003c/p>\n\u003cp>Rich recalls her floating out the door in her trademark blue robe, sitting in the stretch limo, finally understanding that her son had made something of himself.\u003c/p>\n\u003cfigure id=\"attachment_13968116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich pictured in New York City on Aug. 10, 1996, the day he signed with Def Jam Records. \u003ccite>(Al Pereira/Getty Images/Michael Ochs Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">R\u003c/span>\u003c/p>\u003cp>ich had a conversation with his knees when he was a kid. They told him, “We’re gonna hold you down if the red and blue lights get behind you, or the dogs get to chasing you. Outside of that, don’t be attending those softball games and don’t play no three-on-threes,” he recalls.\u003c/p>\n\u003cp>Years later, Rich still has trouble walking in his own legacy. Almost 35 years since his 1990 debut solo album, \u003cem>Don’t Do It\u003c/em>, he’s on the verge of dropping a new project titled \u003cem>Richard\u003c/em>.\u003c/p>\n\u003cp>The album, set to release on the platform \u003ca href=\"https://get.even.biz/\" target=\"_blank\" rel=\"noopener\">Even\u003c/a> next month and then to all streaming services in January, features \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener\">Larry June\u003c/a>, \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener\">Young JR\u003c/a>, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener\">Jane Handcock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/thedelinquents86/?hl=en\">V. White of The Delinquents\u003c/a>. There’s a track where Rich pays homage to the slick players who came before him, as well as one with open critiques of current Oakland culture.\u003c/p>\n\u003cfigure id=\"attachment_13968027\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg\" alt='\"Top of the Rolex, top of the Rolex,\" Richie says as he addresses people during his regular social media video check-ins.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Top of the Rolex, top of the Rolex,’ Richie says as he addresses people during regular social media video check-ins. \u003ccite>(Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich has been open about his issues with the place that raised him. In January of this year the rapper made headlines for \u003ca href=\"https://www.tmz.com/watch/2024-01-19-011924-richie-rich-1761556-305/\" target=\"_blank\" rel=\"noopener\">a rant he posted on social media\u003c/a>, proclaiming that he was leaving California. “The cost of living here is going up, but the chances of living is going down,” he says in the video.\u003c/p>\n\u003cp>Today, he explains that Oakland losing its pro sports teams and his favorite restaurants hurts. He adds that it’s very clear that the chasm between classes is growing, and when the haves and have-nots are at odds it makes it hard to own nice things without becoming a target. (And being a known rapper from that place adds another layer.)\u003c/p>\n\u003cp>He stands by many of the things he said in the post, but given time to reflect, he says it’s more about where he’s at this point in life than the Golden State. “I think it’s the invisibility that I’m chasing, not so much a disdain for California,” he says.\u003c/p>\n\u003cp>Rich’s California love is motivated by his ties to the people, from family members to world renowned artists.\u003c/p>\n\u003cfigure id=\"attachment_13968115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968115\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich’s motorcycle, Makaveli, bears a portrait tribute to his late friend, Tupac Shakur. \u003ccite>(Courtesy of Richie Rich )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He says he’s appreciative that his friend, the late Tupac Shakur, has \u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\" target=\"_blank\" rel=\"noopener\">a street named in his honor\u003c/a> and that there’s been \u003ca href=\"https://www.npr.org/2023/09/29/1202754616/suspect-in-tupac-shakur-murder-arrested\" target=\"_blank\" rel=\"noopener\">an arrest in connection to his murder\u003c/a>. But Rich would prefer to see Pac alive now, enjoying all he accomplished.\u003c/p>\n\u003cp>Rich and Pac met around ’91 through a common friend, and became homies; not making music, just hanging out. As Rich’s career was in full swing and Shakur’s was just getting off the ground, Pac asked to be on a track with Rich. “Na, we’re doing gangsta music,” the rapper from the Rolling Hundreds told the young MC from Marin. “You on that Black Power shit.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The two stayed in contact, though, and Rich watched Tupac’s career explode. When Pac was incarcerated, they exchanged letters; mail that Rich wishes he would’ve kept. With a custom Harley motorcycle parked behind him, painted with Tupac’s face on it, Rich says, “When it’s your homeboy, you not planning on him dying and being one of the most famous people in the world.”\u003c/p>\n\u003cp>Before his death, Rich saw visible changes in Tupac. “He was moving too fast,” says Rich, who urged him to lead a more private life. But that didn’t happen. Rich had to accept that “my little homie became my big homie,” as he says. So Rich did his best to look out for him in life, and continues to represent for him after his death.\u003c/p>\n\u003cp>In addition to the customized motorcycle — named Makaveli — Rich has photos, a framed plaque of albums commemorating the songs they recorded together, and a set of coat hangers in the form of middle fingers. (Tupac loved flipping people off.) Rich also has a handwritten contract ensuring songwriting royalties for his contribution to the song “Heavy in the Game,” framed and mounted on the wall in his house — signed by Tupac and his late mother, Afeni Shakur, just months before Tupac’s death.\u003c/p>\n\u003cfigure id=\"attachment_13968028\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg\" alt=\"A handwritten contract by Tupac Shakur, ensuring Richie Rich gets royalties for their work together; written just months before Tupac's death.\" width=\"1800\" height=\"1510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1536x1289.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A handwritten contract by Tupac Shakur, ensuring that Richie Rich received royalties for their work together, written just months before Tupac’s death. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>ll of the art in Rich’s house is properly positioned. His crib is well-kept and organized. His cars are pristine and his head is shaved clean. It’s all a reflection of who he is, and an extension of the discipline his mother instilled in him.\u003c/p>\n\u003cp>But there are still times when everything isn’t all put together. Instances when the unpredictable happens, like when he hits the stage and literally breaks a leg. That’s when the cool, calm, collected Rich takes a backseat, and Double R comes out.\u003c/p>\n\u003cp>“I know what happened that day,” says Rich, reflecting on the day he fell at the Pergola. He suspects that someone else showed up inside of him — someone he’s known for a while.\u003c/p>\n\u003cp>“He always shows up when I’m in distress,” says Rich. The persona never stays there long enough to introduce himself, but Rich brags, “He’s raw. He knows how to rap, how to ride motorcycles, he knows how to drive cars. Yeah, he’s good at a lot of things.”\u003c/p>\n\u003cfigure id=\"attachment_13968029\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968029\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg\" alt=\"LaRussell, excited to see Richie Rich perform again, says this show was extra-special for his mother and father who were in the audience at The New Parish during the show.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell, excited to see Richie Rich perform again, says the New Parish show was extra-special for his mother and father, who were in the audience. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song that started all of this, “What We Doin!?,” was released in June 2024 — with some subtly prophetic lines. On the first verse, recorded weeks before Rich injured his leg while performing the song, LaRussell says “Broke a leg, re-learned how to stand.” In the third verse, Rich advises: “If you know me, never underestimate the OG.” Doctors told him it would take eight months to heal. Four months later he was back on stage.\u003c/p>\n\u003cp>At The New Parish on that Sunday afternoon in Oakland, Rich was sharp throughout the hour-long performance. A few weeks before the show, LaRussell had pulled some of his favorite Richie Rich tracks and asked if he could add them to the setlist. And though they didn’t rehearse beforehand, the two didn’t miss a beat, going through hit after hit, like Rich’s 2000 track “Playboy” and LaRussell’s 2021 song “GT Coupe.” They reimagined songs in never-before-heard iterations, spanning generations.\u003c/p>\n\u003cp>The following day, Rich tells me his leg is doing fine. Talking just after getting off the phone with LaRussell, he adds that the younger rapper discussed future collaborations and offered continued encouragement to the rapper who, nearly 30 years after his Def Jam debut, has more than earned the title \u003cem>Seasoned Veteran\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I didn’t know you was a dog like that, Double,” LaRussell told him. “A unc, you still got it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mosswood Meltdown Returns with Devo, Kreayshawn and More in 2025",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>New wave icons Devo will headline \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> when the festival returns to Oakland’s Mosswood Park July 19–20, 2025. The off-kilter hitmakers have enjoyed a strong 2024: Earlier this year, they released \u003ci>Art Devo\u003c/i>, a compilation of early, out-there tracks from 1973-1977, years before “Whip It” catapulted them into international fame. Hot off a \u003ca href=\"https://www.youtube.com/watch?v=VKvYRDhPt_0\">Tiny Desk concert\u003c/a> that showed the group in top form and playful as ever, Devo will make their Mosswood appearance between tour stops with My Chemical Romance.\u003c/p>\n\u003cp>Also announced on the Mosswood Meltdown lineup is “\u003ca href=\"https://youtu.be/6WJFjXtHcy4?si=RCxrzDm19FlOl0O9\">Gucci Gucci\u003c/a>” rapper Kreayshawn, who will perform live in her hometown for the first time in 10 years. Joining her are Osees, the ever-shifting indie rock band that got their start in San Francisco in the late ’90s and recently released the sci-fi punk album \u003ca href=\"https://ohsees.bandcamp.com/album/sorcs-80\">\u003ci>Sorcs 80\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Belgian punk band The Kids, who came onto the scene in the ’70s, and 2000s punk band The Exploding Hearts are also on the bill. Mosswood Meltdown will once again be hosted by filmmaker-provocateur John Waters. More acts will soon be announced, and \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2025-Early-Bird-Tickets/608893?afflky=MosswoodMeltdown&utm_source=hive&utm_medium=email&utm_campaign=hive_email_id_318862_mosswood-meltdown-early-birds&h_sid=f92278aaac-863d2e3a2d3d345cc113439d&h_slt=eyJoYXNoIjoiZjgxYzk0YTlhZWE0NTMyIiwiaGl2ZV91c2VyX2lkIjoyMzY5MDQ4Nn0%3D'\">early bird tickets\u003c/a> are on sale starting at $119.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A new music streaming app has entered the market.\u003c/p>\n\u003cp>It’s called Nintendo Music — and on it, you can listen to dozens of hours of music from games like \u003cem>Mario\u003c/em>, \u003cem>Zelda\u003c/em> and \u003cem>Donkey Kong\u003c/em>.\u003c/p>\n\u003cp>The app has had more than a million downloads since it launched on Oct. 30.\u003c/p>\n\u003cp>The early success, and the enthusiasm it’s received from fans, speaks to the unique history and appeal of Nintendo’s music.\u003c/p>\n\u003ch2>Nintendo: a melodic history\u003c/h2>\n\u003cp>Ben Kidd analyzes video game music on his YouTube channel, 8-bit Music Theory, with videos like “Why Animal Crossing Music Sounds Nostalgic” and “Why Does Mario Music Sound ‘Fun’?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vVwEeiyPfFg\u003c/p>\n\u003cp>Kidd says the popularity of his videos speaks to how much people care about video game music. But he says there’s also a number of things about Nintendo music specifically that resonates with people.\u003c/p>\n\u003cp>“I think the strength of Nintendo’s music really has to do with the strength of their early composers,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13826120']Composers like Koji Kondo, who helped pioneer video game music and crafted the ear-worming melodies you find in games like Super Mario Bros. or The Legend of Zelda.\u003c/p>\n\u003cp>Over the years, these same melodies have been remixed and re-interpreted across new games, creating a sense of nostalgia for players.\u003c/p>\n\u003cp>“It’s a bit of a chicken and egg situation,” Kidd says. “The melodies are so strong, that they’re easy to reuse, and very effective to reuse. And the more you reuse them across games, the stronger they get.”\u003c/p>\n\u003cp>Kidd also says that throughout the years, Nintendo has positioned its new, young composers to work alongside veterans of the industry. He points to composer Toru Minegishi, who contributed tracks to \u003cem>The Legend of Zelda: Majora’s Mask\u003c/em> alongside Koji Kondo in 2000, and then served as lead composer for \u003cem>The Legend Of Zelda: Twilight Princess\u003c/em> in 2006.\u003c/p>\n\u003cp>https://youtu.be/WXJiltJDlq4?si=hxeviNFmNYlzGyKa\u003c/p>\n\u003ch2>The broad appeal of video game music\u003c/h2>\n\u003cp>The Nintendo Music app owes its early success to more than just Nintendo music itself.\u003c/p>\n\u003cp>For years, people have been listening to video game music on other platforms, like YouTube. Playlists are all over the site, often organized around different tasks or feelings, like sleeping or studying.\u003c/p>\n\u003cp>[aside postid='arts_13952796']“Video game music is often designed to fill a background space without taking too much of the listener’s attention away,” says Harvey Jones, a musician who makes music inspired by video games under the moniker Pizza Hotline.\u003c/p>\n\u003cp>Jones is also part of the community on YouTube that shares and archives video game music.\u003c/p>\n\u003cp>“Around 2022, I began digging deep into ’90s and naughties video game soundtracks from consoles like the N64, the GameCube, the PS1 and the Dreamcast, and I found so many hidden bangers,” he says.\u003c/p>\n\u003cp>https://youtu.be/pgdwbJ9XIzk?si=4qZF30kJ7f-NLBvM\u003c/p>\n\u003cp>Video game playlists like this can garner millions of views. Jones says he sees Nintendo responding to this kind of demand.\u003c/p>\n\u003cp>“They’ve legitimized the video game music listening experience with this app,” he says.\u003c/p>\n\u003cp>Still, the app has garnered some criticisms. Kidd says one is that composers are not credited.\u003c/p>\n\u003cp>[aside postid='arts_13940293']“It would be nicer for them, I think, if people associated these soundtracks they love with the people who wrote them, rather than just the company they work for,” he says.\u003c/p>\n\u003cp>It’s the kind of information that he argues would also be useful for users of the app. In the same way a jazz fan might recognize the stylistic differences between John Coltrane or Hank Mobley, Kidd argues close listeners could draw their own observations about various Nintendo composers.\u003c/p>\n\u003cp>NPR reached out to Nintendo for comment about whether this feature would make its way onto the app, and has not yet received a response.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The company has already added additional music to the app since its launch, including songs from the \u003cem>Donkey Kong Country 2\u003c/em> soundtrack.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new music streaming app has entered the market.\u003c/p>\n\u003cp>It’s called Nintendo Music — and on it, you can listen to dozens of hours of music from games like \u003cem>Mario\u003c/em>, \u003cem>Zelda\u003c/em> and \u003cem>Donkey Kong\u003c/em>.\u003c/p>\n\u003cp>The app has had more than a million downloads since it launched on Oct. 30.\u003c/p>\n\u003cp>The early success, and the enthusiasm it’s received from fans, speaks to the unique history and appeal of Nintendo’s music.\u003c/p>\n\u003ch2>Nintendo: a melodic history\u003c/h2>\n\u003cp>Ben Kidd analyzes video game music on his YouTube channel, 8-bit Music Theory, with videos like “Why Animal Crossing Music Sounds Nostalgic” and “Why Does Mario Music Sound ‘Fun’?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The lineup for the 2025 \u003ca href=\"https://www.kqed.org/arts/tag/festival-la-onda\">Festival La Onda\u003c/a> in Napa has been announced. Headliners at the festival will be \u003cstrong>Marco Antonio Solis, Banda MS\u003c/strong> and \u003cstrong>Pepe Aguilar\u003c/strong> on Saturday, May 31, and \u003cstrong>Carin León\u003c/strong> and \u003cstrong>Grupo Firme\u003c/strong> on Sunday, June 1.\u003c/p>\n\u003cp>Saturday’s lineup at the second annual Latin music festival includes \u003cstrong>Xavi, Tito Double P, Yuridia, Chino Pacas, La Receta, Camila Fernández, Los Aptos, Sonora Tropicana, MAR, Edgar Alejandro\u003c/strong> and \u003cstrong>Christian Nava\u003c/strong>.\u003c/p>\n\u003cp>On Sunday, performers include \u003cstrong>Eden Muñoz, Codiciado, Oscar Maydon, Ángela Aguilar, Clave Especial, Alicia Villarreal, Michelle Maciel, Reyna Tropical, Miguel Cornejo, Erre, Los De La 4, Adriana Ríos\u003c/strong> and \u003cstrong>Ysrael Barajas\u003c/strong>.\u003c/p>\n\u003cp>Both two-day passes and single-day tickets will go on sale Friday, Nov. 15, at noon Pacific Time. General admission tickets begin at $218, with VIP options starting at $448 and up.\u003c/p>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Held the week after the BottleRock Napa Valley music festival on the same festival grounds at the Napa Valley Expo, Festival La Onda specializes in Latin music artists from various genres, including Regional Mexican, Latin Rock and Latin Pop. The festival is produced by BottleRock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reviewing \u003ca href=\"https://www.kqed.org/arts/13959079/photos-la-onda-festival-recap-napa\">the inaugural festival in 2024\u003c/a>, KQED’s Carlos Cabrera-Lomeleí wrote, “Perhaps only at Carnaval San Francisco do you see so many young Latinos and families together in one place. Rancheros, rockeros, bichotas, bellacos, homegirls, chavorrucos and more were all in the house.”\u003c/p>\n\u003cp>[aside postID='arts_13959079']With an estimated attendance of 65,000, the two-day festival in June 2024 was hailed as a success in Napa, where the region’s wine industry is dependent on the labor of tens of thousands of Latino and Indigenous workers. \u003c/p>\n\u003cp>The festival also features food, wine, a silent disco, Lucha Libre wrestling, a lowrider showcase and more. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more, see the \u003ca href=\"https://www.laondafest.com/\">official La Onda festival site\u003c/a>. \u003c/p>\n\n",
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"excerpt": "The Latin music festival returns with Xavi, Tito Double P, Eden Muñoz, Codiciado, Yuridia and many others. ",
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"title": "Festival La Onda 2025 Lineup: Marco Antonio Solis, Carin León, Grupo Firme, Banda MS, More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for the 2025 \u003ca href=\"https://www.kqed.org/arts/tag/festival-la-onda\">Festival La Onda\u003c/a> in Napa has been announced. Headliners at the festival will be \u003cstrong>Marco Antonio Solis, Banda MS\u003c/strong> and \u003cstrong>Pepe Aguilar\u003c/strong> on Saturday, May 31, and \u003cstrong>Carin León\u003c/strong> and \u003cstrong>Grupo Firme\u003c/strong> on Sunday, June 1.\u003c/p>\n\u003cp>Saturday’s lineup at the second annual Latin music festival includes \u003cstrong>Xavi, Tito Double P, Yuridia, Chino Pacas, La Receta, Camila Fernández, Los Aptos, Sonora Tropicana, MAR, Edgar Alejandro\u003c/strong> and \u003cstrong>Christian Nava\u003c/strong>.\u003c/p>\n\u003cp>On Sunday, performers include \u003cstrong>Eden Muñoz, Codiciado, Oscar Maydon, Ángela Aguilar, Clave Especial, Alicia Villarreal, Michelle Maciel, Reyna Tropical, Miguel Cornejo, Erre, Los De La 4, Adriana Ríos\u003c/strong> and \u003cstrong>Ysrael Barajas\u003c/strong>.\u003c/p>\n\u003cp>Both two-day passes and single-day tickets will go on sale Friday, Nov. 15, at noon Pacific Time. General admission tickets begin at $218, with VIP options starting at $448 and up.\u003c/p>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Held the week after the BottleRock Napa Valley music festival on the same festival grounds at the Napa Valley Expo, Festival La Onda specializes in Latin music artists from various genres, including Regional Mexican, Latin Rock and Latin Pop. The festival is produced by BottleRock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With an estimated attendance of 65,000, the two-day festival in June 2024 was hailed as a success in Napa, where the region’s wine industry is dependent on the labor of tens of thousands of Latino and Indigenous workers. \u003c/p>\n\u003cp>The festival also features food, wine, a silent disco, Lucha Libre wrestling, a lowrider showcase and more. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more, see the \u003ca href=\"https://www.laondafest.com/\">official La Onda festival site\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13967868\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg\" alt=\"Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses next to a handful of students, as they all hold an assortment of instruments, circa 2008.\" width=\"700\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n-160x114.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses with students, circa 2008. \u003ccite>(Courtesy of Oaktown Jazz Workshops)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Ravi Abcarian, the executive director of \u003ca href=\"https://www.oaktownjazz.org/main/\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops\u003c/a>, names artists who’ve honed their craft by participating in the program over the years, he unleashes an all-star roster of musicians.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://www.ambroseakinmusire.com/\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> was really the first generation, \u003ca href=\"https://www.daynastephens.net/\">Dayna Stephens\u003c/a> along with him,” Abcarian says, on a recent Zoom call. \u003c/span>\u003cspan style=\"font-weight: 400\">He adds acclaimed trumpeter \u003c/span>\u003ca href=\"http://jonathanfinlayson.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Finlayson\u003c/a> and renowned drummer \u003ca href=\"https://www.instagram.com/savvyknows/?hl=en\" target=\"_blank\" rel=\"noopener\">Savannah Harris.\u003c/a> He mentions educator and sound effects specialist for\u003cem> Saturday Night Live, \u003c/em>\u003ca href=\"https://www.geoffcountryman.com/bio\" target=\"_blank\" rel=\"noopener\">Geoffrey Countryman.\u003c/a> There’s \u003ca href=\"https://www.instagram.com/josiahwoodson/\" target=\"_blank\" rel=\"noopener\">Josiah Woodson,\u003c/a> who played trumpet on the song “Love on Top” by Beyoncé.\u003c/p>\n\u003cp>[aside postID='arts_13931138']“And of course, \u003ca href=\"https://www.instagram.com/aneesastrings/\" target=\"_blank\" rel=\"noopener\">Aneesa Strings\u003c/a>,” says Abcarian, adding the superstar upright bassist to the mix.\u003c/p>\n\u003cp>On Saturday, Nov. 16, \u003ca href=\"https://www.etix.com/ticket/p/56930736/oaktown-jazz-30th-anniversary-celebration-oakland-yoshis\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops will celebrate its 30th anniversary\u003c/a> with a show at Yoshi’s in Oakland. In true Oaktown Jazz Workshops fashion, Abcarian says, the event will have a deep community presence, conversations about ensuring access to jazz music for future generations and guest appearances from artists who’ve come through the program over the past three decades.\u003c/p>\n\u003cfigure id=\"attachment_13967940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967940 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at Bandcamp Record Store and Performance Space in Oakland (left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel).\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at Bandcamp in Oakland. Left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded by the late trumpeter and educator Khalil Shaheed, Oaktown Jazz Workshops is a nonprofit originally created in response to the lack of music classes in public schools. An added layer to the organization’s mission: bringing jazz directly to the community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In fact, they were so committed to that idea that at one point they booked artists like \u003ca href=\"https://www.kqed.org/arts/13924370/at-90-bay-area-sax-great-john-handy-is-still-composing-his-legacy\">saxophone legend John Handy\u003c/a> on a flatbed truck to hold live performances at neighborhood parks.\u003c/p>\n\u003cp>“That was the Groovemobile,” says Abcarian of the truck. He explains how artists like a young, soon-to-be Grammy award-winning singer \u003ca href=\"https://www.ledisi.com/\" target=\"_blank\" rel=\"noopener\">Ledisi\u003c/a> or renowned percussionist \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://johnsantosofficial.com/\" target=\"_blank\" rel=\"noopener\">John Santos\u003c/a> (performing at the Yoshi’s show), were conduits, bringing jazz to the community by playing on Saturday mornings at public parks and recreation centers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It brings a tear to my eyes as I think about the infancy of what Khalil was doing,” says tenor saxophonist and educator \u003ca href=\"https://www.richardhowellandsuddenchanges.com/\" target=\"_blank\" rel=\"noopener\">Richard Howell\u003c/a>, also on the Zoom call. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He\u003c/span>\u003cspan style=\"font-weight: 400\"> and Shaheed were close friends who played in many horn sections together. Shaheed died in 2012 at age 63. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13967949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967949 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg\" alt=\"Oaktown Jazz Workshops' Lead Instructor, Richard Howell and students.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Lead Instructor Richard Howell and students. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Shaheed first told Howell about the original idea for Oaktown Jazz Workshops, Howell says, “\u003cspan style=\"font-weight: 400\">I told him ‘I don’t want to teach any kids.’” \u003c/span>\u003cspan style=\"font-weight: 400\">But Howell soon folded, and when he’d step in to teach a class, Shaheed would find a way to step out.\u003c/span>\u003c/p>\n\u003cp>“He would disappear after he asked me to join him,” says Howell with a laugh, noting that it gave him a chance to share with the students the importance of improvisation. Now the program’s lead instructor, Howell says, “I love it with all my heart… This is one of the most rewarding things I’ve been doing for the last 15, 16 years.”\u003c/p>\n\u003cp>[aside postID='arts_13925710']Abcarian says the learning goes both ways in Oaktown Jazz, between students and teachers. Howell adds that being able to bring legendary artists into classes is a bonus.\u003c/p>\n\u003cp>“The great bassist Reggie Workman invited us, and we had the entire class in this one particular room,” says Howell, recalling one lecture where the students were left in disbelief. “The surprise of the day was that Sonny Rollins was on the Zoom call.”\u003c/p>\n\u003cfigure id=\"attachment_13967950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967950 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at the Hercules Public Library (left to right: Jordon Dabney, Teo Quale and Jayla Hernandez).\" width=\"800\" height=\"749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-1020x954.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-768x719.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217.jpg 1026w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at the Hercules Public Library. Left to right: Jordon Dabney, Teo Quale and Jayla Hernandez. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The program offers a variety of jazz lessons to students between the ages of 10 and 18, with new classes for young adults as well. Performances are held periodically, including some Sunday shows near their headquarters in Oakland’s Jack London Square.\u003c/p>\n\u003cp>“We get a lot of tourists coming through the area, and they see the kids playing, and the kids sound good,” exclaims Abcarian, “These people that are visiting the Bay Area, they hear it and they start tearing up, and they say ‘This reminds me of my neighborhood when I was growing up.’”\u003c/p>\n\u003cp>With jazz, community and education at the forefront, Oaktown Jazz Workshops looks to continue their work for years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oaktown Jazz Workshops’ 30th anniversary event is Saturday, Nov. 16, at Yoshi’s in Oakland. Hosted by KCSM’s Jesse “Chuy” Varela, the evening features live performances by Erika Oba, Jesse Levit, the John Santos Sextet, Richard Howell and more. \u003ca href=\"https://www.instagram.com/oaktownjazz/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13967868\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg\" alt=\"Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses next to a handful of students, as they all hold an assortment of instruments, circa 2008.\" width=\"700\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n-160x114.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses with students, circa 2008. \u003ccite>(Courtesy of Oaktown Jazz Workshops)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Ravi Abcarian, the executive director of \u003ca href=\"https://www.oaktownjazz.org/main/\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops\u003c/a>, names artists who’ve honed their craft by participating in the program over the years, he unleashes an all-star roster of musicians.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://www.ambroseakinmusire.com/\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> was really the first generation, \u003ca href=\"https://www.daynastephens.net/\">Dayna Stephens\u003c/a> along with him,” Abcarian says, on a recent Zoom call. \u003c/span>\u003cspan style=\"font-weight: 400\">He adds acclaimed trumpeter \u003c/span>\u003ca href=\"http://jonathanfinlayson.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Finlayson\u003c/a> and renowned drummer \u003ca href=\"https://www.instagram.com/savvyknows/?hl=en\" target=\"_blank\" rel=\"noopener\">Savannah Harris.\u003c/a> He mentions educator and sound effects specialist for\u003cem> Saturday Night Live, \u003c/em>\u003ca href=\"https://www.geoffcountryman.com/bio\" target=\"_blank\" rel=\"noopener\">Geoffrey Countryman.\u003c/a> There’s \u003ca href=\"https://www.instagram.com/josiahwoodson/\" target=\"_blank\" rel=\"noopener\">Josiah Woodson,\u003c/a> who played trumpet on the song “Love on Top” by Beyoncé.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“And of course, \u003ca href=\"https://www.instagram.com/aneesastrings/\" target=\"_blank\" rel=\"noopener\">Aneesa Strings\u003c/a>,” says Abcarian, adding the superstar upright bassist to the mix.\u003c/p>\n\u003cp>On Saturday, Nov. 16, \u003ca href=\"https://www.etix.com/ticket/p/56930736/oaktown-jazz-30th-anniversary-celebration-oakland-yoshis\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops will celebrate its 30th anniversary\u003c/a> with a show at Yoshi’s in Oakland. In true Oaktown Jazz Workshops fashion, Abcarian says, the event will have a deep community presence, conversations about ensuring access to jazz music for future generations and guest appearances from artists who’ve come through the program over the past three decades.\u003c/p>\n\u003cfigure id=\"attachment_13967940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967940 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at Bandcamp Record Store and Performance Space in Oakland (left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel).\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at Bandcamp in Oakland. Left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded by the late trumpeter and educator Khalil Shaheed, Oaktown Jazz Workshops is a nonprofit originally created in response to the lack of music classes in public schools. An added layer to the organization’s mission: bringing jazz directly to the community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In fact, they were so committed to that idea that at one point they booked artists like \u003ca href=\"https://www.kqed.org/arts/13924370/at-90-bay-area-sax-great-john-handy-is-still-composing-his-legacy\">saxophone legend John Handy\u003c/a> on a flatbed truck to hold live performances at neighborhood parks.\u003c/p>\n\u003cp>“That was the Groovemobile,” says Abcarian of the truck. He explains how artists like a young, soon-to-be Grammy award-winning singer \u003ca href=\"https://www.ledisi.com/\" target=\"_blank\" rel=\"noopener\">Ledisi\u003c/a> or renowned percussionist \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://johnsantosofficial.com/\" target=\"_blank\" rel=\"noopener\">John Santos\u003c/a> (performing at the Yoshi’s show), were conduits, bringing jazz to the community by playing on Saturday mornings at public parks and recreation centers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It brings a tear to my eyes as I think about the infancy of what Khalil was doing,” says tenor saxophonist and educator \u003ca href=\"https://www.richardhowellandsuddenchanges.com/\" target=\"_blank\" rel=\"noopener\">Richard Howell\u003c/a>, also on the Zoom call. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He\u003c/span>\u003cspan style=\"font-weight: 400\"> and Shaheed were close friends who played in many horn sections together. Shaheed died in 2012 at age 63. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13967949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967949 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg\" alt=\"Oaktown Jazz Workshops' Lead Instructor, Richard Howell and students.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Lead Instructor Richard Howell and students. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Shaheed first told Howell about the original idea for Oaktown Jazz Workshops, Howell says, “\u003cspan style=\"font-weight: 400\">I told him ‘I don’t want to teach any kids.’” \u003c/span>\u003cspan style=\"font-weight: 400\">But Howell soon folded, and when he’d step in to teach a class, Shaheed would find a way to step out.\u003c/span>\u003c/p>\n\u003cp>“He would disappear after he asked me to join him,” says Howell with a laugh, noting that it gave him a chance to share with the students the importance of improvisation. Now the program’s lead instructor, Howell says, “I love it with all my heart… This is one of the most rewarding things I’ve been doing for the last 15, 16 years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Abcarian says the learning goes both ways in Oaktown Jazz, between students and teachers. Howell adds that being able to bring legendary artists into classes is a bonus.\u003c/p>\n\u003cp>“The great bassist Reggie Workman invited us, and we had the entire class in this one particular room,” says Howell, recalling one lecture where the students were left in disbelief. “The surprise of the day was that Sonny Rollins was on the Zoom call.”\u003c/p>\n\u003cfigure id=\"attachment_13967950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967950 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at the Hercules Public Library (left to right: Jordon Dabney, Teo Quale and Jayla Hernandez).\" width=\"800\" height=\"749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-1020x954.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-768x719.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217.jpg 1026w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at the Hercules Public Library. Left to right: Jordon Dabney, Teo Quale and Jayla Hernandez. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The program offers a variety of jazz lessons to students between the ages of 10 and 18, with new classes for young adults as well. Performances are held periodically, including some Sunday shows near their headquarters in Oakland’s Jack London Square.\u003c/p>\n\u003cp>“We get a lot of tourists coming through the area, and they see the kids playing, and the kids sound good,” exclaims Abcarian, “These people that are visiting the Bay Area, they hear it and they start tearing up, and they say ‘This reminds me of my neighborhood when I was growing up.’”\u003c/p>\n\u003cp>With jazz, community and education at the forefront, Oaktown Jazz Workshops looks to continue their work for years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oaktown Jazz Workshops’ 30th anniversary event is Saturday, Nov. 16, at Yoshi’s in Oakland. Hosted by KCSM’s Jesse “Chuy” Varela, the evening features live performances by Erika Oba, Jesse Levit, the John Santos Sextet, Richard Howell and more. \u003ca href=\"https://www.instagram.com/oaktownjazz/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-grammy-nominees-sheila-e-ambrose-akinmusire-green-day-kehlani",
"title": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More",
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"headTitle": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More | KQED",
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"content": "\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago my dad mentioned an up-and-coming artist by the name of LaRussell. “No, seriously,” he said. “This dude is \u003cem>different! \u003c/em>You gotta check him out.” So I gave him a listen and I’ve been a fan ever since.\u003c/p>\n\u003cp>[aside postid='arts_13966525']Vallejo’s LaRussell has infiltrated the hip-hop industry in a way so many artists only dream of doing. Determined to stay “majorly independent,” the rapper built his own musical infrastructure right in his Bay Area home. LaRussell’s popular “Backyard Residency” concerts are quite literally held in his backyard, and the artist and his homies bring his backyard vibes to the Tiny Desk for what feels like a party with your most fun friends.\u003c/p>\n\u003cp>LaRussell makes sure to please both day one fans and new listeners with a jam-packed setlist that melds some of his best tracks together. He smiles and dances his way through a high-energy performance that solidifies his spot as one of the most memorable Tiny Desk Concerts I’ve attended thus far.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w40XbPyotj8\u003c/p>\n\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“Glory”/“Do That Lil Dance You Be Doing”\u003c/li>\n\u003cli>“GIVE ME A BEAT!”\u003c/li>\n\u003cli>“Caught Up in My Head”\u003c/li>\n\u003cli>“Hood Cry”/“Perfect”\u003c/li>\n\u003cli>“10s, 20s, 50s, 100s”/“Test Ya Nuts”/“Once Upon a Time”/“WHAT WE DOIN!?”\u003c/li>\n\u003cli>“When I Come Home”/“GT Coupe”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>LaRussell: vocals\u003c/li>\n\u003cli>Hokage Simon: piano, keys\u003c/li>\n\u003cli>ClayDough: keys\u003c/li>\n\u003cli>MadeByHarry: guitar\u003c/li>\n\u003cli>Michael Prince: violin\u003c/li>\n\u003cli>Tione: saxophone\u003c/li>\n\u003cli>Jimmy Toor: flute\u003c/li>\n\u003cli>Shante: vocals\u003c/li>\n\u003cli>Malachi: vocals\u003c/li>\n\u003cli>Tietta: vocals\u003c/li>\n\u003cli>Splash: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Alanté Serene\u003c/li>\n\u003cli>Director/Editor: Joshua Bryant\u003c/li>\n\u003cli>Audio Technical Director: Josh Newell\u003c/li>\n\u003cli>Host/Series Producer: Bobby Carter\u003c/li>\n\u003cli>Videographers: Joshua Bryant, Kara Frame, Estefania Mitre, Michael Zamora\u003c/li>\n\u003cli>Audio Engineer: Tiffany Viera Castro\u003c/li>\n\u003cli>Production Assistant: Ashley Pointer\u003c/li>\n\u003cli>Tiny Desk Team: Hazel Chills, Maia Stern\u003c/li>\n\u003cli>Executive Producer: Suraya Mohamed\u003c/li>\n\u003cli>Series Creators: Bob Boilen, Stephen Thompson\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago my dad mentioned an up-and-coming artist by the name of LaRussell. “No, seriously,” he said. “This dude is \u003cem>different! \u003c/em>You gotta check him out.” So I gave him a listen and I’ve been a fan ever since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Vallejo’s LaRussell has infiltrated the hip-hop industry in a way so many artists only dream of doing. Determined to stay “majorly independent,” the rapper built his own musical infrastructure right in his Bay Area home. LaRussell’s popular “Backyard Residency” concerts are quite literally held in his backyard, and the artist and his homies bring his backyard vibes to the Tiny Desk for what feels like a party with your most fun friends.\u003c/p>\n\u003cp>LaRussell makes sure to please both day one fans and new listeners with a jam-packed setlist that melds some of his best tracks together. He smiles and dances his way through a high-energy performance that solidifies his spot as one of the most memorable Tiny Desk Concerts I’ve attended thus far.\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/w40XbPyotj8'\n title='//www.youtube.com/embed/w40XbPyotj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“Glory”/“Do That Lil Dance You Be Doing”\u003c/li>\n\u003cli>“GIVE ME A BEAT!”\u003c/li>\n\u003cli>“Caught Up in My Head”\u003c/li>\n\u003cli>“Hood Cry”/“Perfect”\u003c/li>\n\u003cli>“10s, 20s, 50s, 100s”/“Test Ya Nuts”/“Once Upon a Time”/“WHAT WE DOIN!?”\u003c/li>\n\u003cli>“When I Come Home”/“GT Coupe”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>LaRussell: vocals\u003c/li>\n\u003cli>Hokage Simon: piano, keys\u003c/li>\n\u003cli>ClayDough: keys\u003c/li>\n\u003cli>MadeByHarry: guitar\u003c/li>\n\u003cli>Michael Prince: violin\u003c/li>\n\u003cli>Tione: saxophone\u003c/li>\n\u003cli>Jimmy Toor: flute\u003c/li>\n\u003cli>Shante: vocals\u003c/li>\n\u003cli>Malachi: vocals\u003c/li>\n\u003cli>Tietta: vocals\u003c/li>\n\u003cli>Splash: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Alanté Serene\u003c/li>\n\u003cli>Director/Editor: Joshua Bryant\u003c/li>\n\u003cli>Audio Technical Director: Josh Newell\u003c/li>\n\u003cli>Host/Series Producer: Bobby Carter\u003c/li>\n\u003cli>Videographers: Joshua Bryant, Kara Frame, Estefania Mitre, Michael Zamora\u003c/li>\n\u003cli>Audio Engineer: Tiffany Viera Castro\u003c/li>\n\u003cli>Production Assistant: Ashley Pointer\u003c/li>\n\u003cli>Tiny Desk Team: Hazel Chills, Maia Stern\u003c/li>\n\u003cli>Executive Producer: Suraya Mohamed\u003c/li>\n\u003cli>Series Creators: Bob Boilen, Stephen Thompson\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>This story is part of The California Report Magazine’s series about \u003ca href=\"https://www.kqed.org/news/tag/california-composers\">California composers\u003c/a>. Listen to this and more in-depth storytelling by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">subscribing\u003c/a> to The California Report Magazine podcast.\u003c/i>\u003c/p>\n\u003cp>It’s a Wednesday morning in \u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Kev Choice\u003c/a>’s studio, tucked away in the back of an industrial warehouse in East Oakland. The small, dark-purple room looks something like a wizard’s lair out of a fantasy novel, with tall, epic columns and dark curtains.\u003c/p>\n\u003cp>The Kev Choice Ensemble is rehearsing for a conference that’s bringing 2,000 activists, artists and academics from across the nation to Oakland to discuss topics like the Indigenous Land Back movement and Palestinian liberation. Choice sits at his keyboard, rapping about the painful legacy of slavery before affirming the power of everyday people to make change. As his jazz band grooves, they alchemize devastation into hope.\u003c/p>\n\u003cp>“What I try to bring is the purpose, the intention, of the message, and uplift the issues while giving people encouragement,” he says. “[I try] to create an environment where we can just have fun and be free and enjoy together for a moment in time, before we get back to the work.”\u003c/p>\n\u003cp>Choice speaks with the ease of someone who knows who he is and owns it, but it took him decades to move comfortably between his roots in hip-hop culture, his love of jazz and his classical training. Classical music used to turn its nose up at hip-hop. But in recent years orchestras have begun looking to collaborate with rappers to appeal to younger, more diverse audiences — basically, to stay relevant in the 21st century.\u003c/p>\n\u003cp>Now, the world is finally catching up to the forward-thinking vision Kev Choice has had for decades.\u003c/p>\n\u003cp>https://youtu.be/RMQbdElhnEo?si=itDr1mRXyofFuwJE\u003c/p>\n\u003ch2>Navigating separate musical worlds\u003c/h2>\n\u003cp>For Choice, breaking boundaries wasn’t easy — and not just musical boundaries, but those of race, class and culture. Growing up in Oakland in the ’80s and ’90s, he began writing rhymes and studying piano seriously in middle school. Even back then, he knew he’d have to compartmentalize his two worlds.\u003c/p>\n\u003cp>“I couldn’t talk to any of my teachers about hip-hop or making beats. They had no connection to that,” he says. “And then my hip-hop friends would kind of tease me about playing the piano.”\u003c/p>\n\u003cfigure id=\"attachment_13967710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-768x432.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice at his graduation from Xavier University in 1998. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Choice was undeterred: He excelled in high school orchestra and big band, and continued to rap and make beats after school. After nailing an audition at Xavier University, an HBCU in New Orleans, he got a full scholarship on the spot to study piano performance in the birthplace of jazz. Afterwards, he took off to Southern Illinois University for his master’s degree.\u003c/p>\n\u003cp>Choice excelled in classical piano, but he couldn’t see himself going the traditional orchestral route.\u003c/p>\n\u003cp>“Number one, because of the lack of diversity in that world,” he says. “It just seemed like it was such a narrow opportunity for a young African American pianist who wasn’t a prodigy at age four.” [ad fullwidth]\u003c/p>\n\u003ch2>An international tour with Michael Franti\u003c/h2>\n\u003cp>After grad school, Choice decided it was time to return to his roots. In 2000, he moved back to Oakland with the ambition of becoming a rap star. It was a fertile time for Bay Area hip-hop. Artists like E-40 and Too Short had already reached major-label success in years prior. Alternative hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Deltron 3030\u003c/a> were also making waves.\u003c/p>\n\u003cfigure id=\"attachment_13967711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967711\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg\" alt=\"A photocopied flyer reads: "88 Keys to the Mind, Body and Soul. A classical graduate piano recital presented by Kevin Choice. Most sought after pianist for campus occasions. Live you've never seen him before!!!!!!!!!!!! All the way live!!!!!!!!!!!! A must see for music lovers!!!!!!!!! This brotha is real!!!!!!!!"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Kev Choice’s graduation recital at Southern Illinois University. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working on his own music, Choice would also regularly pop up behind the keys at jam sessions, open mics or really anywhere there was a piano. Calls for auditions started coming, and he got hired to join Michael Franti and Spearhead on an international tour.\u003c/p>\n\u003cp>Franti had come out of the Bay Area’s underground hip-hop scene, and he attracted a global fan base with his fusion of hip-hop, reggae and funk. The opportunity expanded Choice’s world.\u003c/p>\n\u003cp>“Being a kid from Oakland and, you know, to be walking down the street in Switzerland or France or Belgium,” he reflects, “it blew my mind on what the world looked like and the connection of people to music as well. Like, how strong that was.”\u003c/p>\n\u003cp>The tour pushed Choice to grow his skillset — he had to trade his sheet music and piano for playing by ear on an electric keyboard. He had his own ambitions as a solo artist. But word got out after the Spearhead tour, and he became an in-demand sideman. In the years that followed, he went on the road with alternative and conscious hip-hop artists like Zion I and Lyrics Born.\u003c/p>\n\u003ch2>Around the world with Lauryn Hill\u003c/h2>\n\u003cp>In 2006, Choice got the opportunity of a lifetime: performing with Lauryn Hill. He even worked with her on a demo for a track that became “\u003ca href=\"https://youtu.be/kUvtyBW0Q_A?si=d3791VyTs2p4UAWJ\">Lose Myself\u003c/a>.” (It was featured on the soundtrack of \u003cem>Surf’s Up\u003c/em>, a 2007 animated film about surfing penguins.)\u003c/p>\n\u003cfigure id=\"attachment_13967716\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg\" alt=\"\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill-160x200.jpg 160w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice and Lauryn Hill on tour in 2006. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says their collaboration came together in a complete whirlwind. One day he got a call to meet Hill at an Emeryville studio. She was one of his idols, so of course, he said yes. It turned out to be an audition.\u003c/p>\n\u003cp>As she started playing her guitar, he began playing along on his keyboard.\u003c/p>\n\u003cp>“I think the other guys were, like, just confused,” he says, laughing. “They were like, what the hell is going on?”\u003c/p>\n\u003cp>Afterwards, Choice got another call: Could he put a band together for her? He scrambled, calling everyone he knew. Before long he was the musical director of an all-Bay Area band that accompanied Hill to shows in Hawaii, Japan and Brazil.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OPjcgZPGAq8\u003c/p>\n\u003cp>On tour, Choice was inspired by the way Hill carried herself, how she charted her own path and defied expectations.\u003c/p>\n\u003cp>“It gave me the courage that I could achieve anything in this industry,” he says.\u003c/p>\n\u003ch2>Giving it his all as a solo artist\u003c/h2>\n\u003cp>Choice came back to Oakland fired up. He was ready to dedicate himself to his own music, wholeheartedly. It paid off in 2014 when he came out with an album that made waves: \u003ca href=\"https://kevchoice.bandcamp.com/album/oakland-riviera\">\u003cem>Oakland Riviera\u003c/em>\u003c/a>. With lyrics addressing racial injustice, healing and Oakland pride, the project’s elaborate, propulsive instrumentation has a funky, jazzy Afrofuturist vibe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aJoftyUh8a0\u003c/p>\n\u003cp>At this point, Choice had cemented his reputation in hip-hop and jazz. And after \u003cem>Oakland Riviera\u003c/em>, he got the chance to show the world what he could do with his classical training. The opportunity arrived thanks to \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the late music director of the Oakland Symphony, who passed away in 2021.\u003c/p>\n\u003cp>Morgan was one of the nation’s few Black leaders of a major orchestra — and Choice had looked up to him since high school. When they met at a Recording Academy mixer, it turned out the maestro was already familiar with the younger man’s work. He invited Choice to compose his first piece for a full orchestra: 2018’s \u003cem>Soul Restoration Suite\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tiv9_GovdHY\u003c/p>\n\u003cp>The five-movement piece took that blend of hip-hop, classical and jazz that Choice had been trying to pull off for decades, and brought it to the next level. Choice conceptualized it as a love letter to Oakland through all of its struggles and triumphs. The first movement tells the story of the Spanish conquest of the area’s Ohlone inhabitants, and Choice’s words flow over lush orchestration.\u003c/p>\n\u003cp>Before this, Choice had composed for quartets and smaller ensembles, but he had never written for a full orchestra before. In Morgan, he found an open-minded mentor who took hip-hop seriously as an art form and appreciated Choice’s personal voice.\u003c/p>\n\u003cp>“I feel like he just kept encouraging me to take what I do as a band director, as a musician, as a hip-hop artist, and use the orchestra to enhance it,” he says. “And keep my original style. Like, don’t try to write like Beethoven. Don’t try to do Stravinsky, do your original music. But using the orchestra as another palette or as more colors to enhance.”\u003c/p>\n\u003cfigure id=\"attachment_13964203\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morgan had charted a path for Choice and so many others. He used his position and influence to create more space for Black musicians to be themselves in a largely white and notoriously elitist industry.\u003c/p>\n\u003cp>Today, Choice sits on the Oakland Symphony’s board, and he’s made it his mission to create opportunities for the next generation. In fact, if you drive past the intersection of 51st Street and Shattuck Avenue in North Oakland, you’ll see Choice and Michael Morgan in a mural together, looking hopefully out at a starry sky.\u003c/p>\n\u003cp>Like his mentor, who championed public music education, Choice spent nearly eight years teaching at Oakland School for the Arts. Today, he continues to serve the community in the music education program Elevate Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13967779\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland mural by Hungry Ghost Studio features Michael Morgan (center left) and Kev Choice (center right). \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A singular vision emerges\u003c/h2>\n\u003cp>Back at Choice’s rehearsal space, I chat with saxophonist \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a>.\u003c/p>\n\u003cp>“Kev is definitely the reason I’m a musician today,” he says.\u003c/p>\n\u003cp>Brame is one of Choice’s former students. At only 17 years old, he’s already headlined two sold-out shows at the jazz club Yoshi’s. He says it’s Choice’s versatility that inspires him.\u003c/p>\n\u003cp>“It shows how important that skillset is to know all genres of music and not be like, I don’t play classical or I don’t play rock music,” Brame adds. “He knows all of it. So yeah definitely, that’s one of my inspirations.”\u003c/p>\n\u003cp>These days, Choice might be busy with community work, but he hasn’t lost sight of his own music. His 2024 EP, \u003ca href=\"https://open.spotify.com/album/2WoxdPZgSbsJ6lVlgCGBJe\">\u003cem>All My Love\u003c/em>\u003c/a>, is the clearest distillation yet of his personal voice and vision.\u003c/p>\n\u003cp>It’s a vulnerable project that takes stock of how he’s shown up in relationships over the years. It examines his personal growth and maturation as a man.\u003c/p>\n\u003cp>The project culminates in the bittersweet song “Congratulations.”\u003c/p>\n\u003cp>https://youtu.be/52eYIEiDLXw?si=eK08m1l0u9QtBx4Z\u003c/p>\n\u003cp>Choice raps over moving piano arrangements, accompanied by a string quartet, harp and upright bass. In the lyrics, he speaks to an ex who is now getting married.\u003c/p>\n\u003cp>He’s happy for her and a little regretful, looking back at what went wrong and what could have been.\u003c/p>\n\u003cp>At his piano, Choice breaks down how his arrangements underscore the emotion of the track.\u003c/p>\n\u003cp>“Whenever I play ninth chords or minor chords, sometimes it can be dark. Some people say it may be very sad,” he says. “But I almost feel like it’s more sentimental. I’m thinking about what I was going through. And that chord really offers a lot of space to me for reflection.”\u003c/p>\n\u003cp>As I listen to him play, it’s hard not to feel an appreciation for the complicated beauty of the life lessons all of us go through.\u003c/p>\n\u003cp>Choice says \u003cem>All My Love\u003c/em> is just a teaser for a full-length project that’ll come out later this year. He also recently accepted a position as a tenure-track music professor at San Francisco State University. Over two decades into his career as a musician, educator and community advocate, Choice is finally getting the recognition he deserves.\u003c/p>\n\u003cp>“I feel like as a hip hop artist, I’m always trying to grow, try to get more expressive, try to stay relevant,” Choice affirms. “I don’t want my sound to ever get stale or not continue to evolve.”\u003c/p>\n\u003cp>That growth mindset has been a theme in Choice’s career since the very beginning, and it’s propelled so much more than his personal evolution. The hundreds of students he’s taught, and the countless audience members who’ve seen him live, have left with a little piece of his vision: to look beyond arbitrary boundaries, to come together and to better ourselves and our communities through art.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story is part of The California Report Magazine’s series about \u003ca href=\"https://www.kqed.org/news/tag/california-composers\">California composers\u003c/a>. Listen to this and more in-depth storytelling by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">subscribing\u003c/a> to The California Report Magazine podcast.\u003c/i>\u003c/p>\n\u003cp>It’s a Wednesday morning in \u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Kev Choice\u003c/a>’s studio, tucked away in the back of an industrial warehouse in East Oakland. The small, dark-purple room looks something like a wizard’s lair out of a fantasy novel, with tall, epic columns and dark curtains.\u003c/p>\n\u003cp>The Kev Choice Ensemble is rehearsing for a conference that’s bringing 2,000 activists, artists and academics from across the nation to Oakland to discuss topics like the Indigenous Land Back movement and Palestinian liberation. Choice sits at his keyboard, rapping about the painful legacy of slavery before affirming the power of everyday people to make change. As his jazz band grooves, they alchemize devastation into hope.\u003c/p>\n\u003cp>“What I try to bring is the purpose, the intention, of the message, and uplift the issues while giving people encouragement,” he says. “[I try] to create an environment where we can just have fun and be free and enjoy together for a moment in time, before we get back to the work.”\u003c/p>\n\u003cp>Choice speaks with the ease of someone who knows who he is and owns it, but it took him decades to move comfortably between his roots in hip-hop culture, his love of jazz and his classical training. Classical music used to turn its nose up at hip-hop. But in recent years orchestras have begun looking to collaborate with rappers to appeal to younger, more diverse audiences — basically, to stay relevant in the 21st century.\u003c/p>\n\u003cp>Now, the world is finally catching up to the forward-thinking vision Kev Choice has had for decades.\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/RMQbdElhnEo'\n title='//www.youtube.com/embed/RMQbdElhnEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Navigating separate musical worlds\u003c/h2>\n\u003cp>For Choice, breaking boundaries wasn’t easy — and not just musical boundaries, but those of race, class and culture. Growing up in Oakland in the ’80s and ’90s, he began writing rhymes and studying piano seriously in middle school. Even back then, he knew he’d have to compartmentalize his two worlds.\u003c/p>\n\u003cp>“I couldn’t talk to any of my teachers about hip-hop or making beats. They had no connection to that,” he says. “And then my hip-hop friends would kind of tease me about playing the piano.”\u003c/p>\n\u003cfigure id=\"attachment_13967710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-768x432.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice at his graduation from Xavier University in 1998. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Choice was undeterred: He excelled in high school orchestra and big band, and continued to rap and make beats after school. After nailing an audition at Xavier University, an HBCU in New Orleans, he got a full scholarship on the spot to study piano performance in the birthplace of jazz. Afterwards, he took off to Southern Illinois University for his master’s degree.\u003c/p>\n\u003cp>Choice excelled in classical piano, but he couldn’t see himself going the traditional orchestral route.\u003c/p>\n\u003cp>“Number one, because of the lack of diversity in that world,” he says. “It just seemed like it was such a narrow opportunity for a young African American pianist who wasn’t a prodigy at age four.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>An international tour with Michael Franti\u003c/h2>\n\u003cp>After grad school, Choice decided it was time to return to his roots. In 2000, he moved back to Oakland with the ambition of becoming a rap star. It was a fertile time for Bay Area hip-hop. Artists like E-40 and Too Short had already reached major-label success in years prior. Alternative hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Deltron 3030\u003c/a> were also making waves.\u003c/p>\n\u003cfigure id=\"attachment_13967711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967711\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg\" alt=\"A photocopied flyer reads: "88 Keys to the Mind, Body and Soul. A classical graduate piano recital presented by Kevin Choice. Most sought after pianist for campus occasions. Live you've never seen him before!!!!!!!!!!!! All the way live!!!!!!!!!!!! A must see for music lovers!!!!!!!!! This brotha is real!!!!!!!!"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Kev Choice’s graduation recital at Southern Illinois University. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working on his own music, Choice would also regularly pop up behind the keys at jam sessions, open mics or really anywhere there was a piano. Calls for auditions started coming, and he got hired to join Michael Franti and Spearhead on an international tour.\u003c/p>\n\u003cp>Franti had come out of the Bay Area’s underground hip-hop scene, and he attracted a global fan base with his fusion of hip-hop, reggae and funk. The opportunity expanded Choice’s world.\u003c/p>\n\u003cp>“Being a kid from Oakland and, you know, to be walking down the street in Switzerland or France or Belgium,” he reflects, “it blew my mind on what the world looked like and the connection of people to music as well. Like, how strong that was.”\u003c/p>\n\u003cp>The tour pushed Choice to grow his skillset — he had to trade his sheet music and piano for playing by ear on an electric keyboard. He had his own ambitions as a solo artist. But word got out after the Spearhead tour, and he became an in-demand sideman. In the years that followed, he went on the road with alternative and conscious hip-hop artists like Zion I and Lyrics Born.\u003c/p>\n\u003ch2>Around the world with Lauryn Hill\u003c/h2>\n\u003cp>In 2006, Choice got the opportunity of a lifetime: performing with Lauryn Hill. He even worked with her on a demo for a track that became “\u003ca href=\"https://youtu.be/kUvtyBW0Q_A?si=d3791VyTs2p4UAWJ\">Lose Myself\u003c/a>.” (It was featured on the soundtrack of \u003cem>Surf’s Up\u003c/em>, a 2007 animated film about surfing penguins.)\u003c/p>\n\u003cfigure id=\"attachment_13967716\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg\" alt=\"\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill-160x200.jpg 160w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice and Lauryn Hill on tour in 2006. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says their collaboration came together in a complete whirlwind. One day he got a call to meet Hill at an Emeryville studio. She was one of his idols, so of course, he said yes. It turned out to be an audition.\u003c/p>\n\u003cp>As she started playing her guitar, he began playing along on his keyboard.\u003c/p>\n\u003cp>“I think the other guys were, like, just confused,” he says, laughing. “They were like, what the hell is going on?”\u003c/p>\n\u003cp>Afterwards, Choice got another call: Could he put a band together for her? He scrambled, calling everyone he knew. Before long he was the musical director of an all-Bay Area band that accompanied Hill to shows in Hawaii, Japan and Brazil.\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/OPjcgZPGAq8'\n title='//www.youtube.com/embed/OPjcgZPGAq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On tour, Choice was inspired by the way Hill carried herself, how she charted her own path and defied expectations.\u003c/p>\n\u003cp>“It gave me the courage that I could achieve anything in this industry,” he says.\u003c/p>\n\u003ch2>Giving it his all as a solo artist\u003c/h2>\n\u003cp>Choice came back to Oakland fired up. He was ready to dedicate himself to his own music, wholeheartedly. It paid off in 2014 when he came out with an album that made waves: \u003ca href=\"https://kevchoice.bandcamp.com/album/oakland-riviera\">\u003cem>Oakland Riviera\u003c/em>\u003c/a>. With lyrics addressing racial injustice, healing and Oakland pride, the project’s elaborate, propulsive instrumentation has a funky, jazzy Afrofuturist vibe.\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/aJoftyUh8a0'\n title='//www.youtube.com/embed/aJoftyUh8a0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At this point, Choice had cemented his reputation in hip-hop and jazz. And after \u003cem>Oakland Riviera\u003c/em>, he got the chance to show the world what he could do with his classical training. The opportunity arrived thanks to \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the late music director of the Oakland Symphony, who passed away in 2021.\u003c/p>\n\u003cp>Morgan was one of the nation’s few Black leaders of a major orchestra — and Choice had looked up to him since high school. When they met at a Recording Academy mixer, it turned out the maestro was already familiar with the younger man’s work. He invited Choice to compose his first piece for a full orchestra: 2018’s \u003cem>Soul Restoration Suite\u003c/em>.\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/Tiv9_GovdHY'\n title='//www.youtube.com/embed/Tiv9_GovdHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The five-movement piece took that blend of hip-hop, classical and jazz that Choice had been trying to pull off for decades, and brought it to the next level. Choice conceptualized it as a love letter to Oakland through all of its struggles and triumphs. The first movement tells the story of the Spanish conquest of the area’s Ohlone inhabitants, and Choice’s words flow over lush orchestration.\u003c/p>\n\u003cp>Before this, Choice had composed for quartets and smaller ensembles, but he had never written for a full orchestra before. In Morgan, he found an open-minded mentor who took hip-hop seriously as an art form and appreciated Choice’s personal voice.\u003c/p>\n\u003cp>“I feel like he just kept encouraging me to take what I do as a band director, as a musician, as a hip-hop artist, and use the orchestra to enhance it,” he says. “And keep my original style. Like, don’t try to write like Beethoven. Don’t try to do Stravinsky, do your original music. But using the orchestra as another palette or as more colors to enhance.”\u003c/p>\n\u003cfigure id=\"attachment_13964203\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morgan had charted a path for Choice and so many others. He used his position and influence to create more space for Black musicians to be themselves in a largely white and notoriously elitist industry.\u003c/p>\n\u003cp>Today, Choice sits on the Oakland Symphony’s board, and he’s made it his mission to create opportunities for the next generation. In fact, if you drive past the intersection of 51st Street and Shattuck Avenue in North Oakland, you’ll see Choice and Michael Morgan in a mural together, looking hopefully out at a starry sky.\u003c/p>\n\u003cp>Like his mentor, who championed public music education, Choice spent nearly eight years teaching at Oakland School for the Arts. Today, he continues to serve the community in the music education program Elevate Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13967779\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland mural by Hungry Ghost Studio features Michael Morgan (center left) and Kev Choice (center right). \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A singular vision emerges\u003c/h2>\n\u003cp>Back at Choice’s rehearsal space, I chat with saxophonist \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a>.\u003c/p>\n\u003cp>“Kev is definitely the reason I’m a musician today,” he says.\u003c/p>\n\u003cp>Brame is one of Choice’s former students. At only 17 years old, he’s already headlined two sold-out shows at the jazz club Yoshi’s. He says it’s Choice’s versatility that inspires him.\u003c/p>\n\u003cp>“It shows how important that skillset is to know all genres of music and not be like, I don’t play classical or I don’t play rock music,” Brame adds. “He knows all of it. So yeah definitely, that’s one of my inspirations.”\u003c/p>\n\u003cp>These days, Choice might be busy with community work, but he hasn’t lost sight of his own music. His 2024 EP, \u003ca href=\"https://open.spotify.com/album/2WoxdPZgSbsJ6lVlgCGBJe\">\u003cem>All My Love\u003c/em>\u003c/a>, is the clearest distillation yet of his personal voice and vision.\u003c/p>\n\u003cp>It’s a vulnerable project that takes stock of how he’s shown up in relationships over the years. It examines his personal growth and maturation as a man.\u003c/p>\n\u003cp>The project culminates in the bittersweet song “Congratulations.”\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/52eYIEiDLXw'\n title='//www.youtube.com/embed/52eYIEiDLXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Choice raps over moving piano arrangements, accompanied by a string quartet, harp and upright bass. In the lyrics, he speaks to an ex who is now getting married.\u003c/p>\n\u003cp>He’s happy for her and a little regretful, looking back at what went wrong and what could have been.\u003c/p>\n\u003cp>At his piano, Choice breaks down how his arrangements underscore the emotion of the track.\u003c/p>\n\u003cp>“Whenever I play ninth chords or minor chords, sometimes it can be dark. Some people say it may be very sad,” he says. “But I almost feel like it’s more sentimental. I’m thinking about what I was going through. And that chord really offers a lot of space to me for reflection.”\u003c/p>\n\u003cp>As I listen to him play, it’s hard not to feel an appreciation for the complicated beauty of the life lessons all of us go through.\u003c/p>\n\u003cp>Choice says \u003cem>All My Love\u003c/em> is just a teaser for a full-length project that’ll come out later this year. He also recently accepted a position as a tenure-track music professor at San Francisco State University. Over two decades into his career as a musician, educator and community advocate, Choice is finally getting the recognition he deserves.\u003c/p>\n\u003cp>“I feel like as a hip hop artist, I’m always trying to grow, try to get more expressive, try to stay relevant,” Choice affirms. “I don’t want my sound to ever get stale or not continue to evolve.”\u003c/p>\n\u003cp>That growth mindset has been a theme in Choice’s career since the very beginning, and it’s propelled so much more than his personal evolution. The hundreds of students he’s taught, and the countless audience members who’ve seen him live, have left with a little piece of his vision: to look beyond arbitrary boundaries, to come together and to better ourselves and our communities through art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Close Your Phone, Leave the House: Things to Do This Post-Election Weekend",
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"content": "\u003cp>There’s no way to sugar-coat it: here in the Bay Area this week, a lot of people are holed up, feeling despair at another Trump presidency and doomscrolling on their phones.\u003c/p>\n\u003cp>Some of the more introverted among us prefer to stay home, and \u003ca href=\"https://introvertdear.com/news/id-rather-be-home-and-i-dont-feel-bad-about-it/\">that’s fine\u003c/a>. But man, there is no feeling so refreshing as getting outside and being among others, many of whom are probably feeling just the same as you.\u003c/p>\n\u003cp>Here’s a quick list of 25 outdoor events, concerts, exhibitions and more, all offering company or community, and all happening this weekend.\u003c/p>\n\u003cfigure id=\"attachment_13967872\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The View from Mission Peak trail. \u003ccite>(Sarah Mohamad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">\u003cstrong>Take a Hike\u003c/strong>\u003c/a>\u003cbr>\nNot to be all “touch grass,” but c’mon, you already know that going on a hike is helpful for anxiety. Call up that friend you haven’t seen in a while and consult our guide \u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">12 Bay Area Hikes and Nature Spots for Escaping the Election This Week\u003c/a>.\u003c/p>\n\u003cp>Opening Nov. 7, 6–8 p.m.: \u003ca href=\"https://altmansiegel.com/exhibitions/troy-lamarr-chew-ii/\">\u003cstrong>Troy Lamarr Chew II at Altman Siegel\u003c/strong>\u003c/a>\u003cbr>\nThe former Bay Area artist returns with a solo show of portraits that depict people as glassy, translucent outlines (à la \u003ci>The Secret World of Alex Mack\u003c/i>), underscoring their “invisibility” in contemporary society.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13959808/golden-boy-pizza-north-beach-sf-late-night\">\u003cstrong>Grab a slice at the new Golden Boy Pizza\u003c/strong>\u003c/a>\u003cbr>\nEveryone’s favorite San Francisco square slice shop just opened a brand new location. Golden Boy’s long-awaited Sunset location is slinging the same crunchy-bottomed, idiosyncratic pizzas that have been locally beloved since 1978, for takeout only. (Or you can, of course, always opt to head back to the North Beach original.)\u003c/p>\n\u003cfigure id=\"attachment_13967810\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png\" alt=\"An older Black man sits in an armchair, glancing over his shoulder disapprovingly.\" width=\"2000\" height=\"1295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1020x660.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1920x1243.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samuel L. Jackson stars in ‘The Piano Lesson.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967805/the-piano-lesson-august-wilson-malcolm-washington-samuel-jackson-streaming-netflix\">\u003cstrong>‘The Piano Lesson’\u003c/strong>\u003c/a>\u003cbr>\nBased on the recent Broadway production, this film version of August Wilson’s award-winning play should be excellent. With a cast including Samuel L. Jackson and John David Washington, it’s been getting good reviews.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967549/heretic-movie-review-hugh-grant-horror-mormon-missionaries-monopoly\">\u003cstrong>‘Heretic’\u003c/strong>\u003c/a>\u003cbr>\nThere are those of us who can turn our brains off by watching Hugh Grant being dashing in rom-coms like \u003cem>Notting Hill\u003c/em>, and there are those of us who would rather see him cardigan-clad, chilling and chattering about religion in this new horror from A24. \u003cem>Heretic\u003c/em> will keep your nerves and brain in high gear for its unnerving entirety.\u003c/p>\n\u003cp>Nov. 8–10: \u003ca href=\"https://www.kqed.org/arts/13967748/klay-thompson-art-show\">\u003cstrong>Klay Thompson Art Show at SoleSpace in Oakland\u003c/strong>\u003c/a>\u003cbr>\nThe great Splash Brother makes his return to the Bay Area this weekend in — sigh — a Mavericks uniform. Before he plays against his former team, this sneaker shop and creative space hosts an art show dedicated to the beloved ex-Warriors player.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967161/crass-logo-david-king-center-for-the-book-san-francisco-zines-flyers\">\u003cstrong>‘David King Publications 1977–2019’ at San Francisco Center for the Book \u003c/strong>\u003c/a>\u003cbr>\nBest known for designing the logo for punk band Crass, artist David King also illustrated zines and flyers, many of which make up this exhibit. In her review, Rae Alexandra said it “can only act as a sort of tasting menu — but oh, what a delicious introduction it is.”\u003c/p>\n\u003cfigure id=\"attachment_13966669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg\" alt='A giant, plastic \"durian king\" mascot with a spiky shell and a crown on his head.' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s “durian king” mascot. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13966665/durian-east-bay-richmond-99-ranch-malaysian\">\u003cstrong>Buy a whole Malaysian durian at Liu Shang Pin\u003c/strong>\u003c/a>\u003cbr>\nBecause surely there’s someone in your life who would feel comforted by some ripe, pungent tropical fruit. And if so, this new durian shop in Richmond is the swankiest spot to get your stink on.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://museumca.org/on-view/born-of-the-bear-dance-dugan-aguilars-photographs-of-native-california/\">\u003cstrong>‘Born of the Bear Dance: Dugan Aguilar’s Photographs of Native California’ at the Oakland Museum of California\u003c/strong>\u003c/a>\u003cbr>\nThis show of photographs by Dugan Aguilar (just a fraction of the museum’s recently acquired collection of the late artist’s personal archive) documents the vibrancy of Native life in the state between 1982 to 2018.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 8: \u003ca href=\"https://www.oaklandsymphony.org/event/two-black-churches-carmina-burana/\">\u003cstrong>Oakland Symphony’s ‘Two Black Churches + Carmina Burana’ at the Paramount Theatre\u003c/strong>\u003c/a>\u003cbr>\nNew music director Kedrick Armstrong leads the Oakland Symphony in his second program, featuring two pieces from living composer Shawn Okpebholo. (A post-election note, presented without comment: one of the first sections of Orff’s Carmina Burana is titled “I lament the wounds that fortune deals.”)\u003c/p>\n\u003cp>Nov. 8: \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">\u003cstrong>Chinatown Night Market\u003c/strong>\u003c/a>\u003cbr>\nFriday nights in San Francisco Chinatown are never as packed and lively as they are during this monthly \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">night market\u003c/a> — and this edition will be the \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">last market of the year\u003c/a>. Come early to avoid the longest lines, and enjoy the dim sum and boba stands, cultural performances and fun, family-friendly atmosphere. (5:30–9 p.m. on Grant Avenue, b/w Sacramento and Jackson)\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.thenewparkway.com/?action=tribe_event_day&tribe_event_display=day&tribe-bar-date=2024-11-09\">\u003cstrong>Cereal Cinema at Oakland’s New Parkway\u003c/strong>\u003c/a>\u003cbr>\nNostalgia is comforting, so mentally travel back to your childhood (and take your own kids with you, if you have them) to Cereal Cinema. The New Parkway Theater’s Saturday morning screening of classic cartoons is accompanied by — what else? — all-you-can-eat cereal. The retro fun starts at 10:30 a.m.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967093/marinmoca-san-rafael-opening-the-mountain-review\">\u003cstrong>Visit a brand new museum: MarinMOCA San Rafael\u003c/strong>\u003c/a>\u003cbr>\nIn this expansion beyond their Novato home base, MarinMOCA has curated an inaugural, intergenerational show that celebrates the exceptional art made in the shadow of Mount Tamalpais.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.kqed.org/arts/13967848/dahomey-review-mati-diop-benin-documentary\">\u003cstrong>‘Dahomey’ opens at the Roxie, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nMati Diop’s followup to her narrative film \u003ci>Atlantics\u003c/i> follows 26 statues and cultural objects on their repatriation journey from France to Benin. Our film critic calls it an “unexpectedly inspiring documentary” that “movingly captures the immediacy of art in contemporary life.”\u003c/p>\n\u003cfigure id=\"attachment_13967858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg\" alt=\"woman looks at rows of yellow printed paper\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to 41 Ross views Ho Tam’s work during his artist residency. \u003ccite>(Robert Borsdorf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 9, 12–4 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967856/chinatown-ross-alley-zine-festival-hotam-press\">\u003cstrong>Chinatown Ross Alley Zine Festival, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nCheck out work by 10 local publishers and 41 Ross Artist-in-Residence Hotam Press (all the way from Vancouver) in this afternoon-long event filled with art, zines, books and other cultural goodies.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://sflivefest.com/afrolicious-ggp-nov9\">\u003cstrong>Afrolicious at the Golden Gate Park Bandshell, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nAfrolicious always brings a dance party, and Saturday should be no exception in this, the final concert in the SF Live series. The Golden Gate Park bandshell sits right between the de Young and the California Academy of Sciences — two places to consider visiting to make a day of it. Los Calderones open.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.eventbrite.com/e/white-crate-4-year-anniversary-party-tickets-1048372108197\">\u003cstrong>White Crate Anniversary Party at El Rio, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nPicking up where the Bay Bridged left off, \u003ca href=\"https://www.kqed.org/arts/13960718/white-crate-bay-area-live-music\">White Crate\u003c/a> is a music site covering Bay Area indie music and beyond. Their fourth anniversary party at El Rio features bands Sour Widows, Tony Jay, Pocket Full of Crumbs and Margot James.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://rootdivision.org/exhibition/huq-i-seek-no-favor/\">\u003cstrong>‘HUQ: I Seek No Favor’ at San Francisco’s Root Division\u003c/strong>\u003c/a>\u003cbr>\nIf solidarity is what you seek this weekend, consider joining Root Division on Saturday for the opening reception of this exhibit that brings together more than 100 artists and writers to collectively respond to the impact of 2022’s Dobbs decision on reproductive rights. ‘Huq’ is an Urdu/Arabic word that means both ‘rights’ and ‘truth.’\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">\u003cstrong>San Francisco International Hip-Hop Dance Fest\u003c/strong>\u003c/a>\u003cbr>\nForget breakdancing in the Olympics. As part of \u003ca href=\"https://www.kqed.org/arts/13967488/san-francisco-hip-hop-month-november-2024\">San Francisco Hip-Hop Month\u003c/a>, this three-day fest brings dance troupes from all over the world together to battle for cash prizes.\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://wl.seetickets.us/event/a-special-spoken-word-matinee-lydia-lunch-eugene-robinson/623722?afflky=GreatAmericanMusicHall\">\u003cstrong>Lydia Lunch’s ‘Verbal Burlesque’ at the Great American Music Hall in SF\u003c/strong>\u003c/a> \u003cstrong>and the\u003c/strong> \u003ca href=\"https://www.ivyroom.com/#/events/117948\">\u003cstrong>Ivy Room in Albany\u003c/strong>\u003c/a>\u003cbr>\nOn any given day, Lydia Lunch’s provocative observations about herself, her life and the world around her are primed to provide solid distractions. This weekend she’s upping the ante with two spoken word sets of exclusively raunchy material. Lunch will perform a matinee show in San Francisco on Saturday and another in Albany on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_13899160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg\" alt=\"Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 10–11: \u003ca href=\"https://sanjosetheaters.org/event/sunami-ingrown-torena-monster-energy-outbreak-tour/\">\u003cstrong>Sunami at the San Jose Civic Auditorium\u003c/strong>\u003c/a> \u003cstrong>and\u003c/strong> \u003ca href=\"https://www.instagram.com/924gilmanstreet/p/C-Vi2S0u0kE/\">\u003cstrong>Berkeley’s 924 Gilman\u003c/strong>\u003c/a>\u003cbr>\nSometimes you just gotta get mad. Enter Sunami, one of the Bay Area’s best and most aggressive hardcore bands, known for their crowd’s insane pits. If \u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">slamming your body against hundreds of others\u003c/a> is your preferred method of catharsis, this is the show for you.\u003c/p>\n\u003cp>Nov. 10, 11 a.m.–3 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967722/personal-space-slipper-vallejo-review\">\u003cstrong>‘Slipper’ at Personal Space, Vallejo\u003c/strong>\u003c/a>\u003cbr>\nThe artist-run space packs plenty of art viewing into its small footprint, bringing together a group of artists who make objects that slip between registers: flesh and machine, digital and handmade, 2D and 3D. Also: a giant “fur” coat made, in part, from human hair!\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://gracecathedral.org/calendar-events/sound-meditation-11-11/\">\u003cstrong>The Sound Healing Symphony at Grace Cathedral, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nIf you need to simply chill out this weekend — but among others — the Sound Healing Symphony uses gongs, crystal bowls, vibraphone and didgeridoo to help attendees at scenic Grace Cathedral “go beyond the veil in a celebration of unity.”\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://www.axs.com/uk/events/670853/blood-incantation-tickets\">\u003cstrong>Blood Incantation at Cornerstone, Berkeley\u003c/strong>\u003c/a>\u003cbr>\nHow did this proggy metal band behind the landmark album \u003cem>Hidden History of the Human Race\u003c/em> kick things up a notch this year? With an even more complex, dizzying outing, \u003cem>Absolute Elsewhere\u003c/em>: a collision of death metal and krautrock.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Through Nov. 24: \u003ca href=\"https://haightstreetart.org/pages/home-show-a-chuck-sperry-retrospective\">\u003cstrong>A Chuck Sperry Retrospective at the Haight Street Art Center, SF\u003c/strong>\u003c/a>\u003cbr>\nSperry’s flower-power-infused visions of beauty are always a colorful shot of much-needed dopamine. The Haight Street Art Center is currently displaying a collection of the San Francisco artist’s silkscreen prints, rock posters and tapestries stretching across his 40-year career.\u003c/p>\n\n",
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"excerpt": "Don't despair at home alone. Here's are 25 ways to get outside and be among others this weekend.",
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"title": "Close Your Phone, Leave the House: Things to Do This Post-Election Weekend | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no way to sugar-coat it: here in the Bay Area this week, a lot of people are holed up, feeling despair at another Trump presidency and doomscrolling on their phones.\u003c/p>\n\u003cp>Some of the more introverted among us prefer to stay home, and \u003ca href=\"https://introvertdear.com/news/id-rather-be-home-and-i-dont-feel-bad-about-it/\">that’s fine\u003c/a>. But man, there is no feeling so refreshing as getting outside and being among others, many of whom are probably feeling just the same as you.\u003c/p>\n\u003cp>Here’s a quick list of 25 outdoor events, concerts, exhibitions and more, all offering company or community, and all happening this weekend.\u003c/p>\n\u003cfigure id=\"attachment_13967872\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The View from Mission Peak trail. \u003ccite>(Sarah Mohamad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">\u003cstrong>Take a Hike\u003c/strong>\u003c/a>\u003cbr>\nNot to be all “touch grass,” but c’mon, you already know that going on a hike is helpful for anxiety. Call up that friend you haven’t seen in a while and consult our guide \u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">12 Bay Area Hikes and Nature Spots for Escaping the Election This Week\u003c/a>.\u003c/p>\n\u003cp>Opening Nov. 7, 6–8 p.m.: \u003ca href=\"https://altmansiegel.com/exhibitions/troy-lamarr-chew-ii/\">\u003cstrong>Troy Lamarr Chew II at Altman Siegel\u003c/strong>\u003c/a>\u003cbr>\nThe former Bay Area artist returns with a solo show of portraits that depict people as glassy, translucent outlines (à la \u003ci>The Secret World of Alex Mack\u003c/i>), underscoring their “invisibility” in contemporary society.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13959808/golden-boy-pizza-north-beach-sf-late-night\">\u003cstrong>Grab a slice at the new Golden Boy Pizza\u003c/strong>\u003c/a>\u003cbr>\nEveryone’s favorite San Francisco square slice shop just opened a brand new location. Golden Boy’s long-awaited Sunset location is slinging the same crunchy-bottomed, idiosyncratic pizzas that have been locally beloved since 1978, for takeout only. (Or you can, of course, always opt to head back to the North Beach original.)\u003c/p>\n\u003cfigure id=\"attachment_13967810\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png\" alt=\"An older Black man sits in an armchair, glancing over his shoulder disapprovingly.\" width=\"2000\" height=\"1295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1020x660.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1920x1243.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samuel L. Jackson stars in ‘The Piano Lesson.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967805/the-piano-lesson-august-wilson-malcolm-washington-samuel-jackson-streaming-netflix\">\u003cstrong>‘The Piano Lesson’\u003c/strong>\u003c/a>\u003cbr>\nBased on the recent Broadway production, this film version of August Wilson’s award-winning play should be excellent. With a cast including Samuel L. Jackson and John David Washington, it’s been getting good reviews.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967549/heretic-movie-review-hugh-grant-horror-mormon-missionaries-monopoly\">\u003cstrong>‘Heretic’\u003c/strong>\u003c/a>\u003cbr>\nThere are those of us who can turn our brains off by watching Hugh Grant being dashing in rom-coms like \u003cem>Notting Hill\u003c/em>, and there are those of us who would rather see him cardigan-clad, chilling and chattering about religion in this new horror from A24. \u003cem>Heretic\u003c/em> will keep your nerves and brain in high gear for its unnerving entirety.\u003c/p>\n\u003cp>Nov. 8–10: \u003ca href=\"https://www.kqed.org/arts/13967748/klay-thompson-art-show\">\u003cstrong>Klay Thompson Art Show at SoleSpace in Oakland\u003c/strong>\u003c/a>\u003cbr>\nThe great Splash Brother makes his return to the Bay Area this weekend in — sigh — a Mavericks uniform. Before he plays against his former team, this sneaker shop and creative space hosts an art show dedicated to the beloved ex-Warriors player.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967161/crass-logo-david-king-center-for-the-book-san-francisco-zines-flyers\">\u003cstrong>‘David King Publications 1977–2019’ at San Francisco Center for the Book \u003c/strong>\u003c/a>\u003cbr>\nBest known for designing the logo for punk band Crass, artist David King also illustrated zines and flyers, many of which make up this exhibit. In her review, Rae Alexandra said it “can only act as a sort of tasting menu — but oh, what a delicious introduction it is.”\u003c/p>\n\u003cfigure id=\"attachment_13966669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg\" alt='A giant, plastic \"durian king\" mascot with a spiky shell and a crown on his head.' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s “durian king” mascot. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13966665/durian-east-bay-richmond-99-ranch-malaysian\">\u003cstrong>Buy a whole Malaysian durian at Liu Shang Pin\u003c/strong>\u003c/a>\u003cbr>\nBecause surely there’s someone in your life who would feel comforted by some ripe, pungent tropical fruit. And if so, this new durian shop in Richmond is the swankiest spot to get your stink on.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://museumca.org/on-view/born-of-the-bear-dance-dugan-aguilars-photographs-of-native-california/\">\u003cstrong>‘Born of the Bear Dance: Dugan Aguilar’s Photographs of Native California’ at the Oakland Museum of California\u003c/strong>\u003c/a>\u003cbr>\nThis show of photographs by Dugan Aguilar (just a fraction of the museum’s recently acquired collection of the late artist’s personal archive) documents the vibrancy of Native life in the state between 1982 to 2018.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 8: \u003ca href=\"https://www.oaklandsymphony.org/event/two-black-churches-carmina-burana/\">\u003cstrong>Oakland Symphony’s ‘Two Black Churches + Carmina Burana’ at the Paramount Theatre\u003c/strong>\u003c/a>\u003cbr>\nNew music director Kedrick Armstrong leads the Oakland Symphony in his second program, featuring two pieces from living composer Shawn Okpebholo. (A post-election note, presented without comment: one of the first sections of Orff’s Carmina Burana is titled “I lament the wounds that fortune deals.”)\u003c/p>\n\u003cp>Nov. 8: \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">\u003cstrong>Chinatown Night Market\u003c/strong>\u003c/a>\u003cbr>\nFriday nights in San Francisco Chinatown are never as packed and lively as they are during this monthly \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">night market\u003c/a> — and this edition will be the \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">last market of the year\u003c/a>. Come early to avoid the longest lines, and enjoy the dim sum and boba stands, cultural performances and fun, family-friendly atmosphere. (5:30–9 p.m. on Grant Avenue, b/w Sacramento and Jackson)\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.thenewparkway.com/?action=tribe_event_day&tribe_event_display=day&tribe-bar-date=2024-11-09\">\u003cstrong>Cereal Cinema at Oakland’s New Parkway\u003c/strong>\u003c/a>\u003cbr>\nNostalgia is comforting, so mentally travel back to your childhood (and take your own kids with you, if you have them) to Cereal Cinema. The New Parkway Theater’s Saturday morning screening of classic cartoons is accompanied by — what else? — all-you-can-eat cereal. The retro fun starts at 10:30 a.m.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967093/marinmoca-san-rafael-opening-the-mountain-review\">\u003cstrong>Visit a brand new museum: MarinMOCA San Rafael\u003c/strong>\u003c/a>\u003cbr>\nIn this expansion beyond their Novato home base, MarinMOCA has curated an inaugural, intergenerational show that celebrates the exceptional art made in the shadow of Mount Tamalpais.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.kqed.org/arts/13967848/dahomey-review-mati-diop-benin-documentary\">\u003cstrong>‘Dahomey’ opens at the Roxie, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nMati Diop’s followup to her narrative film \u003ci>Atlantics\u003c/i> follows 26 statues and cultural objects on their repatriation journey from France to Benin. Our film critic calls it an “unexpectedly inspiring documentary” that “movingly captures the immediacy of art in contemporary life.”\u003c/p>\n\u003cfigure id=\"attachment_13967858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg\" alt=\"woman looks at rows of yellow printed paper\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to 41 Ross views Ho Tam’s work during his artist residency. \u003ccite>(Robert Borsdorf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 9, 12–4 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967856/chinatown-ross-alley-zine-festival-hotam-press\">\u003cstrong>Chinatown Ross Alley Zine Festival, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nCheck out work by 10 local publishers and 41 Ross Artist-in-Residence Hotam Press (all the way from Vancouver) in this afternoon-long event filled with art, zines, books and other cultural goodies.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://sflivefest.com/afrolicious-ggp-nov9\">\u003cstrong>Afrolicious at the Golden Gate Park Bandshell, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nAfrolicious always brings a dance party, and Saturday should be no exception in this, the final concert in the SF Live series. The Golden Gate Park bandshell sits right between the de Young and the California Academy of Sciences — two places to consider visiting to make a day of it. Los Calderones open.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.eventbrite.com/e/white-crate-4-year-anniversary-party-tickets-1048372108197\">\u003cstrong>White Crate Anniversary Party at El Rio, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nPicking up where the Bay Bridged left off, \u003ca href=\"https://www.kqed.org/arts/13960718/white-crate-bay-area-live-music\">White Crate\u003c/a> is a music site covering Bay Area indie music and beyond. Their fourth anniversary party at El Rio features bands Sour Widows, Tony Jay, Pocket Full of Crumbs and Margot James.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://rootdivision.org/exhibition/huq-i-seek-no-favor/\">\u003cstrong>‘HUQ: I Seek No Favor’ at San Francisco’s Root Division\u003c/strong>\u003c/a>\u003cbr>\nIf solidarity is what you seek this weekend, consider joining Root Division on Saturday for the opening reception of this exhibit that brings together more than 100 artists and writers to collectively respond to the impact of 2022’s Dobbs decision on reproductive rights. ‘Huq’ is an Urdu/Arabic word that means both ‘rights’ and ‘truth.’\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">\u003cstrong>San Francisco International Hip-Hop Dance Fest\u003c/strong>\u003c/a>\u003cbr>\nForget breakdancing in the Olympics. As part of \u003ca href=\"https://www.kqed.org/arts/13967488/san-francisco-hip-hop-month-november-2024\">San Francisco Hip-Hop Month\u003c/a>, this three-day fest brings dance troupes from all over the world together to battle for cash prizes.\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://wl.seetickets.us/event/a-special-spoken-word-matinee-lydia-lunch-eugene-robinson/623722?afflky=GreatAmericanMusicHall\">\u003cstrong>Lydia Lunch’s ‘Verbal Burlesque’ at the Great American Music Hall in SF\u003c/strong>\u003c/a> \u003cstrong>and the\u003c/strong> \u003ca href=\"https://www.ivyroom.com/#/events/117948\">\u003cstrong>Ivy Room in Albany\u003c/strong>\u003c/a>\u003cbr>\nOn any given day, Lydia Lunch’s provocative observations about herself, her life and the world around her are primed to provide solid distractions. This weekend she’s upping the ante with two spoken word sets of exclusively raunchy material. Lunch will perform a matinee show in San Francisco on Saturday and another in Albany on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_13899160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg\" alt=\"Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 10–11: \u003ca href=\"https://sanjosetheaters.org/event/sunami-ingrown-torena-monster-energy-outbreak-tour/\">\u003cstrong>Sunami at the San Jose Civic Auditorium\u003c/strong>\u003c/a> \u003cstrong>and\u003c/strong> \u003ca href=\"https://www.instagram.com/924gilmanstreet/p/C-Vi2S0u0kE/\">\u003cstrong>Berkeley’s 924 Gilman\u003c/strong>\u003c/a>\u003cbr>\nSometimes you just gotta get mad. Enter Sunami, one of the Bay Area’s best and most aggressive hardcore bands, known for their crowd’s insane pits. If \u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">slamming your body against hundreds of others\u003c/a> is your preferred method of catharsis, this is the show for you.\u003c/p>\n\u003cp>Nov. 10, 11 a.m.–3 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967722/personal-space-slipper-vallejo-review\">\u003cstrong>‘Slipper’ at Personal Space, Vallejo\u003c/strong>\u003c/a>\u003cbr>\nThe artist-run space packs plenty of art viewing into its small footprint, bringing together a group of artists who make objects that slip between registers: flesh and machine, digital and handmade, 2D and 3D. Also: a giant “fur” coat made, in part, from human hair!\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://gracecathedral.org/calendar-events/sound-meditation-11-11/\">\u003cstrong>The Sound Healing Symphony at Grace Cathedral, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nIf you need to simply chill out this weekend — but among others — the Sound Healing Symphony uses gongs, crystal bowls, vibraphone and didgeridoo to help attendees at scenic Grace Cathedral “go beyond the veil in a celebration of unity.”\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://www.axs.com/uk/events/670853/blood-incantation-tickets\">\u003cstrong>Blood Incantation at Cornerstone, Berkeley\u003c/strong>\u003c/a>\u003cbr>\nHow did this proggy metal band behind the landmark album \u003cem>Hidden History of the Human Race\u003c/em> kick things up a notch this year? With an even more complex, dizzying outing, \u003cem>Absolute Elsewhere\u003c/em>: a collision of death metal and krautrock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through Nov. 24: \u003ca href=\"https://haightstreetart.org/pages/home-show-a-chuck-sperry-retrospective\">\u003cstrong>A Chuck Sperry Retrospective at the Haight Street Art Center, SF\u003c/strong>\u003c/a>\u003cbr>\nSperry’s flower-power-infused visions of beauty are always a colorful shot of much-needed dopamine. The Haight Street Art Center is currently displaying a collection of the San Francisco artist’s silkscreen prints, rock posters and tapestries stretching across his 40-year career.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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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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"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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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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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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"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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"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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"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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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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