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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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"content": "\u003cfigure id=\"attachment_13967787\" class=\"wp-caption aligncenter\" style=\"max-width: 1395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png\" alt=\"An orange book cover featuring a black and white image of a band.\" width=\"1395\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png 1395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-800x1147.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1020x1462.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-768x1101.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1071x1536.png 1071w\" sizes=\"auto, (max-width: 1395px) 100vw, 1395px\">\u003cfigcaption class=\"wp-caption-text\">‘The Name of This Band Is R.E.M.: A Biography’ by Peter Ames Carlin. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to read \u003cem>The Name of This Band is R.E.M.\u003c/em> is with a pair of headphones and a collection of the band’s albums on streaming services or CDs. Opt for the cassettes or vinyl if you want to go old school.\u003c/p>\n\u003cp>Peter Ames Carlin’s book isn’t just a cultural biography of the band going back to its formation in the-then sleepy college town of Athens, Georgia. It’s also a poetic meditation on what made so many of the band’s songs stand out, and continue to shine.\u003c/p>\n\u003cp>[aside postid='arts_13967509']“It was a new kind of post-punk, alternative music that straddled obscurity and directness, dissent and delicacy, unapologetic and unashamed pure pop,” he writes about the reaction to the band’s music in the early 1980s.\u003c/p>\n\u003cp>Carlin’s book offers plenty of behind the scenes details and trivia about R.E.M.’s rise. Fans will enjoy reading about how record executives were wary of making “Losing My Religion,” the band’s iconic hit, the first single from its album \u003cem>Out of Time\u003c/em>.\u003c/p>\n\u003cp>It’s also a fascinating history of a different era in music before social media created viral stars, when bands like R.E.M. rose up through college radio. The early sections of the book offer a vivid description of the music scene in Athens and the band’s beginning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book also explores the band’s political activism, including their work on environmental causes and promotion of the Rock the Vote campaign.\u003c/p>\n\u003cp>The band members didn’t agree to interviews for Carlin’s book, and that’s one of the few weaknesses of what is an otherwise well-researched history. Anyone hoping to discover major new revelations about the band and its members will likely be disappointed, but Carlin ably demonstrates the impact R.E.M.’s music has had and why its history is worth revisiting.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Name of This Band is R.E.M.’ is out now, via Doubleday.\u003c/em>\u003c/p>\n\n",
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"title": "‘In C’ Forever: The Eternal Evolution of Terry Riley’s Minimalist Masterpiece",
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"content": "\u003cp>Inspiration can spark in the most mundane circumstances. In 1964, a young composer named Terry Riley was on his way to work — playing ragtime piano at San Francisco’s Gold Street Saloon — when he had a light bulb moment that would alter the American musical landscape. A tiny, hiccuping, 2-note seed unexpectedly came to him.\u003c/p>\n\u003cp>“I was riding to work on the bus when I heard this first line come into my consciousness like somebody was playing it to me,” Riley recalls. “And I got quite excited, so as soon as I got off work that night, I went home and wrote down the first line.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qzmi7Wm10Y0\u003c/p>\n\u003cp>That seed blossomed into \u003cem>In C\u003c/em>, a piece which essentially launched the musical movement later known as minimalism.\u003c/p>\n\u003cp>In the early ’60s, Riley was among a cohort of free-thinking West Coast musicians experimenting with music, especially tape loops, and psychedelic drugs. The rest of \u003cem>In C\u003c/em> came to him quickly, but even after he had gathered all the musical ingredients, the piece wasn’t quite ready for prime time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we first started rehearsing it, nobody, including me, knew how to play it,” Riley says. “I had a kind of idea of how it should sound, but to rehearse it and actually turn it into music took a bit of doing.”\u003c/p>\n\u003cp>It took some doing because one of the things that makes \u003cem>In C\u003c/em> innovative is that it carries so few guidelines. And that’s the idea — the composer gives up control to the performers. The score is just a single page containing 53 short musical “riffs” that any number of musicians can play in order, but at their discretion. Every performance, by design, will sound completely different.\u003c/p>\n\u003cp>[aside postid='arts_13967652']One challenge the players faced in those early rehearsals was the lack of a solid pulse, a kind of click track to keep the players together. Enter Steve Reich. He was among the musicians who helped Riley introduce the piece, along with other soon-to-be-legendary composers Morton Subotnick and Pauline Oliveros.\u003c/p>\n\u003cp>William Robin, a University of Maryland music professor, has written about the history of the music in his book \u003cem>On Minimalism — Documenting a Musical Movement\u003c/em>, co-authored with Kerry O’Brien. He believes Reich’s contribution to \u003cem>In C\u003c/em> can’t be overstated. “Reich makes a simple but profound suggestion: What if a pianist simply plays two Cs high on the keyboard in octaves to start the piece and go continuously throughout?” Robin notes. “Basically it functions as a human metronome.” That pulse, he adds, is fundamental to the sound of \u003cem>In C\u003c/em>, giving it an infectious groove.\u003c/p>\n\u003cfigure id=\"attachment_13967715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png\" alt=\"A young man in a shirt and vest plays a piano inside a bar.\" width=\"2000\" height=\"1488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1920x1428.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley in 1961 at San Francisco’s Gold Street Saloon, where he played ragtime piano. Three years later, on a bus ride to the Saloon, he first formed the idea for ‘In C.’ \u003ccite>(Terry Riley Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, on Nov. 4, 1964, Riley and his group of like-minded musicians debuted \u003cem>In C\u003c/em> at San Francisco’s Tape Music Center, a haven of electronic and new music. Four days later, the headline for a review of the concert in the \u003cem>San Francisco Chronicle\u003c/em> read: “Music Like none Other on Earth.” The reviewer, Alfred Frankenstein, ended by declaring \u003cem>In C\u003c/em> “the evening’s masterpiece.”\u003c/p>\n\u003cp>Cellist Maya Beiser agrees. She first heard \u003cem>In C\u003c/em> as a 17-year-old high schooler who stumbled across the LP in a record shop. “I immediately felt that it was such a genius thing, akin to E=mc\u003csup>2\u003c/sup>,” she says. “The idea of an open score was just so beautiful and revolutionary. I was blown away by that simple idea and by the notion of freedom that it presented.”\u003c/p>\n\u003cp>[aside postid='arts_13967625']Beiser released her own unique version of \u003cem>In C\u003c/em> earlier this year. Her experiment began as an off-the-cuff gift for Riley, then after his blessing, it blossomed into a recording.\u003c/p>\n\u003cp>Appropriate to Riley’s improvisatory way of thinking, Beiser and her recording engineer began with a mostly blank slate, just Riley’s spartan score. “We started to kind of loop all those melodic modules and I literally found my way into it as I was going because I deliberately didn’t want to decide anything,” she recalls. Armed with just her cello, a looping machine and a pair of percussionists, Beiser emphasizes the deep, sometimes headbanging, grooves inherent in the music.\u003c/p>\n\u003cp>“She broke it down into sections and integrated each section very distinctly,” Riley says. “Something I hadn’t thought of doing myself. There’s always somebody finding new ways to use these materials.” In Beiser’s rendition, there’s a grungy section with whiffs of Led Zeppelin’s “Kashmir,” a vocal passage interlacing her voice and cello in a nod to the medieval hocket style of singing, and plenty of lovely droning with the low C string of Beiser’s processed cello ricocheting off the drummers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kMXABhDw5zw\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Unlike Beiser’s mostly solo approach, \u003cem>In C\u003c/em> is usually played by at least a dozen or more musicians, which emphasizes its communal powers. “One of the things that \u003cem>In C\u003c/em> has done over the years, has helped to connect people of different backgrounds,” Riley says.\u003c/p>\n\u003cp>That connection mushroomed in 1968, when Riley recorded \u003cem>In C\u003c/em> for Columbia Records. Suddenly, this strange new music was catapulted directly into the mainstream, while taking aim at the new, youthful counterculture. \u003cem>In C\u003c/em> was on the map, with an album that actually \u003cem>contained\u003c/em> a map to the piece itself.\u003c/p>\n\u003cp>“This was an incredibly popular recording,” Robin says. “It stayed in Columbia’s catalog, unlike plenty of other avant-garde records. And one of the cool things is that it actually prints the full score for the piece on the sleeve of the record. So they were empowering people, potentially, to actually organize their own performances of this piece.”\u003c/p>\n\u003cp>This was at a time, Robin points out, “when a lot of American composition is extremely inaccessible in terms of the musical language — composers writing highly atonal, cerebral scientific music.” \u003cem>In C\u003c/em>, in its singular way, thumbed its nose at the academy.\u003c/p>\n\u003cp>[aside postid='arts_13967509']“Terry just came into it from a completely different place,” Beiser notes. “Because he studied in India, he was influenced by Indian classical music, by African music, by all these other non-Western traditions, and of course, free jazz improvisation.”\u003c/p>\n\u003cp>Improvisation is at the heart of much of Riley’s music. And one way in which \u003cem>In C\u003c/em> takes a page from Indian classical music is that within strict parameters there’s room for the player to make their own decisions.\u003c/p>\n\u003cp>“What makes \u003cem>In C\u003c/em> such a landmark work is that it is kind of right at the center of pushing the boundaries of what music could be,” Robin says, “while also having this incredibly rich and attractive soundscape that’s groovy in a way that pop music was groovy in the mid-’60s.”\u003c/p>\n\u003cp>\u003cem>In C\u003c/em> has been groovy enough to attract a surprisingly wide array of musicians. A brief survey of recordings includes: an\u003ca href=\"https://www.youtube.com/watch?v=YGCp4PPaRSg&t=181s\"> orchestra of Chinese instruments\u003c/a> from Shanghai,\u003ca href=\"https://www.youtube.com/watch?v=iDd9WY9ddDs\"> musicians\u003c/a> from West Africa, a Swiss\u003ca href=\"https://www.youtube.com/watch?v=fQpHLbDI-b4&list=PLOpS8ze-MAmFecrwk9N0szxKWr4A5O0rS&index=8\"> industrial band\u003c/a>,\u003ca href=\"https://www.youtube.com/watch?v=gO5xa01tfV8\"> Indian musicians\u003c/a> from Brooklyn, Japanese\u003ca href=\"https://www.youtube.com/watch?v=fH0ml4yp-Rs\"> acid rock\u003c/a>, a group of\u003ca href=\"https://www.youtube.com/watch?v=Z7FmozBZBG8\"> 10 harpists\u003c/a> in Holland and an orchestra of\u003ca href=\"https://www.youtube.com/watch?v=LmttdbOW3Ys\"> electric guitars\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LmttdbOW3Ys\u003c/p>\n\u003cp>Riley’s piece also works perfectly in amateur settings. With his students, Robin organizes annual performances of \u003cem>In C\u003c/em>. “It is just one of those joyful experiences as a musician,” he says. “The nature of the music — it is at once fully notated, but it has the sound, the ethos, of this kind of communal jam session, where musicians are repeating these little riffs over and over and over again.” At Robin’s most recent performance in May, bassoon, tuba and piano traded riffs with banjo, vibraphones and Robin’s own alto sax, amid a wash of another dozen players.\u003c/p>\n\u003cp>Even at the beginning, Riley understood how \u003cem>In C\u003c/em> was influential. “Other composers were taking an interest in what I was doing,” he remembers. “So I knew that it was going to have some significance.”\u003c/p>\n\u003cp>[aside postid='arts_13967351']It turned out to be game-changing. Both Philip Glass and Steve Reich quickly embraced Riley’s evolving repetition. It’s hard to imagine minimalist classics like Glass’\u003ca href=\"https://www.youtube.com/watch?v=pRerJeYmUgY\"> \u003cem>Einstein on the Beach\u003c/em>\u003c/a> from 1976, or Reich’s\u003ca href=\"https://www.youtube.com/watch?v=3ou9J844io0\"> \u003cem>Music for 18 Musicians\u003c/em>\u003c/a>, completed that same year, without \u003cem>In C\u003c/em>. And today, the music is all around us, from Taylor Swift’s song “\u003ca href=\"https://www.youtube.com/watch?v=HpxX4ZE4KWE\">Peace\u003c/a>,” with its copycat Riley pulse, to music for television, film and\u003ca href=\"https://www.youtube.com/watch?v=JAFIWlEUXoQ\"> commercials\u003c/a>.\u003c/p>\n\u003cp>While we’re not living in the same counterculture-fueled moment as Riley was when he wrote his most famous piece, there is a strong appetite today for ambient and electronic music you can bliss out to, and for performances of \u003cem>In C\u003c/em> itself. “People want to go hear an hour of transcendent music,” Robin suggests. “And it’s a tribute to this lightning rod moment for Riley, where he put it all down to the endurance of minimalism as an artistic movement that’s been so profoundly influential on popular culture.”\u003c/p>\n\u003cp>At 89, Riley still composes every day, with a view of Mount Fuji from his home in Japan. And he doesn’t mind looking back to that bus ride so long ago, and the spark of inspiration that helped ignite a musical movement with a piece of music that, after 60 years, continues to fascinate new audiences and evolve in the hands of anyone who plays it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“\u003cem>In C\u003c/em> is like one of your children,” he says with a wry chuckle. “They went out, became famous, did some good things, met some other people. And turned out to be something different than you imagined at the beginning.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspiration can spark in the most mundane circumstances. In 1964, a young composer named Terry Riley was on his way to work — playing ragtime piano at San Francisco’s Gold Street Saloon — when he had a light bulb moment that would alter the American musical landscape. A tiny, hiccuping, 2-note seed unexpectedly came to him.\u003c/p>\n\u003cp>“I was riding to work on the bus when I heard this first line come into my consciousness like somebody was playing it to me,” Riley recalls. “And I got quite excited, so as soon as I got off work that night, I went home and wrote down the first line.”\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/qzmi7Wm10Y0'\n title='//www.youtube.com/embed/qzmi7Wm10Y0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That seed blossomed into \u003cem>In C\u003c/em>, a piece which essentially launched the musical movement later known as minimalism.\u003c/p>\n\u003cp>In the early ’60s, Riley was among a cohort of free-thinking West Coast musicians experimenting with music, especially tape loops, and psychedelic drugs. The rest of \u003cem>In C\u003c/em> came to him quickly, but even after he had gathered all the musical ingredients, the piece wasn’t quite ready for prime time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we first started rehearsing it, nobody, including me, knew how to play it,” Riley says. “I had a kind of idea of how it should sound, but to rehearse it and actually turn it into music took a bit of doing.”\u003c/p>\n\u003cp>It took some doing because one of the things that makes \u003cem>In C\u003c/em> innovative is that it carries so few guidelines. And that’s the idea — the composer gives up control to the performers. The score is just a single page containing 53 short musical “riffs” that any number of musicians can play in order, but at their discretion. Every performance, by design, will sound completely different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One challenge the players faced in those early rehearsals was the lack of a solid pulse, a kind of click track to keep the players together. Enter Steve Reich. He was among the musicians who helped Riley introduce the piece, along with other soon-to-be-legendary composers Morton Subotnick and Pauline Oliveros.\u003c/p>\n\u003cp>William Robin, a University of Maryland music professor, has written about the history of the music in his book \u003cem>On Minimalism — Documenting a Musical Movement\u003c/em>, co-authored with Kerry O’Brien. He believes Reich’s contribution to \u003cem>In C\u003c/em> can’t be overstated. “Reich makes a simple but profound suggestion: What if a pianist simply plays two Cs high on the keyboard in octaves to start the piece and go continuously throughout?” Robin notes. “Basically it functions as a human metronome.” That pulse, he adds, is fundamental to the sound of \u003cem>In C\u003c/em>, giving it an infectious groove.\u003c/p>\n\u003cfigure id=\"attachment_13967715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png\" alt=\"A young man in a shirt and vest plays a piano inside a bar.\" width=\"2000\" height=\"1488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1920x1428.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley in 1961 at San Francisco’s Gold Street Saloon, where he played ragtime piano. Three years later, on a bus ride to the Saloon, he first formed the idea for ‘In C.’ \u003ccite>(Terry Riley Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, on Nov. 4, 1964, Riley and his group of like-minded musicians debuted \u003cem>In C\u003c/em> at San Francisco’s Tape Music Center, a haven of electronic and new music. Four days later, the headline for a review of the concert in the \u003cem>San Francisco Chronicle\u003c/em> read: “Music Like none Other on Earth.” The reviewer, Alfred Frankenstein, ended by declaring \u003cem>In C\u003c/em> “the evening’s masterpiece.”\u003c/p>\n\u003cp>Cellist Maya Beiser agrees. She first heard \u003cem>In C\u003c/em> as a 17-year-old high schooler who stumbled across the LP in a record shop. “I immediately felt that it was such a genius thing, akin to E=mc\u003csup>2\u003c/sup>,” she says. “The idea of an open score was just so beautiful and revolutionary. I was blown away by that simple idea and by the notion of freedom that it presented.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beiser released her own unique version of \u003cem>In C\u003c/em> earlier this year. Her experiment began as an off-the-cuff gift for Riley, then after his blessing, it blossomed into a recording.\u003c/p>\n\u003cp>Appropriate to Riley’s improvisatory way of thinking, Beiser and her recording engineer began with a mostly blank slate, just Riley’s spartan score. “We started to kind of loop all those melodic modules and I literally found my way into it as I was going because I deliberately didn’t want to decide anything,” she recalls. Armed with just her cello, a looping machine and a pair of percussionists, Beiser emphasizes the deep, sometimes headbanging, grooves inherent in the music.\u003c/p>\n\u003cp>“She broke it down into sections and integrated each section very distinctly,” Riley says. “Something I hadn’t thought of doing myself. There’s always somebody finding new ways to use these materials.” In Beiser’s rendition, there’s a grungy section with whiffs of Led Zeppelin’s “Kashmir,” a vocal passage interlacing her voice and cello in a nod to the medieval hocket style of singing, and plenty of lovely droning with the low C string of Beiser’s processed cello ricocheting off the drummers.\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/kMXABhDw5zw'\n title='//www.youtube.com/embed/kMXABhDw5zw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Unlike Beiser’s mostly solo approach, \u003cem>In C\u003c/em> is usually played by at least a dozen or more musicians, which emphasizes its communal powers. “One of the things that \u003cem>In C\u003c/em> has done over the years, has helped to connect people of different backgrounds,” Riley says.\u003c/p>\n\u003cp>That connection mushroomed in 1968, when Riley recorded \u003cem>In C\u003c/em> for Columbia Records. Suddenly, this strange new music was catapulted directly into the mainstream, while taking aim at the new, youthful counterculture. \u003cem>In C\u003c/em> was on the map, with an album that actually \u003cem>contained\u003c/em> a map to the piece itself.\u003c/p>\n\u003cp>“This was an incredibly popular recording,” Robin says. “It stayed in Columbia’s catalog, unlike plenty of other avant-garde records. And one of the cool things is that it actually prints the full score for the piece on the sleeve of the record. So they were empowering people, potentially, to actually organize their own performances of this piece.”\u003c/p>\n\u003cp>This was at a time, Robin points out, “when a lot of American composition is extremely inaccessible in terms of the musical language — composers writing highly atonal, cerebral scientific music.” \u003cem>In C\u003c/em>, in its singular way, thumbed its nose at the academy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Terry just came into it from a completely different place,” Beiser notes. “Because he studied in India, he was influenced by Indian classical music, by African music, by all these other non-Western traditions, and of course, free jazz improvisation.”\u003c/p>\n\u003cp>Improvisation is at the heart of much of Riley’s music. And one way in which \u003cem>In C\u003c/em> takes a page from Indian classical music is that within strict parameters there’s room for the player to make their own decisions.\u003c/p>\n\u003cp>“What makes \u003cem>In C\u003c/em> such a landmark work is that it is kind of right at the center of pushing the boundaries of what music could be,” Robin says, “while also having this incredibly rich and attractive soundscape that’s groovy in a way that pop music was groovy in the mid-’60s.”\u003c/p>\n\u003cp>\u003cem>In C\u003c/em> has been groovy enough to attract a surprisingly wide array of musicians. A brief survey of recordings includes: an\u003ca href=\"https://www.youtube.com/watch?v=YGCp4PPaRSg&t=181s\"> orchestra of Chinese instruments\u003c/a> from Shanghai,\u003ca href=\"https://www.youtube.com/watch?v=iDd9WY9ddDs\"> musicians\u003c/a> from West Africa, a Swiss\u003ca href=\"https://www.youtube.com/watch?v=fQpHLbDI-b4&list=PLOpS8ze-MAmFecrwk9N0szxKWr4A5O0rS&index=8\"> industrial band\u003c/a>,\u003ca href=\"https://www.youtube.com/watch?v=gO5xa01tfV8\"> Indian musicians\u003c/a> from Brooklyn, Japanese\u003ca href=\"https://www.youtube.com/watch?v=fH0ml4yp-Rs\"> acid rock\u003c/a>, a group of\u003ca href=\"https://www.youtube.com/watch?v=Z7FmozBZBG8\"> 10 harpists\u003c/a> in Holland and an orchestra of\u003ca href=\"https://www.youtube.com/watch?v=LmttdbOW3Ys\"> electric guitars\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/LmttdbOW3Ys'\n title='//www.youtube.com/embed/LmttdbOW3Ys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Riley’s piece also works perfectly in amateur settings. With his students, Robin organizes annual performances of \u003cem>In C\u003c/em>. “It is just one of those joyful experiences as a musician,” he says. “The nature of the music — it is at once fully notated, but it has the sound, the ethos, of this kind of communal jam session, where musicians are repeating these little riffs over and over and over again.” At Robin’s most recent performance in May, bassoon, tuba and piano traded riffs with banjo, vibraphones and Robin’s own alto sax, amid a wash of another dozen players.\u003c/p>\n\u003cp>Even at the beginning, Riley understood how \u003cem>In C\u003c/em> was influential. “Other composers were taking an interest in what I was doing,” he remembers. “So I knew that it was going to have some significance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It turned out to be game-changing. Both Philip Glass and Steve Reich quickly embraced Riley’s evolving repetition. It’s hard to imagine minimalist classics like Glass’\u003ca href=\"https://www.youtube.com/watch?v=pRerJeYmUgY\"> \u003cem>Einstein on the Beach\u003c/em>\u003c/a> from 1976, or Reich’s\u003ca href=\"https://www.youtube.com/watch?v=3ou9J844io0\"> \u003cem>Music for 18 Musicians\u003c/em>\u003c/a>, completed that same year, without \u003cem>In C\u003c/em>. And today, the music is all around us, from Taylor Swift’s song “\u003ca href=\"https://www.youtube.com/watch?v=HpxX4ZE4KWE\">Peace\u003c/a>,” with its copycat Riley pulse, to music for television, film and\u003ca href=\"https://www.youtube.com/watch?v=JAFIWlEUXoQ\"> commercials\u003c/a>.\u003c/p>\n\u003cp>While we’re not living in the same counterculture-fueled moment as Riley was when he wrote his most famous piece, there is a strong appetite today for ambient and electronic music you can bliss out to, and for performances of \u003cem>In C\u003c/em> itself. “People want to go hear an hour of transcendent music,” Robin suggests. “And it’s a tribute to this lightning rod moment for Riley, where he put it all down to the endurance of minimalism as an artistic movement that’s been so profoundly influential on popular culture.”\u003c/p>\n\u003cp>At 89, Riley still composes every day, with a view of Mount Fuji from his home in Japan. And he doesn’t mind looking back to that bus ride so long ago, and the spark of inspiration that helped ignite a musical movement with a piece of music that, after 60 years, continues to fascinate new audiences and evolve in the hands of anyone who plays it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“\u003cem>In C\u003c/em> is like one of your children,” he says with a wry chuckle. “They went out, became famous, did some good things, met some other people. And turned out to be something different than you imagined at the beginning.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Blvck Svm’s ‘michelinman’ Might Be Hip-Hop’s First Fine-Dining Concept Album",
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"content": "\u003cp>[dropcap]W[/dropcap]hen Benjamin Glover visited Chicago’s \u003ca href=\"https://www.atelier-chicago.com/\">Atelier\u003c/a> at the end of 2023, he didn’t know what to expect. He left a changed man.\u003c/p>\n\u003cp>Never having experienced a fine dining tasting menu before, Glover figured he would have to get McDonald’s on the way home — there was no way those tiny plates would do the trick. But over the course of the meal, his mind was fully blown, his spirit stimulated alongside his stomach’s satiation. The thoughtful sequencing of dishes conjured to mind music. “It was like eating my way through an album,” Glover says. “I wanted to make an album that sounded like a tasting menu.”\u003c/p>\n\u003cp>That’s because when Glover is not eating gourmet dinners, he performs as the rapper \u003ca href=\"https://www.instagram.com/blvcksvm/?hl=en\">Blvck Svm\u003c/a>. And he really did wind up creating an entire album that’s inspired by fine dining. It’s called \u003ci>michelinman\u003c/i>, and it drops on Nov. 11. In keeping with the theme, Glover shot the music videos for the album in upscale kitchens around the country, milling between sauciers and line cooks while he raps into a mic that drapes down from the ceiling.\u003c/p>\n\u003cp>Given Northern California’s fine-dining bona fides, it should come as no surprise that the project has strong Bay Area connections: Glover himself is based in Chicago, but one of the album’s main producers is from the East Bay. San Francisco fine dining restaurant \u003ca href=\"https://www.restaurantnisei.com/\">Nisei\u003c/a> gets a name drop on \u003ci>michelinman\u003c/i>’s first track, “greymatter,” and its kitchen — and kitchen team — is featured in the music video for the song.\u003c/p>\n\u003cp>The songs on \u003ci>michelinman\u003c/i> weave a concentric circle between high-level rapping and high-level cooking, bouncing between basketball references and tuna belly with ease. Tracks are riddled with samples from cooking shows and chefs pleading with diners to pay attention to their palate. On “irongate” Glover details the camel bone spoon he’ll use for Beluga caviar before comparing his duffel bag to a “Twix sans nougat.” On “mikealstott,” he raps in a near-whisper about how he will “trim the fat and drop it on the heat like a Pat Riley contract” — a reference to how the Miami Heat executive was notorious for monitoring his players’ body fat percentage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FAjb2ruk1SM\u003c/p>\n\u003cp>The songs are both about fine dining and not, shifting between instructions for searing meat and processing grief with ease. Through the 13-song, nearly 40-minute album, Glover’s flow is a low-rolling storm, breathless and quiet as each song’s larger picture emerges minute by minute.\u003c/p>\n\u003cp>Glover wrote the album between April and September of this year and shot the music videos in the same timeframe. Inspired by \u003ca href=\"https://www.instagram.com/fromtheblockperformance/\">From the Block Performance’s\u003c/a> viral outdoor rap videos, the music videos for \u003ci>michelinman \u003c/i>have a certain Humans of New York feeling to them, as strangers peel around the artist while he raps in public — in this case, inside prominent fine dining kitchens including Oklahoma City’s \u003ca href=\"https://www.nonesuchokc.com/\">NONESUCH\u003c/a> and \u003ca href=\"https://www.thebutcheryyeg.ca/\">The Butchery by RGE RD\u003c/a> in Alberta, Canada.\u003c/p>\n\u003cp>In the videos, Glover plays the part of an interloper praising the work he sees around him. In the one for “greymatter,” shot at Nisei in black and white, the kitchen crew makes quick work of several whole fish, slicing and deboning behind Glover in his puffy jacket. Over a tinkling piano loop, Glover waxes poetic about the Russian Hill restaurant’s raw fish preparations: “I ran out of excuses, I had to make something happen / Break a backend at Nisei or Momotaro / Sashimi otoro, chutoro, cleansing all of my sorrows / Soy sauce only an option if flavor need to be borrowed.” There’s a noir ambiance to the scene, Glover barely visible, the mic hanging in front of him an anchor through the rushing energy of the Nisei kitchen staff.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=488DcyAaXV4\u003c/p>\n\u003cp>Glover has been chasing his rap dreams since he was a kid in Pembroke Pines, Florida. Back then, he modeled himself after the Southern icon Lil Wayne — but that was just for fun during lunch. It was while he was a student at the University of Chicago, shaking like a leaf during his first performances, that he finally rapped in front of an actual audience. His handle’s changed over the years, finally landing on Blvck Svm as a nod to Cartoon Network’s \u003ci>Samurai Jack\u003c/i>. It’s also an homage to Yasuke, the \u003ca href=\"https://www.smithsonianmag.com/history/who-was-yasuke-japans-first-black-samurai-180981416/\">first Black samurai\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13907726']\u003c/span>\u003c/span>During the pandemic, Glover lost his day job as an assistant manager at the university’s gym just before his rap career started to go big: His 2020 single “\u003ca href=\"https://blvcksvm.bandcamp.com/track/bleach\">bleach\u003c/a>,” a brief, lyrically dense track, now has millions of streams.\u003c/p>\n\u003cp>For \u003ci>michelinman\u003c/i>, Glover linked up with Los Angeles–based producer MIKE SUMMERS, but he tapped Fremont musician Max He for sample interpolation. He has been working with Glover for about a year and says that while the Bay Area’s music scene is vast, not a lot of action happens in \u003ca href=\"https://www.kqed.org/arts/13965193/fremont-immigrant-suburb-idealism-my-hometown\">Fremont\u003c/a> — so he was starstruck, for instance, to be working on the same project as Terrace Martin, who plays sax on the album’s outro. “[Blvck Svm’s] music is about redefining luxury into something accessible,” He says, “not something reserved just for the upper class. He talks about the waiter sprinkling lemon pepper on his wings at Wing Stop in the same way he does about sashimi from Nisei.”\u003c/p>\n\u003cfigure id=\"attachment_13967664\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967664\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg\" alt=\"A rapper in a black puffy jacket poses with a chef in the kitchen of a fine dining restaurant.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover poses with Nisei chef-owner David Yoshimura. \u003ccite>(Courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For David Yoshimura, Nisei’s chef-owner, it was wonderful to be involved in the album at all. Nisei is a fitting restaurant to highlight on the topic of “accessible luxury” — after all, not many other San Francisco restaurants pair \u003ca href=\"https://sf.eater.com/2024/5/2/24133340/savory-mochi-san-francisco-restaurants\">caviar with mochi\u003c/a>. Glover had reached out to the \u003ca href=\"https://guide.michelin.com/us/en/california/san-francisco/restaurant/nisei\">Michelin-starred restaurant\u003c/a> directly via Instagram, and while a lot of people hit him up with offers to collaborate, Yoshimura was struck by the rapper’s politeness and professionalism. The shoot itself was an easy affair. There’s not usually much yelling in Nisei’s kitchen, he says, so they amped up the energy for the video.\u003c/p>\n\u003cp>Afterwards, Glover and He came in for dinner, and both of them raved about the mochi caviar course and the miso soup. “They were the nicest guests,” Yoshimura says. “And I think his album is going to be the first of its kind.”\u003c/p>\n\u003cfigure id=\"attachment_13967673\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg\" alt='A man in a red baseball cap and white \"A Timeless Ape\" T-shirt poses in front of the Chicago waterfront.' width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover in front of the Chicago waterfront. \u003ccite>(Michael Tinley, courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Glover is hardly the\u003ca href=\"https://www.kqed.org/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june\"> first rapper to consider food\u003c/a>. The late great MF Doom was famous for his lyrical odes to “Doritos, Cheetos or Fritos.” Earlier this fall, New York experimental rappers Phiik and Lungs put out a dense project called \u003ca href=\"https://pitchfork.com/reviews/albums/phiik-lungs-carrot-season/\">\u003ci>Carrot Season\u003c/i>\u003c/a> that includes a track about psychedelic herbal tea. And the Bay’s own Larry June raps about health food and orange juice, and even \u003ca href=\"https://brokeassstuart.com/2023/04/24/larry-june-and-the-alchemists-love-letter-to-the-bay-area-is-a-delight/\">owns a boba shop\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13955802,arts_13934248']\u003c/span>\u003c/span>But Glover hopes to be the first full bridge between the mediums — like a fan of flex rap finding a track that gets them deeper into hip-hop, or a diner who heads to Benu for the Instagram pic but leaves weeping like Keanu Reeves in \u003ci>Always Be My Maybe\u003c/i>. His inspirations include MF DOOM and the Griselda hip-hop collective (Boldy James is featured on the album). He cites Action Bronson as another muse, in the way he de-escalates luxurious experiences through irreverent, abstract bars.\u003c/p>\n\u003cp>Glover’s training to get to that level is, fittingly, spent at the chef’s table.\u003c/p>\n\u003cp>“All those things people see as art in food are also in rap. So I spend my time watching how they move through the space,” he says. “The timing, the precision.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://too.fm/michelinman?fbclid=PAZXh0bgNhZW0CMTEAAaZwbE2w0QgkWzig03KGJJwvFGQh60VyVR65a7G7W0ZLRC1uzS1H7buao00_aem_JNNYZ0-t6kek9RcG8zCqtg\">michelinman\u003c/a> will be available to stream on all platforms on Nov. 11. \u003c/i>\u003c/p>\n\n",
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"excerpt": "The music videos take us inside some of the top fine dining kitchens in America — including Nisei in SF.",
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"title": "Blvck Svm’s ‘michelinman’ Might Be Hip-Hop’s First Fine-Dining Concept Album | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen Benjamin Glover visited Chicago’s \u003ca href=\"https://www.atelier-chicago.com/\">Atelier\u003c/a> at the end of 2023, he didn’t know what to expect. He left a changed man.\u003c/p>\n\u003cp>Never having experienced a fine dining tasting menu before, Glover figured he would have to get McDonald’s on the way home — there was no way those tiny plates would do the trick. But over the course of the meal, his mind was fully blown, his spirit stimulated alongside his stomach’s satiation. The thoughtful sequencing of dishes conjured to mind music. “It was like eating my way through an album,” Glover says. “I wanted to make an album that sounded like a tasting menu.”\u003c/p>\n\u003cp>That’s because when Glover is not eating gourmet dinners, he performs as the rapper \u003ca href=\"https://www.instagram.com/blvcksvm/?hl=en\">Blvck Svm\u003c/a>. And he really did wind up creating an entire album that’s inspired by fine dining. It’s called \u003ci>michelinman\u003c/i>, and it drops on Nov. 11. In keeping with the theme, Glover shot the music videos for the album in upscale kitchens around the country, milling between sauciers and line cooks while he raps into a mic that drapes down from the ceiling.\u003c/p>\n\u003cp>Given Northern California’s fine-dining bona fides, it should come as no surprise that the project has strong Bay Area connections: Glover himself is based in Chicago, but one of the album’s main producers is from the East Bay. San Francisco fine dining restaurant \u003ca href=\"https://www.restaurantnisei.com/\">Nisei\u003c/a> gets a name drop on \u003ci>michelinman\u003c/i>’s first track, “greymatter,” and its kitchen — and kitchen team — is featured in the music video for the song.\u003c/p>\n\u003cp>The songs on \u003ci>michelinman\u003c/i> weave a concentric circle between high-level rapping and high-level cooking, bouncing between basketball references and tuna belly with ease. Tracks are riddled with samples from cooking shows and chefs pleading with diners to pay attention to their palate. On “irongate” Glover details the camel bone spoon he’ll use for Beluga caviar before comparing his duffel bag to a “Twix sans nougat.” On “mikealstott,” he raps in a near-whisper about how he will “trim the fat and drop it on the heat like a Pat Riley contract” — a reference to how the Miami Heat executive was notorious for monitoring his players’ body fat percentage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FAjb2ruk1SM'\n title='//www.youtube.com/embed/FAjb2ruk1SM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The songs are both about fine dining and not, shifting between instructions for searing meat and processing grief with ease. Through the 13-song, nearly 40-minute album, Glover’s flow is a low-rolling storm, breathless and quiet as each song’s larger picture emerges minute by minute.\u003c/p>\n\u003cp>Glover wrote the album between April and September of this year and shot the music videos in the same timeframe. Inspired by \u003ca href=\"https://www.instagram.com/fromtheblockperformance/\">From the Block Performance’s\u003c/a> viral outdoor rap videos, the music videos for \u003ci>michelinman \u003c/i>have a certain Humans of New York feeling to them, as strangers peel around the artist while he raps in public — in this case, inside prominent fine dining kitchens including Oklahoma City’s \u003ca href=\"https://www.nonesuchokc.com/\">NONESUCH\u003c/a> and \u003ca href=\"https://www.thebutcheryyeg.ca/\">The Butchery by RGE RD\u003c/a> in Alberta, Canada.\u003c/p>\n\u003cp>In the videos, Glover plays the part of an interloper praising the work he sees around him. In the one for “greymatter,” shot at Nisei in black and white, the kitchen crew makes quick work of several whole fish, slicing and deboning behind Glover in his puffy jacket. Over a tinkling piano loop, Glover waxes poetic about the Russian Hill restaurant’s raw fish preparations: “I ran out of excuses, I had to make something happen / Break a backend at Nisei or Momotaro / Sashimi otoro, chutoro, cleansing all of my sorrows / Soy sauce only an option if flavor need to be borrowed.” There’s a noir ambiance to the scene, Glover barely visible, the mic hanging in front of him an anchor through the rushing energy of the Nisei kitchen staff.\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/488DcyAaXV4'\n title='//www.youtube.com/embed/488DcyAaXV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Glover has been chasing his rap dreams since he was a kid in Pembroke Pines, Florida. Back then, he modeled himself after the Southern icon Lil Wayne — but that was just for fun during lunch. It was while he was a student at the University of Chicago, shaking like a leaf during his first performances, that he finally rapped in front of an actual audience. His handle’s changed over the years, finally landing on Blvck Svm as a nod to Cartoon Network’s \u003ci>Samurai Jack\u003c/i>. It’s also an homage to Yasuke, the \u003ca href=\"https://www.smithsonianmag.com/history/who-was-yasuke-japans-first-black-samurai-180981416/\">first Black samurai\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>During the pandemic, Glover lost his day job as an assistant manager at the university’s gym just before his rap career started to go big: His 2020 single “\u003ca href=\"https://blvcksvm.bandcamp.com/track/bleach\">bleach\u003c/a>,” a brief, lyrically dense track, now has millions of streams.\u003c/p>\n\u003cp>For \u003ci>michelinman\u003c/i>, Glover linked up with Los Angeles–based producer MIKE SUMMERS, but he tapped Fremont musician Max He for sample interpolation. He has been working with Glover for about a year and says that while the Bay Area’s music scene is vast, not a lot of action happens in \u003ca href=\"https://www.kqed.org/arts/13965193/fremont-immigrant-suburb-idealism-my-hometown\">Fremont\u003c/a> — so he was starstruck, for instance, to be working on the same project as Terrace Martin, who plays sax on the album’s outro. “[Blvck Svm’s] music is about redefining luxury into something accessible,” He says, “not something reserved just for the upper class. He talks about the waiter sprinkling lemon pepper on his wings at Wing Stop in the same way he does about sashimi from Nisei.”\u003c/p>\n\u003cfigure id=\"attachment_13967664\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967664\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg\" alt=\"A rapper in a black puffy jacket poses with a chef in the kitchen of a fine dining restaurant.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover poses with Nisei chef-owner David Yoshimura. \u003ccite>(Courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For David Yoshimura, Nisei’s chef-owner, it was wonderful to be involved in the album at all. Nisei is a fitting restaurant to highlight on the topic of “accessible luxury” — after all, not many other San Francisco restaurants pair \u003ca href=\"https://sf.eater.com/2024/5/2/24133340/savory-mochi-san-francisco-restaurants\">caviar with mochi\u003c/a>. Glover had reached out to the \u003ca href=\"https://guide.michelin.com/us/en/california/san-francisco/restaurant/nisei\">Michelin-starred restaurant\u003c/a> directly via Instagram, and while a lot of people hit him up with offers to collaborate, Yoshimura was struck by the rapper’s politeness and professionalism. The shoot itself was an easy affair. There’s not usually much yelling in Nisei’s kitchen, he says, so they amped up the energy for the video.\u003c/p>\n\u003cp>Afterwards, Glover and He came in for dinner, and both of them raved about the mochi caviar course and the miso soup. “They were the nicest guests,” Yoshimura says. “And I think his album is going to be the first of its kind.”\u003c/p>\n\u003cfigure id=\"attachment_13967673\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg\" alt='A man in a red baseball cap and white \"A Timeless Ape\" T-shirt poses in front of the Chicago waterfront.' width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover in front of the Chicago waterfront. \u003ccite>(Michael Tinley, courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Glover is hardly the\u003ca href=\"https://www.kqed.org/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june\"> first rapper to consider food\u003c/a>. The late great MF Doom was famous for his lyrical odes to “Doritos, Cheetos or Fritos.” Earlier this fall, New York experimental rappers Phiik and Lungs put out a dense project called \u003ca href=\"https://pitchfork.com/reviews/albums/phiik-lungs-carrot-season/\">\u003ci>Carrot Season\u003c/i>\u003c/a> that includes a track about psychedelic herbal tea. And the Bay’s own Larry June raps about health food and orange juice, and even \u003ca href=\"https://brokeassstuart.com/2023/04/24/larry-june-and-the-alchemists-love-letter-to-the-bay-area-is-a-delight/\">owns a boba shop\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>But Glover hopes to be the first full bridge between the mediums — like a fan of flex rap finding a track that gets them deeper into hip-hop, or a diner who heads to Benu for the Instagram pic but leaves weeping like Keanu Reeves in \u003ci>Always Be My Maybe\u003c/i>. His inspirations include MF DOOM and the Griselda hip-hop collective (Boldy James is featured on the album). He cites Action Bronson as another muse, in the way he de-escalates luxurious experiences through irreverent, abstract bars.\u003c/p>\n\u003cp>Glover’s training to get to that level is, fittingly, spent at the chef’s table.\u003c/p>\n\u003cp>“All those things people see as art in food are also in rap. So I spend my time watching how they move through the space,” he says. “The timing, the precision.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>[aside postID='arts_13951126']“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>AP Entertainment writer Andrew Dalton and former AP Entertainment Writer Sandy Cohen contributed to this report from Los Angeles.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\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.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>AP Entertainment writer Andrew Dalton and former AP Entertainment Writer Sandy Cohen contributed to this report from Los Angeles.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "blessd-ryan-castro-reggaeton-harris-trump-bay-area-fans-election",
"title": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think?",
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"headTitle": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think? | KQED",
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"content": "\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]O[/dropcap]n Halloween night, Colombian stars Blessd and Ryan Castro played a sold-out show at the San Jose Civic to nearly 3,000 reggaeton fans that sang along to every verse. San José was their first stop on the ¡Ay Bendito Ghetto! Tour — a city that in the past few years has become the home of a \u003ca href=\"https://www.kqed.org/news/11994119/colombia-copa-america-final-san-jose-argentina\">rapidly growing Colombian community\u003c/a>.\u003c/p>\n\u003cp>The concert came just days after reggaeton was thrust into the political arena. At a Donald Trump campaign rally on Oct. 27, comedian Tony Hinchcliffe made crude jokes about Latinos and referred to Puerto Rico as a “floating island of garbage.”\u003c/p>\n\u003cp>Global reggaeton superstar Bad Bunny subsequently \u003ca href=\"https://www.pbs.org/newshour/politics/superstar-bad-bunny-backs-harris-for-president-after-trump-event-features-comedians-racist-cracks\">signaled his support for Kamala Harris\u003c/a>, citing the comments at the rally. Nicky Jam, the reggaetonero who surprised fans when he endorsed Trump in September, \u003ca href=\"https://apnews.com/article/nicky-jam-donald-trump-endorsement-rescinded-1502ebc97adf28be8e22bb01d41a3e42\">retracted his endorsement\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13967607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Castro performs at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do reggaeton fans feel about their genre being thrust to the forefront of the presidential campaign, just days before Election Day? As the last major reggaeton concert in the Bay Area before Nov. 5, Thursday’s concert proved an ideal opportunity to ask just that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, most of the crowd at the San Jose Civic were young people who have recently migrated from Colombia to the United States. Blessd and Castro’s music, and reggaeton overall, are more than bops — they’re the soundtrack of their migration journey.\u003c/p>\n\u003cp>“When you listen to reggaeton, you feel like you’re back in your home country again,” said Valeria Bou, originally from Colombia but now living in Seattle. \u003c/p>\n\u003cfigure id=\"attachment_13967613\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13967613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1229x1536.jpg 1229w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Maria Sanchez (left) and Andres Naruaez pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrés Nárvaez, now living in San Jose, says he listens to Blessd’s “CONDENADO AL EXITO II” all the time since he migrated. “That song says that all is possible with time and hard work,” he said. “I identify with that. I want to stay in this country and work so I can buy myself a Mercedes and a home.”\u003c/p>\n\u003ch2>Courting the Latino Vote With Reggaeton\u003c/h2>\n\u003cp>Over 36 million Latinos are eligible to vote this year, and many analysts consider the demographic \u003ca href=\"https://time.com/7096983/election-latino-voters-swing-states-harris-trump-campaigns-economy-immigration/\">a key to victory in important swing states like Nevada, Arizona and Pennsylvania\u003c/a>. Both Kamala Harris and Donald Trump know this; their campaigns have \u003ca href=\"https://www.bloomberg.com/news/features/2024-10-19/trump-harris-fight-for-latino-2024-vote-seen-by-record-spanish-ads\">invested millions in courting Latino voters\u003c/a>.\u003c/p>\n\u003cp>Gone are the days of Gerald Ford trying to eat a tamal (and failing miserably: he bit into it \u003ca href=\"https://remezcla.com/food/ford-tamal-eating-1976/\">without taking the corn husk off first\u003c/a>). Or Hillary Clinton’s 2016 list of “7 things Hillary Clinton has in common with your abuela,” \u003ca href=\"https://www.nytimes.com/2015/12/24/us/politics/hillary-clinton-is-not-my-abuela-critics-say.html\">widely criticized\u003c/a> as pandering. This year, both Harris and Trump have tapped reggaeton stars for support.\u003c/p>\n\u003cfigure id=\"attachment_13967623\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13967623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Paola Melo poses for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First it was Puerto Rican superstars Anuel AA and Justin Quiles, who \u003ca href=\"https://www.rollingstone.com/music/music-latin/reggaeton-donald-trump-endorsements-explained-1235103592/\">endorsed Trump at a rally\u003c/a> in Pennsylvania in August. Then it was their fellow boricua Nicky Jam, who surprised fans and peers when he \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2024/09/15/donald-trump-nicky-jam-las-vegas-rally/75237185007/\">endorsed Trump at a September rally in Las Vegas\u003c/a>. (Before Nicky walked on stage, Trump referring to him repeatedly as “she.”)\u003c/p>\n\u003cp>But it would be Harris that finally received the \u003ca href=\"https://www.washingtonpost.com/style/power/2024/09/19/bad-bunny-kamala-harris-endorsement/\">highly coveted\u003c/a> support of Bad Bunny in a series of Instagram videos shortly after Hinchcliffe’s “floating island of garbage” comment at Madison Square Garden.\u003c/p>\n\u003cp>[aside postID='arts_13967133']\u003c/p>\n\u003ch2>‘What Resources Are You Investing to Support Us?’\u003c/h2>\n\u003cp>For Pittsburg friends Evelyn Suárez, Elaine Torres and Brianna Ruiz, reggaeton as a genre has changed in recent years to center self-empowerment. “It’s authentic,” said Torres, “It’s a lot about showing who you are and putting yourself out there.”\u003c/p>\n\u003cp>In Suárez’s eyes, when an artist speaks about an issue they care about, it makes them a more complete person. “When it’s someone I love, I ask myself, ‘What’s this about? Is this something that I should be caring about that I didn’t know about before?’” she said. For her, that includes the 2024 election.\u003c/p>\n\u003cp>“When I saw that Bad Bunny is supporting Kamala, I’m all for it because Kamala is a lot better than Trump,” Suárez said.\u003c/p>\n\u003cfigure id=\"attachment_13967610\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Elaine Torres, Bryanda Ruiz and Evelin Suarez, pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowing where an artist stands also helps her know if she wants to keep rooting for them. “I listen to Nicky Jam and when I saw that he was supporting Trump, I was like, ‘Oh no, I don’t support Trump,’” she said. “Seeing him, a Latino, back Trump and forget about all his fans that are Latinos who have suffered from the stuff that Trump has done, I was just like, ‘No.’”\u003c/p>\n\u003cp>While the three agreed that it’s important for candidates to invest energy in understanding Latino voters, they also want actual results after Election Day.\u003c/p>\n\u003cp>“It’s not only about having Bad Bunny on your side to get our votes,” Suárez explained, “but what also matters is what you’re continuously doing in power to support the Latino community. What resources are you investing to support us?”\u003c/p>\n\u003cfigure id=\"attachment_13967618\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Jose Troncoso (left) and Juan Diego Naranjo pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Music That’s ‘So Pure and Beautiful’\u003c/h2>\n\u003cp>Other fans at the show said they feel protective of reggaeton against U.S. politicians co-opting Latin American music for personal gain.\u003c/p>\n\u003cp>“I think all of this is out of convenience,” said Juan Troncoso of San José. A dancer who recently migrated from Colombia, Troncoso was first drawn to reggaeton because it reflected the reality of growing up Colombian. “For me, reggaeton represents the cultural mixture we have as a people, all the different histories we have.”\u003c/p>\n\u003cp>“What politicians may want out of these artists is to just reach their audiences for votes,” he added. “I don’t see it as something genuine.”\u003c/p>\n\u003cfigure id=\"attachment_13967616\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Juan Pablo Quesada, Valeria Arteaga Bou and Santiago Quesada from Seattle pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others said they wanted reggaeton and politics to stay separate. “I think [reggaetoneros] shouldn’t get involved in all of this, to be honest,” said Juan Ríos of San José. \u003c/p>\n\u003cp>Ríos said he was drawn to artists like Blessd and Ryan Castro for their style, swagger and music. He also approved of \u003ca href=\"https://www.elespectador.com/revista-vea/famosos/blessd-compro-un-equipo-de-futbol-cual-es-y-cuanto-cuesta/\">Blessd’s recent purchase, alongside other investors, of Vendsyssel FF\u003c/a>, a professional soccer team from Denmark.\u003c/p>\n\u003cp>But he thinks that “many of the people that follow reggaeton are too young to vote, so I don’t know if supporting candidates actually works out.”\u003c/p>\n\u003cfigure id=\"attachment_13967611\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Emanuel Parra, Melannie Zapata and Sebastian Londoño pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All in It Together\u003c/h2>\n\u003cp>Dressed as Blade-style vampires, Sebastián Fox and his friends drove over 100 miles from Santa Rosa to see Blessd. Fox is a house and electronic music DJ and producer originally from Colombia who came to the United States to pursue his dreams. The long drive was worth it, he said, to see one of his inspirations. \u003c/p>\n\u003cp>“I see Blessd’s journey of coming from the streets, moving up and becoming a hit, and that motivates me,” he said. “Because if he can, then I can also do the same with my music.”\u003c/p>\n\u003cp>As someone who creates music for a living, he thinks politics should stay separate. “Music is something that needs to be respected. It’s something so pure and beautiful,” said Fox. “Mixing it with politics and influence, that doesn’t match up for me.”\u003c/p>\n\u003cfigure id=\"attachment_13967614\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Adrian (left) and Ricardo Abonce pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing was clear at the San Jose Civic: the power of reggaeton exists thanks to the dedication of its fans.\u003c/p>\n\u003cp>Brothers Ricardo and Adrian Abonce from Dublin showed up to the performance in Halloween costumes, with Ricardo dressed as the Pope and his brother as a priest. (“All of this made possible by \u003ca href=\"https://www.kqed.org/news/11965792/spirit-halloween-unleashed-its-first-bay-area-store-in-1983\">Spirit Halloween\u003c/a>,” they joked.) \u003c/p>\n\u003cp>They said they both grew up listening to reggaeton, listening to everything by Daddy Yankee and La Factoria. “It makes me very proud to see that Latin American music has come so far in the United States,” said Ricardo. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>His brother agreed. “As Latinos, it’s incredible that we’ve come so far,” Adrian said. “We’re all in this together.”\u003c/p>\n\u003cfigure id=\"attachment_13967609\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Blessd and Ryan Castro concert during the“ Ay Bendito Ghetto” tour at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "At a Ryan Castro and Blessd concert, fans talk about the heightened role the music plays in U.S. politics.",
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"title": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think? | KQED",
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"headline": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n Halloween night, Colombian stars Blessd and Ryan Castro played a sold-out show at the San Jose Civic to nearly 3,000 reggaeton fans that sang along to every verse. San José was their first stop on the ¡Ay Bendito Ghetto! Tour — a city that in the past few years has become the home of a \u003ca href=\"https://www.kqed.org/news/11994119/colombia-copa-america-final-san-jose-argentina\">rapidly growing Colombian community\u003c/a>.\u003c/p>\n\u003cp>The concert came just days after reggaeton was thrust into the political arena. At a Donald Trump campaign rally on Oct. 27, comedian Tony Hinchcliffe made crude jokes about Latinos and referred to Puerto Rico as a “floating island of garbage.”\u003c/p>\n\u003cp>Global reggaeton superstar Bad Bunny subsequently \u003ca href=\"https://www.pbs.org/newshour/politics/superstar-bad-bunny-backs-harris-for-president-after-trump-event-features-comedians-racist-cracks\">signaled his support for Kamala Harris\u003c/a>, citing the comments at the rally. Nicky Jam, the reggaetonero who surprised fans when he endorsed Trump in September, \u003ca href=\"https://apnews.com/article/nicky-jam-donald-trump-endorsement-rescinded-1502ebc97adf28be8e22bb01d41a3e42\">retracted his endorsement\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13967607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Castro performs at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do reggaeton fans feel about their genre being thrust to the forefront of the presidential campaign, just days before Election Day? As the last major reggaeton concert in the Bay Area before Nov. 5, Thursday’s concert proved an ideal opportunity to ask just that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, most of the crowd at the San Jose Civic were young people who have recently migrated from Colombia to the United States. Blessd and Castro’s music, and reggaeton overall, are more than bops — they’re the soundtrack of their migration journey.\u003c/p>\n\u003cp>“When you listen to reggaeton, you feel like you’re back in your home country again,” said Valeria Bou, originally from Colombia but now living in Seattle. \u003c/p>\n\u003cfigure id=\"attachment_13967613\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13967613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1229x1536.jpg 1229w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Maria Sanchez (left) and Andres Naruaez pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrés Nárvaez, now living in San Jose, says he listens to Blessd’s “CONDENADO AL EXITO II” all the time since he migrated. “That song says that all is possible with time and hard work,” he said. “I identify with that. I want to stay in this country and work so I can buy myself a Mercedes and a home.”\u003c/p>\n\u003ch2>Courting the Latino Vote With Reggaeton\u003c/h2>\n\u003cp>Over 36 million Latinos are eligible to vote this year, and many analysts consider the demographic \u003ca href=\"https://time.com/7096983/election-latino-voters-swing-states-harris-trump-campaigns-economy-immigration/\">a key to victory in important swing states like Nevada, Arizona and Pennsylvania\u003c/a>. Both Kamala Harris and Donald Trump know this; their campaigns have \u003ca href=\"https://www.bloomberg.com/news/features/2024-10-19/trump-harris-fight-for-latino-2024-vote-seen-by-record-spanish-ads\">invested millions in courting Latino voters\u003c/a>.\u003c/p>\n\u003cp>Gone are the days of Gerald Ford trying to eat a tamal (and failing miserably: he bit into it \u003ca href=\"https://remezcla.com/food/ford-tamal-eating-1976/\">without taking the corn husk off first\u003c/a>). Or Hillary Clinton’s 2016 list of “7 things Hillary Clinton has in common with your abuela,” \u003ca href=\"https://www.nytimes.com/2015/12/24/us/politics/hillary-clinton-is-not-my-abuela-critics-say.html\">widely criticized\u003c/a> as pandering. This year, both Harris and Trump have tapped reggaeton stars for support.\u003c/p>\n\u003cfigure id=\"attachment_13967623\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13967623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Paola Melo poses for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First it was Puerto Rican superstars Anuel AA and Justin Quiles, who \u003ca href=\"https://www.rollingstone.com/music/music-latin/reggaeton-donald-trump-endorsements-explained-1235103592/\">endorsed Trump at a rally\u003c/a> in Pennsylvania in August. Then it was their fellow boricua Nicky Jam, who surprised fans and peers when he \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2024/09/15/donald-trump-nicky-jam-las-vegas-rally/75237185007/\">endorsed Trump at a September rally in Las Vegas\u003c/a>. (Before Nicky walked on stage, Trump referring to him repeatedly as “she.”)\u003c/p>\n\u003cp>But it would be Harris that finally received the \u003ca href=\"https://www.washingtonpost.com/style/power/2024/09/19/bad-bunny-kamala-harris-endorsement/\">highly coveted\u003c/a> support of Bad Bunny in a series of Instagram videos shortly after Hinchcliffe’s “floating island of garbage” comment at Madison Square Garden.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘What Resources Are You Investing to Support Us?’\u003c/h2>\n\u003cp>For Pittsburg friends Evelyn Suárez, Elaine Torres and Brianna Ruiz, reggaeton as a genre has changed in recent years to center self-empowerment. “It’s authentic,” said Torres, “It’s a lot about showing who you are and putting yourself out there.”\u003c/p>\n\u003cp>In Suárez’s eyes, when an artist speaks about an issue they care about, it makes them a more complete person. “When it’s someone I love, I ask myself, ‘What’s this about? Is this something that I should be caring about that I didn’t know about before?’” she said. For her, that includes the 2024 election.\u003c/p>\n\u003cp>“When I saw that Bad Bunny is supporting Kamala, I’m all for it because Kamala is a lot better than Trump,” Suárez said.\u003c/p>\n\u003cfigure id=\"attachment_13967610\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Elaine Torres, Bryanda Ruiz and Evelin Suarez, pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowing where an artist stands also helps her know if she wants to keep rooting for them. “I listen to Nicky Jam and when I saw that he was supporting Trump, I was like, ‘Oh no, I don’t support Trump,’” she said. “Seeing him, a Latino, back Trump and forget about all his fans that are Latinos who have suffered from the stuff that Trump has done, I was just like, ‘No.’”\u003c/p>\n\u003cp>While the three agreed that it’s important for candidates to invest energy in understanding Latino voters, they also want actual results after Election Day.\u003c/p>\n\u003cp>“It’s not only about having Bad Bunny on your side to get our votes,” Suárez explained, “but what also matters is what you’re continuously doing in power to support the Latino community. What resources are you investing to support us?”\u003c/p>\n\u003cfigure id=\"attachment_13967618\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Jose Troncoso (left) and Juan Diego Naranjo pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Music That’s ‘So Pure and Beautiful’\u003c/h2>\n\u003cp>Other fans at the show said they feel protective of reggaeton against U.S. politicians co-opting Latin American music for personal gain.\u003c/p>\n\u003cp>“I think all of this is out of convenience,” said Juan Troncoso of San José. A dancer who recently migrated from Colombia, Troncoso was first drawn to reggaeton because it reflected the reality of growing up Colombian. “For me, reggaeton represents the cultural mixture we have as a people, all the different histories we have.”\u003c/p>\n\u003cp>“What politicians may want out of these artists is to just reach their audiences for votes,” he added. “I don’t see it as something genuine.”\u003c/p>\n\u003cfigure id=\"attachment_13967616\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Juan Pablo Quesada, Valeria Arteaga Bou and Santiago Quesada from Seattle pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others said they wanted reggaeton and politics to stay separate. “I think [reggaetoneros] shouldn’t get involved in all of this, to be honest,” said Juan Ríos of San José. \u003c/p>\n\u003cp>Ríos said he was drawn to artists like Blessd and Ryan Castro for their style, swagger and music. He also approved of \u003ca href=\"https://www.elespectador.com/revista-vea/famosos/blessd-compro-un-equipo-de-futbol-cual-es-y-cuanto-cuesta/\">Blessd’s recent purchase, alongside other investors, of Vendsyssel FF\u003c/a>, a professional soccer team from Denmark.\u003c/p>\n\u003cp>But he thinks that “many of the people that follow reggaeton are too young to vote, so I don’t know if supporting candidates actually works out.”\u003c/p>\n\u003cfigure id=\"attachment_13967611\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Emanuel Parra, Melannie Zapata and Sebastian Londoño pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All in It Together\u003c/h2>\n\u003cp>Dressed as Blade-style vampires, Sebastián Fox and his friends drove over 100 miles from Santa Rosa to see Blessd. Fox is a house and electronic music DJ and producer originally from Colombia who came to the United States to pursue his dreams. The long drive was worth it, he said, to see one of his inspirations. \u003c/p>\n\u003cp>“I see Blessd’s journey of coming from the streets, moving up and becoming a hit, and that motivates me,” he said. “Because if he can, then I can also do the same with my music.”\u003c/p>\n\u003cp>As someone who creates music for a living, he thinks politics should stay separate. “Music is something that needs to be respected. It’s something so pure and beautiful,” said Fox. “Mixing it with politics and influence, that doesn’t match up for me.”\u003c/p>\n\u003cfigure id=\"attachment_13967614\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Adrian (left) and Ricardo Abonce pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing was clear at the San Jose Civic: the power of reggaeton exists thanks to the dedication of its fans.\u003c/p>\n\u003cp>Brothers Ricardo and Adrian Abonce from Dublin showed up to the performance in Halloween costumes, with Ricardo dressed as the Pope and his brother as a priest. (“All of this made possible by \u003ca href=\"https://www.kqed.org/news/11965792/spirit-halloween-unleashed-its-first-bay-area-store-in-1983\">Spirit Halloween\u003c/a>,” they joked.) \u003c/p>\n\u003cp>They said they both grew up listening to reggaeton, listening to everything by Daddy Yankee and La Factoria. “It makes me very proud to see that Latin American music has come so far in the United States,” said Ricardo. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His brother agreed. “As Latinos, it’s incredible that we’ve come so far,” Adrian said. “We’re all in this together.”\u003c/p>\n\u003cfigure id=\"attachment_13967609\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Blessd and Ryan Castro concert during the“ Ay Bendito Ghetto” tour at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"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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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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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"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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