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"content": "\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n",
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"excerpt": "Jazz takes over rock clubs, theaters, basements and concert halls in the Bay Area this fall. ",
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"title": "The 10 Best Jazz Shows in the Bay Area This Fall | KQED",
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"headline": "The 10 Best Jazz Shows in the Bay Area This Fall",
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"source": "Fall Guide 2024",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fall-2024-san-francisco-oakland-san-jose-bay-area-concert-guide",
"title": "Must-See Concerts in the Bay Area This Fall",
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"headTitle": "Must-See Concerts in the Bay Area This Fall | KQED",
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"content": "\u003cfigure id=\"attachment_13962545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands gather in front of the Twin Peaks Stage as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. He returns to the Bay Area to headline Berkeley’s Greek Theatre on Halloween. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charli XCX fans may have declared 2024 \u003cem>Brat\u003c/em> summer, but since Bay Area weather stays nice through November — and Charli herself is playing San Francisco in October — the party is continuing well into fall.\u003c/p>\n\u003cp>Even if huge arena concerts aren’t your thing, there are plenty of other worthy shows in the autumn months: Smaller club gigs from up-and-coming acts, free outdoor concerts and a waterfront festival. Read on for must-see shows to add to your concert calendar.\u003c/p>\n\u003cfigure id=\"attachment_13962998\" class=\"wp-caption aligncenter\" style=\"max-width: 2399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg\" alt=\"\" width=\"2399\" height=\"1557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg 2399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1536x997.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-2048x1329.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1920x1246.jpg 1920w\" sizes=\"(max-width: 2399px) 100vw, 2399px\">\u003cfigcaption class=\"wp-caption-text\">The Commodores. \u003ccite>(Courtesy Mare Island Dock of Bay Music Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://dockofbay.com/general-information/\">Dock of the Bay Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 2024\u003cbr>\n12:30-9:30 p.m.\u003cbr>\nMare Island Coal Sheds, Vallejo\u003cbr>\n$120+\u003c/em>\u003c/p>\n\u003cp>The Solano County waterfront, with its mix of natural and industrial terrain, makes for a special setting at Dock of the Bay. The music festival brings together original disco and funk acts like “\u003ca href=\"https://www.youtube.com/watch?v=GTR27qWXGqU\">Boogie Nights\u003c/a>” hitmakers Heatwave, who’ve been sampled by everyone from Michael Jackson to Timbaland and Missy Elliott. They perform alongside The Commodores, who gave us the timeless classic “\u003ca href=\"https://www.youtube.com/watch?v=KzOJaHHlIcQ\">Brick House\u003c/a>;” Average White Band of “\u003ca href=\"https://www.youtube.com/watch?v=3ISLeHByD-I\">Pick Up the Pieces\u003c/a>” fame; and Lenny Williams, the balladeer behind soul classic “\u003ca href=\"https://www.youtube.com/watch?v=QbzkwLWK-Ps\">Cause I Love You\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13962996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">El Alfa (center) performs at Billboard En Vivo Featuring Wisin held at Oasis Wynwood as part of Billboard Latin Music Week on October 3, 2023 in Miami Beach, Florida. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sapcenter.com/events/detail/el-alfa\">El Alfa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 2024\u003cbr>\n8 p.m.\u003cbr>\nSAP Center, San Jose\u003cbr>\n$92+\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s no question that El Alfa is the king of Dominican dembow. With each \u003ca href=\"https://www.youtube.com/watch?v=j0KT4NTZNQo\">new release\u003c/a>, his raps seem to get more hyperactive, weirder and raunchier, with onomatopoeias and \u003ca href=\"https://www.youtube.com/watch?v=s5yRZOQ3EWI\">double entendres\u003c/a> in the pocket of uptempo, percussion-heavy, tropical beats. There’s a reason why Spanish-speaking artists from all over the Western hemisphere — Cardi B, Kali Uchis, Bad Bunny, Wisin & Yandel and Jowell & Randy — have turned to him to inject their tracks with manic energy. Expect nothing less when he arrives stateside for a headlining show at San Jose’s SAP Center.\u003c/p>\n\u003cfigure id=\"attachment_13962994\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1536x1118.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1920x1398.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man. \u003ccite>(Maclay Heriot )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://laylo.com/anotherplanetentertainment/9-20-24\">Portugal. The Man\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Snacktime\u003cbr>\nSept. 20, 2024\u003cbr>\nCivic Center Plaza, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Continuing San Francisco’s streak of free concerts this year, Portugal. The Man brings their punchy, groove-laden rock to Civic Center Plaza, just outside of City Hall. The Portland band, best known for 2017’s inescapable “\u003ca href=\"https://www.youtube.com/watch?v=F09POwrBn-M\">Feel It Still\u003c/a>,” are currently touring in support of their catchy, psychedelic 2023 album \u003cem>Chris Black Changed My Life\u003c/em>. Philly brass band Snacktime will get the dance party started with their uptempo jazz funk.\u003c/p>\n\u003cfigure id=\"attachment_10618581\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10618581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-960x540.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Sleater-Kinney at the Masonic, May 2, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4-6, 2024\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>With concert tickets more expensive than ever, a free major festival like Hardly Strictly is truly a gift. Alternative rockers \u003ca href=\"https://www.youtube.com/watch?v=vZA_7FtttRY\">Sleater-Kinney\u003c/a> are a huge draw at this year’s family-friendly event, which celebrates bluegrass, country, roots music and eclectic array of other genres in Golden Gate Park. Other standout acts include Nigerian-British electronic pop band \u003ca href=\"https://www.youtube.com/watch?v=AVCTy_Qqn5A\">Ibibio Sound Machine\u003c/a>, Ukrainian folk experimentalists \u003ca href=\"https://www.youtube.com/watch?v=AObDpJ6xQMk\">DakhaBrakha\u003c/a>, original bluesman Bobby Rush and powerhouse soul singer Mavis Staples.\u003c/p>\n\u003cfigure id=\"attachment_13962989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg\" alt=\"Omar Apollo smiles and looks out onto the crowd while holding a microphone and wearing sparkly black pants and a matching top. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Apollo performs at Life Is Beautiful on Sept. 23, 2023 in Las Vegas, Nevada. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/omar-apollo-241004/\">Omar Apollo\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Kevin Abstract\u003cbr>\nOct. 4, 2024\u003cbr>\n8 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>Tender, touching and at times snarky, Omar Apollo’s expansive pop music blends eclectic influences — folk and new wave, R&B and trap — into something shimmeringly beautiful. The singer-songwriter and guitarist’s latest album \u003ca href=\"https://www.youtube.com/watch?v=YTnuRqf5V5Y\">\u003ci>God Said No\u003c/i>\u003c/a> takes us on a ride through desire, pettiness, longing and other complicated emotions that arise during a breakup. Apollo will take the stage at Berkeley’s Greek Theatre with Brockhampton’s Kevin Abstract, another artist pushing queer expression forward.\u003c/p>\n\u003cfigure id=\"attachment_13956732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956732\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg\" alt=\"Blonde woman in black with bass guitar holds a small white dog\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw, vocalist and bass guitarist of Shannon and the Clams, and her dog Spanky-Joe at a park in the greater Los Angeles area on April 25, 2024. \u003ccite>(Jules Hotz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thefoxoakland.com/events/shannon-and-the-clams-241019\">Shannon and the Clams\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19, 2024\u003cbr>\n8 p.m.\u003cbr>\nFox Theater, Oakland\u003cbr>\n$43+\u003c/em>\u003c/p>\n\u003cp>With \u003ci>The Moon Is in the Wrong Place\u003c/i>, Oakland rockers \u003ca href=\"https://www.youtube.com/watch?v=dvo2yOFb7k0\">Shannon and the Clams\u003c/a> made an album about grief whose exuberance is an affirmation of love and life, written in the aftermath of frontwoman Shannon Shaw’s life-changing loss of her fiance, drummer Joe Haener. While grappling with the tragedy, the band transmuted restlessness, anger, sorrow and confusion into a high-energy blend of garage rock, country and psychedelia that’s made for the stage, especially a gorgeous room like the Fox.\u003c/p>\n\u003cfigure id=\"attachment_13919608\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://chasecenter.com/events/charli-xcx-and-troye-sivan-20241020\">Charli XCX & Troye Sivan\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Shygirl\u003cbr>\nOct. 20, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nChase Center, San Francisco\u003cbr>\n$196+\u003c/em>\u003c/p>\n\u003cp>Charli XCX is so hot this year, even Kamala Harris wants to ride her lime-green \u003ci>Brat\u003c/i> train to the White House. The U.K. pop star reconnected with her raver roots for her sixth studio album, and the result is a hedonistic yet profound listen that managed to explode into the mainstream while maintaining a solidly grimy, underground appeal. Shockingly honest tracks like “\u003ca href=\"https://www.youtube.com/watch?v=0q3K6FPzY18\">Girl, so confusing\u003c/a>” — where Charli and Lorde squashed their beef on record while elucidating how misogyny messes with women’s minds — lend the album its emotional depth. At the Chase Center, Charli will whisk fans away into her 4 a.m. fantasy with “One of Your Girls” hitmaker Troye Sivan and fellow club kid Shygirl.\u003c/p>\n\u003cfigure id=\"attachment_13919616\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaytranada performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/kaytranada-241031\">Kaytranada\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Channel Tres and Lou Phelps\u003cbr>\nOct. 31, 2024\u003cbr>\n6:30 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>It’s a shame hip-house only went mainstream for a few years in the mid-’90s — rapping over uptempo club beats just makes sense. Fortunately, Kaytranada and Channel Tres have revived the sound for a new generation. Hot off his new \u003ci>TIMELESS\u003c/i> album (and an extremely lit \u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">Outside Lands\u003c/a> appearance), Kaytranada will spin groove-laden beats that feature some of today’s brightest pop, R&B and rap talents, including \u003ca href=\"https://www.youtube.com/watch?v=vAOzFvVz718\">PinkPantheress\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kQC0S0VYoio\">Tinashe\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=EqfnKrbMZ5w\">Don Toliver\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=ijP_r0f-Mds\">Lou Phelps\u003c/a>, the latter of whom is opening the show. “Top Down” rapper Channel Tres promises a live set of dance-floor ready anthems. If you’re trying to turn up on Halloween, this is the place to be.\u003c/p>\n\u003cfigure id=\"attachment_13962992\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962992\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg\" alt=\"A large boy band runs down a stage wearing complementary tweed suits. \" width=\"2000\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1536x1003.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1920x1254.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dokyeom, Seungkwan and Hoshi of k-pop boy group SEVENTEEN perform during the 12th Circle Chart Music Awards at the KSPO Dome on February 18, 2023 in Seoul, South Korea. \u003ccite>(The Chosunilbo JNS/Imazins via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theoaklandarena.com/events/detail/seventeen-right-here-world-tour-in-us\">Seventeen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 5 and 6, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nOakland Arena, Oakland\u003cbr>\n$119+\u003c/em>\u003c/p>\n\u003cp>K-pop band Seventeen is a powerhouse. The thirteen-member squad is incredibly versatile: They write and produce much of their own music, and choreograph big, epic live performances that have earned them legions of fans from China to the U.S. Sonically, they have range, too: standout tracks include the vibe-y and mystical R&B track “\u003ca href=\"https://www.youtube.com/watch?v=gbLkxltoD9o\">Spell\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=ThI0pBAbFnk\">Maestro\u003c/a>,” which showcases their hip-hop influence with a futuristic spin. Expect high-energy dance moves and otherworldly visuals two nights in a row at Oakland Arena.\u003c/p>\n\u003cfigure id=\"attachment_13963159\" class=\"wp-caption aligncenter\" style=\"max-width: 2165px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg\" alt=\"\" width=\"2165\" height=\"1443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg 2165w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1920x1280.jpg 1920w\" sizes=\"(max-width: 2165px) 100vw, 2165px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag in his music video for ‘Loss as Lessons.’ \u003ccite>(DB.Boutabag on YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/db-boutabag-with-k-flex/\">DB.Boutabag\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 8, 2024\u003cbr>\n8 p.m.\u003cbr>\nThe New Parish, Oakland\u003cbr>\n$30+\u003c/em>\u003c/p>\n\u003cp>The Bay has produced plenty of hip-hop greats, but some of the hottest young rappers out of Northern California currently hail from Stockton and Sacramento. South Sac’s \u003ca href=\"https://www.youtube.com/watch?v=krbGYUEBIFA\">DB.Boutabag\u003c/a> is one of the leaders of that Central Valley scene, and his deadpan punchlines, gems of wisdom and ruthless roasts of his rivals have attracted an avid fan base that raps along bar for bar at his shows, from Salt Lake City to Boise to Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13962991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg\" alt=\"\" width=\"2000\" height=\"1504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1536x1155.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1920x1444.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Latto performs onstage during Hot 107.9 Birthday Bash 2024 at State Farm Arena on June 22, 2024 in Atlanta, Georgia. \u003ccite>(Prince Williams/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/latto-241129/\">Latto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 29, 2024\u003c/em>\u003cbr>\n\u003cem>7:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Bill Graham Civic Auditorium, San Francisco\u003c/em>\u003cbr>\n\u003cem>$83+\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When it comes to Gen Z rappers dominating the charts, Atlanta’s Latto is definitely on the short list. After 2022’s roller disco-ready “\u003ca href=\"https://www.youtube.com/watch?v=T8GpG8C0YzA\">Big Energy\u003c/a>,” she followed up with 2023’s thrillingly aggressive diss track “\u003ca href=\"https://www.youtube.com/watch?v=-WtNCR3EDS4\">Put It On the Floor\u003c/a>” and this year’s “\u003ca href=\"https://www.youtube.com/watch?v=skTA4ZkRlyQ\">Sunday Service\u003c/a>,” a cocky and laid-back cruising anthem that got a remix from hot girl-in-chief Megan Thee Stallion and fellow rising star Flo Milli. Yes, she puts her sex appeal out there, and behind her provocative image is a careful attention to craft in the booth and on the stage.\u003c/p>\n\n",
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"excerpt": "Charli XCX, SEVENTEEN, Kaytranada and Omar Apollo are on our list of artists not to miss. ",
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"title": "Must-See Concerts in the Bay Area This Fall | KQED",
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"headline": "Must-See Concerts in the Bay Area This Fall",
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"source": "Fall Guide 2024",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13962545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands gather in front of the Twin Peaks Stage as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. He returns to the Bay Area to headline Berkeley’s Greek Theatre on Halloween. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charli XCX fans may have declared 2024 \u003cem>Brat\u003c/em> summer, but since Bay Area weather stays nice through November — and Charli herself is playing San Francisco in October — the party is continuing well into fall.\u003c/p>\n\u003cp>Even if huge arena concerts aren’t your thing, there are plenty of other worthy shows in the autumn months: Smaller club gigs from up-and-coming acts, free outdoor concerts and a waterfront festival. Read on for must-see shows to add to your concert calendar.\u003c/p>\n\u003cfigure id=\"attachment_13962998\" class=\"wp-caption aligncenter\" style=\"max-width: 2399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg\" alt=\"\" width=\"2399\" height=\"1557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg 2399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1536x997.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-2048x1329.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1920x1246.jpg 1920w\" sizes=\"(max-width: 2399px) 100vw, 2399px\">\u003cfigcaption class=\"wp-caption-text\">The Commodores. \u003ccite>(Courtesy Mare Island Dock of Bay Music Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://dockofbay.com/general-information/\">Dock of the Bay Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 2024\u003cbr>\n12:30-9:30 p.m.\u003cbr>\nMare Island Coal Sheds, Vallejo\u003cbr>\n$120+\u003c/em>\u003c/p>\n\u003cp>The Solano County waterfront, with its mix of natural and industrial terrain, makes for a special setting at Dock of the Bay. The music festival brings together original disco and funk acts like “\u003ca href=\"https://www.youtube.com/watch?v=GTR27qWXGqU\">Boogie Nights\u003c/a>” hitmakers Heatwave, who’ve been sampled by everyone from Michael Jackson to Timbaland and Missy Elliott. They perform alongside The Commodores, who gave us the timeless classic “\u003ca href=\"https://www.youtube.com/watch?v=KzOJaHHlIcQ\">Brick House\u003c/a>;” Average White Band of “\u003ca href=\"https://www.youtube.com/watch?v=3ISLeHByD-I\">Pick Up the Pieces\u003c/a>” fame; and Lenny Williams, the balladeer behind soul classic “\u003ca href=\"https://www.youtube.com/watch?v=QbzkwLWK-Ps\">Cause I Love You\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13962996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">El Alfa (center) performs at Billboard En Vivo Featuring Wisin held at Oasis Wynwood as part of Billboard Latin Music Week on October 3, 2023 in Miami Beach, Florida. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sapcenter.com/events/detail/el-alfa\">El Alfa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 2024\u003cbr>\n8 p.m.\u003cbr>\nSAP Center, San Jose\u003cbr>\n$92+\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s no question that El Alfa is the king of Dominican dembow. With each \u003ca href=\"https://www.youtube.com/watch?v=j0KT4NTZNQo\">new release\u003c/a>, his raps seem to get more hyperactive, weirder and raunchier, with onomatopoeias and \u003ca href=\"https://www.youtube.com/watch?v=s5yRZOQ3EWI\">double entendres\u003c/a> in the pocket of uptempo, percussion-heavy, tropical beats. There’s a reason why Spanish-speaking artists from all over the Western hemisphere — Cardi B, Kali Uchis, Bad Bunny, Wisin & Yandel and Jowell & Randy — have turned to him to inject their tracks with manic energy. Expect nothing less when he arrives stateside for a headlining show at San Jose’s SAP Center.\u003c/p>\n\u003cfigure id=\"attachment_13962994\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1536x1118.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1920x1398.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man. \u003ccite>(Maclay Heriot )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://laylo.com/anotherplanetentertainment/9-20-24\">Portugal. The Man\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Snacktime\u003cbr>\nSept. 20, 2024\u003cbr>\nCivic Center Plaza, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Continuing San Francisco’s streak of free concerts this year, Portugal. The Man brings their punchy, groove-laden rock to Civic Center Plaza, just outside of City Hall. The Portland band, best known for 2017’s inescapable “\u003ca href=\"https://www.youtube.com/watch?v=F09POwrBn-M\">Feel It Still\u003c/a>,” are currently touring in support of their catchy, psychedelic 2023 album \u003cem>Chris Black Changed My Life\u003c/em>. Philly brass band Snacktime will get the dance party started with their uptempo jazz funk.\u003c/p>\n\u003cfigure id=\"attachment_10618581\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10618581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-960x540.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Sleater-Kinney at the Masonic, May 2, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4-6, 2024\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>With concert tickets more expensive than ever, a free major festival like Hardly Strictly is truly a gift. Alternative rockers \u003ca href=\"https://www.youtube.com/watch?v=vZA_7FtttRY\">Sleater-Kinney\u003c/a> are a huge draw at this year’s family-friendly event, which celebrates bluegrass, country, roots music and eclectic array of other genres in Golden Gate Park. Other standout acts include Nigerian-British electronic pop band \u003ca href=\"https://www.youtube.com/watch?v=AVCTy_Qqn5A\">Ibibio Sound Machine\u003c/a>, Ukrainian folk experimentalists \u003ca href=\"https://www.youtube.com/watch?v=AObDpJ6xQMk\">DakhaBrakha\u003c/a>, original bluesman Bobby Rush and powerhouse soul singer Mavis Staples.\u003c/p>\n\u003cfigure id=\"attachment_13962989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg\" alt=\"Omar Apollo smiles and looks out onto the crowd while holding a microphone and wearing sparkly black pants and a matching top. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Apollo performs at Life Is Beautiful on Sept. 23, 2023 in Las Vegas, Nevada. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/omar-apollo-241004/\">Omar Apollo\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Kevin Abstract\u003cbr>\nOct. 4, 2024\u003cbr>\n8 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>Tender, touching and at times snarky, Omar Apollo’s expansive pop music blends eclectic influences — folk and new wave, R&B and trap — into something shimmeringly beautiful. The singer-songwriter and guitarist’s latest album \u003ca href=\"https://www.youtube.com/watch?v=YTnuRqf5V5Y\">\u003ci>God Said No\u003c/i>\u003c/a> takes us on a ride through desire, pettiness, longing and other complicated emotions that arise during a breakup. Apollo will take the stage at Berkeley’s Greek Theatre with Brockhampton’s Kevin Abstract, another artist pushing queer expression forward.\u003c/p>\n\u003cfigure id=\"attachment_13956732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956732\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg\" alt=\"Blonde woman in black with bass guitar holds a small white dog\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw, vocalist and bass guitarist of Shannon and the Clams, and her dog Spanky-Joe at a park in the greater Los Angeles area on April 25, 2024. \u003ccite>(Jules Hotz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thefoxoakland.com/events/shannon-and-the-clams-241019\">Shannon and the Clams\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19, 2024\u003cbr>\n8 p.m.\u003cbr>\nFox Theater, Oakland\u003cbr>\n$43+\u003c/em>\u003c/p>\n\u003cp>With \u003ci>The Moon Is in the Wrong Place\u003c/i>, Oakland rockers \u003ca href=\"https://www.youtube.com/watch?v=dvo2yOFb7k0\">Shannon and the Clams\u003c/a> made an album about grief whose exuberance is an affirmation of love and life, written in the aftermath of frontwoman Shannon Shaw’s life-changing loss of her fiance, drummer Joe Haener. While grappling with the tragedy, the band transmuted restlessness, anger, sorrow and confusion into a high-energy blend of garage rock, country and psychedelia that’s made for the stage, especially a gorgeous room like the Fox.\u003c/p>\n\u003cfigure id=\"attachment_13919608\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://chasecenter.com/events/charli-xcx-and-troye-sivan-20241020\">Charli XCX & Troye Sivan\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Shygirl\u003cbr>\nOct. 20, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nChase Center, San Francisco\u003cbr>\n$196+\u003c/em>\u003c/p>\n\u003cp>Charli XCX is so hot this year, even Kamala Harris wants to ride her lime-green \u003ci>Brat\u003c/i> train to the White House. The U.K. pop star reconnected with her raver roots for her sixth studio album, and the result is a hedonistic yet profound listen that managed to explode into the mainstream while maintaining a solidly grimy, underground appeal. Shockingly honest tracks like “\u003ca href=\"https://www.youtube.com/watch?v=0q3K6FPzY18\">Girl, so confusing\u003c/a>” — where Charli and Lorde squashed their beef on record while elucidating how misogyny messes with women’s minds — lend the album its emotional depth. At the Chase Center, Charli will whisk fans away into her 4 a.m. fantasy with “One of Your Girls” hitmaker Troye Sivan and fellow club kid Shygirl.\u003c/p>\n\u003cfigure id=\"attachment_13919616\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaytranada performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/kaytranada-241031\">Kaytranada\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Channel Tres and Lou Phelps\u003cbr>\nOct. 31, 2024\u003cbr>\n6:30 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>It’s a shame hip-house only went mainstream for a few years in the mid-’90s — rapping over uptempo club beats just makes sense. Fortunately, Kaytranada and Channel Tres have revived the sound for a new generation. Hot off his new \u003ci>TIMELESS\u003c/i> album (and an extremely lit \u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">Outside Lands\u003c/a> appearance), Kaytranada will spin groove-laden beats that feature some of today’s brightest pop, R&B and rap talents, including \u003ca href=\"https://www.youtube.com/watch?v=vAOzFvVz718\">PinkPantheress\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kQC0S0VYoio\">Tinashe\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=EqfnKrbMZ5w\">Don Toliver\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=ijP_r0f-Mds\">Lou Phelps\u003c/a>, the latter of whom is opening the show. “Top Down” rapper Channel Tres promises a live set of dance-floor ready anthems. If you’re trying to turn up on Halloween, this is the place to be.\u003c/p>\n\u003cfigure id=\"attachment_13962992\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962992\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg\" alt=\"A large boy band runs down a stage wearing complementary tweed suits. \" width=\"2000\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1536x1003.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1920x1254.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dokyeom, Seungkwan and Hoshi of k-pop boy group SEVENTEEN perform during the 12th Circle Chart Music Awards at the KSPO Dome on February 18, 2023 in Seoul, South Korea. \u003ccite>(The Chosunilbo JNS/Imazins via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theoaklandarena.com/events/detail/seventeen-right-here-world-tour-in-us\">Seventeen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 5 and 6, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nOakland Arena, Oakland\u003cbr>\n$119+\u003c/em>\u003c/p>\n\u003cp>K-pop band Seventeen is a powerhouse. The thirteen-member squad is incredibly versatile: They write and produce much of their own music, and choreograph big, epic live performances that have earned them legions of fans from China to the U.S. Sonically, they have range, too: standout tracks include the vibe-y and mystical R&B track “\u003ca href=\"https://www.youtube.com/watch?v=gbLkxltoD9o\">Spell\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=ThI0pBAbFnk\">Maestro\u003c/a>,” which showcases their hip-hop influence with a futuristic spin. Expect high-energy dance moves and otherworldly visuals two nights in a row at Oakland Arena.\u003c/p>\n\u003cfigure id=\"attachment_13963159\" class=\"wp-caption aligncenter\" style=\"max-width: 2165px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg\" alt=\"\" width=\"2165\" height=\"1443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg 2165w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1920x1280.jpg 1920w\" sizes=\"(max-width: 2165px) 100vw, 2165px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag in his music video for ‘Loss as Lessons.’ \u003ccite>(DB.Boutabag on YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/db-boutabag-with-k-flex/\">DB.Boutabag\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 8, 2024\u003cbr>\n8 p.m.\u003cbr>\nThe New Parish, Oakland\u003cbr>\n$30+\u003c/em>\u003c/p>\n\u003cp>The Bay has produced plenty of hip-hop greats, but some of the hottest young rappers out of Northern California currently hail from Stockton and Sacramento. South Sac’s \u003ca href=\"https://www.youtube.com/watch?v=krbGYUEBIFA\">DB.Boutabag\u003c/a> is one of the leaders of that Central Valley scene, and his deadpan punchlines, gems of wisdom and ruthless roasts of his rivals have attracted an avid fan base that raps along bar for bar at his shows, from Salt Lake City to Boise to Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13962991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg\" alt=\"\" width=\"2000\" height=\"1504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1536x1155.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1920x1444.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Latto performs onstage during Hot 107.9 Birthday Bash 2024 at State Farm Arena on June 22, 2024 in Atlanta, Georgia. \u003ccite>(Prince Williams/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/latto-241129/\">Latto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 29, 2024\u003c/em>\u003cbr>\n\u003cem>7:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Bill Graham Civic Auditorium, San Francisco\u003c/em>\u003cbr>\n\u003cem>$83+\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it comes to Gen Z rappers dominating the charts, Atlanta’s Latto is definitely on the short list. After 2022’s roller disco-ready “\u003ca href=\"https://www.youtube.com/watch?v=T8GpG8C0YzA\">Big Energy\u003c/a>,” she followed up with 2023’s thrillingly aggressive diss track “\u003ca href=\"https://www.youtube.com/watch?v=-WtNCR3EDS4\">Put It On the Floor\u003c/a>” and this year’s “\u003ca href=\"https://www.youtube.com/watch?v=skTA4ZkRlyQ\">Sunday Service\u003c/a>,” a cocky and laid-back cruising anthem that got a remix from hot girl-in-chief Megan Thee Stallion and fellow rising star Flo Milli. Yes, she puts her sex appeal out there, and behind her provocative image is a careful attention to craft in the booth and on the stage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "as-late-night-loses-its-band-we-rank-the-best-groups-ever-on-late-night-tv",
"title": "As ‘Late Night’ Loses Its Band, We Rank the Best Groups Ever on Late Night TV",
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"headTitle": "As ‘Late Night’ Loses Its Band, We Rank the Best Groups Ever on Late Night TV | KQED",
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"content": "\u003cp>When producers at \u003cem>Late Night with Seth Meyers\u003c/em> told keyboardist and associate musical director Eli Janney the show would eliminate its live backing group, The 8G Band, due to budget cuts, he wasn’t all that surprised.\u003c/p>\n\u003cp>“This was a moment, honestly, we all saw coming,” said Janney, who made his name as a bassist and keyboardist for the indie rock band Girls Against Boys — and as a producer with artists like James Blunt — before musical director Fred Armisen asked him to join \u003cem>Late Night\u003c/em>’s backing group in 2014.\u003c/p>\n\u003cp>[aside postid='arts_13912923']Janney says Armisen was looking to bring an indie rock band into the world of late night TV.\u003c/p>\n\u003cp>Along with Janney on keyboards and Armisen on guitar, they had Seth Jabour on guitar, Marnie Stern on guitar, Syd Butler on bass and Kimberly Thompson on drums. But when Armisen’s performing career took off, he wound up leaving Janney in charge — returning for short stints as a guest drummer several times a year.\u003c/p>\n\u003cp>“About six months into the show, [Armisen] was like, ‘Hey I have to go work on the next season of \u003cem>Portlandia\u003c/em>, I should be back in about 30 days,” Janney said, laughing. “And then he just never came back [full time].”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>[aside postid='arts_13867505']As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=RUPSilcJFrQ\u003c/p>\n\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1QXdi25469U\u003c/p>\n\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=ziwYbVx_-qg\u003c/p>\n\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1HiBKSOeqvg\u003c/p>\n\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=gwgOUzodS6E\u003c/p>\n\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sanborn loved to bring different types of musicians together, having jazzers Carla Bley and Steve Swallow perform with funk master Bootsy Collins. And the band’s rocking take on “See the Light” with Jeff Healey remains one of my favorite performances by the late guitar god.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When producers at \u003cem>Late Night with Seth Meyers\u003c/em> told keyboardist and associate musical director Eli Janney the show would eliminate its live backing group, The 8G Band, due to budget cuts, he wasn’t all that surprised.\u003c/p>\n\u003cp>“This was a moment, honestly, we all saw coming,” said Janney, who made his name as a bassist and keyboardist for the indie rock band Girls Against Boys — and as a producer with artists like James Blunt — before musical director Fred Armisen asked him to join \u003cem>Late Night\u003c/em>’s backing group in 2014.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Janney says Armisen was looking to bring an indie rock band into the world of late night TV.\u003c/p>\n\u003cp>Along with Janney on keyboards and Armisen on guitar, they had Seth Jabour on guitar, Marnie Stern on guitar, Syd Butler on bass and Kimberly Thompson on drums. But when Armisen’s performing career took off, he wound up leaving Janney in charge — returning for short stints as a guest drummer several times a year.\u003c/p>\n\u003cp>“About six months into the show, [Armisen] was like, ‘Hey I have to go work on the next season of \u003cem>Portlandia\u003c/em>, I should be back in about 30 days,” Janney said, laughing. “And then he just never came back [full time].”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/RUPSilcJFrQ'\n title='//www.youtube.com/embed/RUPSilcJFrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1QXdi25469U'\n title='//www.youtube.com/embed/1QXdi25469U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/ziwYbVx_-qg'\n title='//www.youtube.com/embed/ziwYbVx_-qg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1HiBKSOeqvg'\n title='//www.youtube.com/embed/1HiBKSOeqvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/gwgOUzodS6E'\n title='//www.youtube.com/embed/gwgOUzodS6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sanborn loved to bring different types of musicians together, having jazzers Carla Bley and Steve Swallow perform with funk master Bootsy Collins. And the band’s rocking take on “See the Light” with Jeff Healey remains one of my favorite performances by the late guitar god.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/staramerasu/\">Star Amerasu\u003c/a> began her career making gorgeous, lo-fi and brutally honest electronic pop, and with her latest album, \u003cem>never, really alone\u003c/em>, she takes us out of her bedroom studio and into the club.\u003c/p>\n\u003cp>The dance music project pairs her ethereal vocals with high-energy tech-house beats that call to mind late ’90s classics by \u003ca href=\"https://www.youtube.com/watch?v=Lgs9QUtWc3M\">Alice Deejay\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=50vKiK5KsBw\">Jocelyn Enriquez\u003c/a>. Amerasu’s pen is sharp as ever, and standout tracks like “way of the doll” and “\u003ca href=\"https://www.youtube.com/watch?v=S1do5AaZzqQ\">not okay( i’ll be fine)\u003c/a>” speak to alienation and darkness she’s experienced as a trans woman, threading the needle between personal and universal. With the hopeful coda of “we’ll b okay,” she pays homage to trans people whose support she credits with saving her life.\u003c/p>\n\u003cp>\u003cem>never, really alone\u003c/em> hit streaming platforms on July 19, and Amerasu celebrates with a release party called Dancing With a Star at legendary queer club \u003ca href=\"https://www.studsf.com/\">The Stud\u003c/a>, which reopened earlier this year. She’s throwing the event in conjunction with mainstay of the San Francisco LGBTQ+ nightlife scene, Hard French, and the trans dance party T4T. DJs Brown Angel, Charles Hawthorne and Papa Xanny will join Amerasu behind the decks, and she’ll also perform tracks from the album live.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4DDgNVUmwOuKbZp8qJHyPA?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Dancing With a Star closes a busy summer for Amerasu. \u003ca href=\"https://www.frameline.org/films/frameline48/after-hours\">\u003cem>After Hours\u003c/em>\u003c/a>, an Elliot Page-produced short film she directed and starred in, premiered at the queer film festival Frameline in June. Ever the multihyphenate, Amerasu also DJed at Outside Lands earlier this month.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Dancing with a Star takes place at The Stud (1123 Folsom St., San Francisco) on Aug. 24, 10 p.m.–2 a.m. \u003ca href=\"https://www.instagram.com/p/C-ivjz-yNqb/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/staramerasu/\">Star Amerasu\u003c/a> began her career making gorgeous, lo-fi and brutally honest electronic pop, and with her latest album, \u003cem>never, really alone\u003c/em>, she takes us out of her bedroom studio and into the club.\u003c/p>\n\u003cp>The dance music project pairs her ethereal vocals with high-energy tech-house beats that call to mind late ’90s classics by \u003ca href=\"https://www.youtube.com/watch?v=Lgs9QUtWc3M\">Alice Deejay\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=50vKiK5KsBw\">Jocelyn Enriquez\u003c/a>. Amerasu’s pen is sharp as ever, and standout tracks like “way of the doll” and “\u003ca href=\"https://www.youtube.com/watch?v=S1do5AaZzqQ\">not okay( i’ll be fine)\u003c/a>” speak to alienation and darkness she’s experienced as a trans woman, threading the needle between personal and universal. With the hopeful coda of “we’ll b okay,” she pays homage to trans people whose support she credits with saving her life.\u003c/p>\n\u003cp>\u003cem>never, really alone\u003c/em> hit streaming platforms on July 19, and Amerasu celebrates with a release party called Dancing With a Star at legendary queer club \u003ca href=\"https://www.studsf.com/\">The Stud\u003c/a>, which reopened earlier this year. She’s throwing the event in conjunction with mainstay of the San Francisco LGBTQ+ nightlife scene, Hard French, and the trans dance party T4T. DJs Brown Angel, Charles Hawthorne and Papa Xanny will join Amerasu behind the decks, and she’ll also perform tracks from the album live.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4DDgNVUmwOuKbZp8qJHyPA?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Dancing With a Star closes a busy summer for Amerasu. \u003ca href=\"https://www.frameline.org/films/frameline48/after-hours\">\u003cem>After Hours\u003c/em>\u003c/a>, an Elliot Page-produced short film she directed and starred in, premiered at the queer film festival Frameline in June. Ever the multihyphenate, Amerasu also DJed at Outside Lands earlier this month.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Dancing with a Star takes place at The Stud (1123 Folsom St., San Francisco) on Aug. 24, 10 p.m.–2 a.m. \u003ca href=\"https://www.instagram.com/p/C-ivjz-yNqb/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Marty Aranaydo first thought about doing a month-long pop-up store in a huge space on 12th and Harrison in Oakland, he joked that the building was big enough to be a cultural center.\u003c/p>\n\u003cp>And then he stopped laughing, and started planning events.\u003c/p>\n\u003cp>The space, the former site of Lucky Duck Bicycle Cafe, has been home to \u003ca href=\"https://www.kqed.org/arts/13958896/solespace-lab-oakland-sneakers-sustainability\" target=\"_blank\" rel=\"noopener\">SoleSpace Lab\u003c/a> of late. But for the next month, it’ll be what Aranaydo is calling “a pop-up inside of a pop-up,” where he’ll sell shirts and baseball hats from his \u003ca href=\"https://www.instagram.com/p/C-9DQq2PadJ/?igsh=MzRlODBiNWFlZA%3D%3D\" target=\"_blank\" rel=\"noopener\">NVR OVR\u003c/a> brand. And, concurrently, he’ll host a series of events in the spirit of the cultural centers he grew up attending.\u003c/p>\n\u003cp>“That’s where I got the idea that if you know something, you should share it,” says Aranaydo, listing places like the \u003ca href=\"https://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House\u003c/a>, \u003ca href=\"https://sscf.org/\" target=\"_blank\" rel=\"noopener\">the Spanish Speaking Citizens Foundation\u003c/a> and \u003ca href=\"https://www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">Eastside Arts Alliance\u003c/a> as institutions with a pivotal role in his upbringing.\u003c/p>\n\u003cp>“\u003ca href=\"https://lapena.org/\" target=\"_blank\" rel=\"noopener\">La Peña\u003c/a> was the first place where you could get on stage or get in the sound booth. You could even throw your own event,” says Aranaydo. “Some of the best DJ sets of my young life happened there.”\u003c/p>\n\u003cfigure id=\"attachment_13962962\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967.jpg\" alt='Marty \"DJ Willie Maze\" Aranaydo speaking to folks at the new location of his NVR OVR store in Oakland on Saturday Aug. 17.' width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967-1536x1027.jpg 1536w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Marty ‘DJ Willie Maze’ Aranaydo speaks with folks at the new location of his NVR OVR store in Oakland on Saturday, Aug. 17. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Aranaydo’s love of third spaces — hangouts for likeminded people to share skills, stories and culture — that has spawned his latest endeavor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the events over the next month include lessons from DJ Fuze of Digital Underground, an afternoon event with the Native American DJ Association and a DJ battle. This Saturday, Aug. 24, there’ll be a record swap and sip, followed on Sunday by a tie-dye skillshare.\u003c/p>\n\u003cp>After a soft launch, the series kicked off on Aug. 17 with a celebration for Aranaydo’s late friend and legendary aerosol writer \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\" target=\"_blank\" rel=\"noopener\">Mike “Dream” Francisco\u003c/a>, who would’ve turned 55 on Aug. 15.\u003c/p>\n\u003cp>During the event, people observed projected images of Dream’s work, and longtime Bay Area aerosol writer and community pillar \u003ca href=\"https://www.kqed.org/arts/13926619/spie-one-tdk-bay-area-graffiti-history-hip-hop\">Spie\u003c/a> shared stories of painting with his friend and fellow TDK crew member.\u003c/p>\n\u003cfigure id=\"attachment_13962963\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-scaled.jpg\" alt=\"Spie, legendary San Francisco based aerosol writer, sharing an image of Mike "Dream" Francisco's first piece from 1983.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-based aerosol legend Spie shares an image of Mike “Dream” Francisco’s first piece from 1983. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point during the presentation, Aranaydo grabbed the mic to provide further context of his relationship to Dream and Spie, noting the importance of their work.\u003c/p>\n\u003cp>It’s rare for a shop owner to be able to speak about the art and culture their crew created and sustained for over four decades, but that’s one of the many things Aranaydo is offering with this space.\u003c/p>\n\u003cp>“It feels irresponsible to just ask people to support my cool-guy shit and give me money,” says Aranaydo of selling clothing and apparel. “I want people to not just buy something. I want them to walk away with much more.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The NVR OVR pop-up shop is at 302 12th St. in Oakland, with events slated from now through Oct. 15. \u003ca href=\"https://www.instagram.com/p/C-9DQq2PadJ/?igsh=MzRlODBiNWFlZA%3D%3D\" target=\"_blank\" rel=\"noopener\">Details and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Marty Aranaydo first thought about doing a month-long pop-up store in a huge space on 12th and Harrison in Oakland, he joked that the building was big enough to be a cultural center.\u003c/p>\n\u003cp>And then he stopped laughing, and started planning events.\u003c/p>\n\u003cp>The space, the former site of Lucky Duck Bicycle Cafe, has been home to \u003ca href=\"https://www.kqed.org/arts/13958896/solespace-lab-oakland-sneakers-sustainability\" target=\"_blank\" rel=\"noopener\">SoleSpace Lab\u003c/a> of late. But for the next month, it’ll be what Aranaydo is calling “a pop-up inside of a pop-up,” where he’ll sell shirts and baseball hats from his \u003ca href=\"https://www.instagram.com/p/C-9DQq2PadJ/?igsh=MzRlODBiNWFlZA%3D%3D\" target=\"_blank\" rel=\"noopener\">NVR OVR\u003c/a> brand. And, concurrently, he’ll host a series of events in the spirit of the cultural centers he grew up attending.\u003c/p>\n\u003cp>“That’s where I got the idea that if you know something, you should share it,” says Aranaydo, listing places like the \u003ca href=\"https://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House\u003c/a>, \u003ca href=\"https://sscf.org/\" target=\"_blank\" rel=\"noopener\">the Spanish Speaking Citizens Foundation\u003c/a> and \u003ca href=\"https://www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">Eastside Arts Alliance\u003c/a> as institutions with a pivotal role in his upbringing.\u003c/p>\n\u003cp>“\u003ca href=\"https://lapena.org/\" target=\"_blank\" rel=\"noopener\">La Peña\u003c/a> was the first place where you could get on stage or get in the sound booth. You could even throw your own event,” says Aranaydo. “Some of the best DJ sets of my young life happened there.”\u003c/p>\n\u003cfigure id=\"attachment_13962962\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967.jpg\" alt='Marty \"DJ Willie Maze\" Aranaydo speaking to folks at the new location of his NVR OVR store in Oakland on Saturday Aug. 17.' width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/DSC08967-1536x1027.jpg 1536w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Marty ‘DJ Willie Maze’ Aranaydo speaks with folks at the new location of his NVR OVR store in Oakland on Saturday, Aug. 17. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Aranaydo’s love of third spaces — hangouts for likeminded people to share skills, stories and culture — that has spawned his latest endeavor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the events over the next month include lessons from DJ Fuze of Digital Underground, an afternoon event with the Native American DJ Association and a DJ battle. This Saturday, Aug. 24, there’ll be a record swap and sip, followed on Sunday by a tie-dye skillshare.\u003c/p>\n\u003cp>After a soft launch, the series kicked off on Aug. 17 with a celebration for Aranaydo’s late friend and legendary aerosol writer \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\" target=\"_blank\" rel=\"noopener\">Mike “Dream” Francisco\u003c/a>, who would’ve turned 55 on Aug. 15.\u003c/p>\n\u003cp>During the event, people observed projected images of Dream’s work, and longtime Bay Area aerosol writer and community pillar \u003ca href=\"https://www.kqed.org/arts/13926619/spie-one-tdk-bay-area-graffiti-history-hip-hop\">Spie\u003c/a> shared stories of painting with his friend and fellow TDK crew member.\u003c/p>\n\u003cfigure id=\"attachment_13962963\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-scaled.jpg\" alt=\"Spie, legendary San Francisco based aerosol writer, sharing an image of Mike "Dream" Francisco's first piece from 1983.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/IMG_7402-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-based aerosol legend Spie shares an image of Mike “Dream” Francisco’s first piece from 1983. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point during the presentation, Aranaydo grabbed the mic to provide further context of his relationship to Dream and Spie, noting the importance of their work.\u003c/p>\n\u003cp>It’s rare for a shop owner to be able to speak about the art and culture their crew created and sustained for over four decades, but that’s one of the many things Aranaydo is offering with this space.\u003c/p>\n\u003cp>“It feels irresponsible to just ask people to support my cool-guy shit and give me money,” says Aranaydo of selling clothing and apparel. “I want people to not just buy something. I want them to walk away with much more.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The NVR OVR pop-up shop is at 302 12th St. in Oakland, with events slated from now through Oct. 15. \u003ca href=\"https://www.instagram.com/p/C-9DQq2PadJ/?igsh=MzRlODBiNWFlZA%3D%3D\" target=\"_blank\" rel=\"noopener\">Details and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hayward Isn’t Known For Hip-Hop — But This Samoan Rapper Is Changing That",
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"content": "\u003cfigure id=\"attachment_13962721\" class=\"wp-caption aligncenter\" style=\"max-width: 642px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962721\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/0A4F24E7-133D-4EB9-BF1C-8D77D5C39DD5.jpg\" alt=\"a rapper wearing dark sunglasses stands against the wall\" width=\"642\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/0A4F24E7-133D-4EB9-BF1C-8D77D5C39DD5.jpg 642w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/0A4F24E7-133D-4EB9-BF1C-8D77D5C39DD5-160x107.jpg 160w\" sizes=\"(max-width: 642px) 100vw, 642px\">\u003cfigcaption class=\"wp-caption-text\">AdamBeen is an American Samoa-born, Hayward-raised rapper bringing attention to his city through music and streetwear. \u003ccite>(Courtesy AdamBeen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was at a house party near the Dumbarton Bridge in Newark where I first met \u003ca href=\"https://www.instagram.com/adambeen_/\">AdamBeen\u003c/a>. On what should’ve been a restful Sunday afternoon, the large Samoan brought a bottle of mezcal and began to whip up cocktails in my cousin’s kitchen, which, in a houseful of Mexicans, is a welcome gesture.\u003c/p>\n\u003cp>Standing over 6 feet tall with the build of a defensive tackle, Adam stooped over the counter evincing the gentle touch of a seasoned bartender — salting the glass rims, and mixing generous pours of the Oaxacan spirit with splashes of fresh juice.\u003c/p>\n\u003cp>At the time, I didn’t know he made music and co-founded \u003ca href=\"https://www.instagram.com/hellatechh/?hl=en\">HellaTech\u003c/a>, an underground streetwear brand I’d seen some of my younger cousins wearing around the East Bay. Soon after taking a shot together and connecting over a simple mention of hip-hop, we mused on Gang Starr, Curren$y, Griselda, The Jacka, \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a> and Rappin’ 4-Tay.\u003c/p>\n\u003cp>Covering a range of rap styles, regions and eras, he impressed me for a Bay Area dude nearly 10 years younger than me. Turns out that AdamBeen knows his hip-hop lore — a student of the game who, as a DJ in his spare time, is on his way to becoming a parochial tastemaker.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3YUg3p1aGSS39vzgFo6rw5?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What separates AdamBeen from his generational Bay Area contemporaries isn’t just his old-school rap erudition, though. As I later found out by diving into his music catalog, it’s his carefully tuned, Griselda-esque verbal artillery. And as a Pacific Islander born in American Samoa who was raised by an adopted family in a Mexican, Hawaiian and Samoan household in Hayward, AdamBeen’s got plenty of unique perspective to spit.\u003c/p>\n\u003cp>His development as an emcee can be traced to his 2021 debut, \u003ci>Under The Beenfluence, Vol. 1\u003c/i>. The LP opens with an audio clip of Spice 1 talking about Hayward, establishing a hometown lineage that the young emcee embraces in the video for “\u003ca href=\"https://www.youtube.com/watch?v=wsquAgV8E9Y&list=OLAK5uy_nIqsJaqfpQlMAMEH2v0v4urfJ_VVfiPGk&index=4\">Go On N Cry\u003c/a>.” The album served to calibrate his sonic identity within the Bay Area ecosystem, with a prominent feature from rising Filipino American rapper \u003ca href=\"https://www.instagram.com/darrellmedellin/\">Darrell Medellin\u003c/a> and local friends Benny Mak and Esancho. Entirely produced by Union City’s \u003ca href=\"https://www.instagram.com/payseanprod/\">Pay$ean\u003c/a>, the project carries overtones of mobb music, which Been would soon veer away from in favor of lo-fi minimalism.\u003c/p>\n\u003cp>In 2022, the \u003ca href=\"https://www.samoanews.com/linking-samoans/samoan-slang-fuels-aussie-interest-polynesian-culture-language\">big uce\u003c/a> dropped \u003ci>Bag of Bars\u003c/i>, a collaboration with Bay Area soundmaker Steelo Fury. On songs like “Heaven’s Tears,” “Prism,” “Tech Kwon Do,” and “Beached Thoughts,” the album allows for a quieter, wandering — if not euphonious — lyricism. Meditative and unforced, the album is free from remnants of mobb or hyphy energy to which many rappers in the region can be zealously bound.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lLuEMJGvlQU\u003c/p>\n\u003cp>Now, with \u003ci>Selected Works\u003c/i> — released in the spring of 2024 — the emcee proves he’s stayed active in the lyrical dojo, delivering seven tracks on his best project to date. With a third collaborator at the helm, \u003ca href=\"https://www.instagram.com/allsngeye/\">THEALLSEEINGEYE\u003c/a> — an East Bay factotum who produces, raps, paints and even designed the album cover — AdamBeen’s artistry continues to grow into jazzier permutations while retaining a gritty, industrial texture reflective of Hayward’s backstreets.\u003c/p>\n\u003cp>A blue-collar suburb just south of Oakland, and the third largest city in Alameda County, Hayward first garnered shine in the Bay Area hip-hop cosmos in 1991, when Spice 1 released his anthemic track, “187 Proof.” The city has had only intermittent regional stars, like 187 Fac or Darkroom Familia, since.\u003c/p>\n\u003cp>Even back then, Spice 1 — the rapid-spitting gangster rapper known for his collaborations with 2Pac, the Luniz, E-40 and other California heavyweights — didn’t really rep Hayward with the same fervor his peers reserved for Oakland, Frisco, Vallejo and Richmond. Though a similar city in demographics and vibe — predominantly blue collar, dotted with warehouses and junkyards, close to the shoreline — Hayward, or the Stack, never reached the same level of rap eminence.\u003c/p>\n\u003cp>AdamBeen might be in the best position to change that. His artistic merit surpasses any online algorithm or follower count. For any true rap lover, particularly those with an allegiance to the boom-bap era, Been has a promising allure, particularly as one of Hayward’s sole representatives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As he establishes on “Stop & Listen,” the introductory track to \u003ci>Selected Works\u003c/i>, he’s doing things his own way and doesn’t plan on switching up: “I ain’t no S.O.S [\u003ca href=\"https://unitedgangs.com/sons-of-samoa/\">Sons Of Samoa\u003c/a>], I ain’t on no same old shit / Had to make changes without changing / …you gotta hate yourself before you hate this.”\u003c/p>\n\u003chr>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13962721\" class=\"wp-caption aligncenter\" style=\"max-width: 642px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962721\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/0A4F24E7-133D-4EB9-BF1C-8D77D5C39DD5.jpg\" alt=\"a rapper wearing dark sunglasses stands against the wall\" width=\"642\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/0A4F24E7-133D-4EB9-BF1C-8D77D5C39DD5.jpg 642w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/0A4F24E7-133D-4EB9-BF1C-8D77D5C39DD5-160x107.jpg 160w\" sizes=\"(max-width: 642px) 100vw, 642px\">\u003cfigcaption class=\"wp-caption-text\">AdamBeen is an American Samoa-born, Hayward-raised rapper bringing attention to his city through music and streetwear. \u003ccite>(Courtesy AdamBeen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was at a house party near the Dumbarton Bridge in Newark where I first met \u003ca href=\"https://www.instagram.com/adambeen_/\">AdamBeen\u003c/a>. On what should’ve been a restful Sunday afternoon, the large Samoan brought a bottle of mezcal and began to whip up cocktails in my cousin’s kitchen, which, in a houseful of Mexicans, is a welcome gesture.\u003c/p>\n\u003cp>Standing over 6 feet tall with the build of a defensive tackle, Adam stooped over the counter evincing the gentle touch of a seasoned bartender — salting the glass rims, and mixing generous pours of the Oaxacan spirit with splashes of fresh juice.\u003c/p>\n\u003cp>At the time, I didn’t know he made music and co-founded \u003ca href=\"https://www.instagram.com/hellatechh/?hl=en\">HellaTech\u003c/a>, an underground streetwear brand I’d seen some of my younger cousins wearing around the East Bay. Soon after taking a shot together and connecting over a simple mention of hip-hop, we mused on Gang Starr, Curren$y, Griselda, The Jacka, \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a> and Rappin’ 4-Tay.\u003c/p>\n\u003cp>Covering a range of rap styles, regions and eras, he impressed me for a Bay Area dude nearly 10 years younger than me. Turns out that AdamBeen knows his hip-hop lore — a student of the game who, as a DJ in his spare time, is on his way to becoming a parochial tastemaker.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3YUg3p1aGSS39vzgFo6rw5?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What separates AdamBeen from his generational Bay Area contemporaries isn’t just his old-school rap erudition, though. As I later found out by diving into his music catalog, it’s his carefully tuned, Griselda-esque verbal artillery. And as a Pacific Islander born in American Samoa who was raised by an adopted family in a Mexican, Hawaiian and Samoan household in Hayward, AdamBeen’s got plenty of unique perspective to spit.\u003c/p>\n\u003cp>His development as an emcee can be traced to his 2021 debut, \u003ci>Under The Beenfluence, Vol. 1\u003c/i>. The LP opens with an audio clip of Spice 1 talking about Hayward, establishing a hometown lineage that the young emcee embraces in the video for “\u003ca href=\"https://www.youtube.com/watch?v=wsquAgV8E9Y&list=OLAK5uy_nIqsJaqfpQlMAMEH2v0v4urfJ_VVfiPGk&index=4\">Go On N Cry\u003c/a>.” The album served to calibrate his sonic identity within the Bay Area ecosystem, with a prominent feature from rising Filipino American rapper \u003ca href=\"https://www.instagram.com/darrellmedellin/\">Darrell Medellin\u003c/a> and local friends Benny Mak and Esancho. Entirely produced by Union City’s \u003ca href=\"https://www.instagram.com/payseanprod/\">Pay$ean\u003c/a>, the project carries overtones of mobb music, which Been would soon veer away from in favor of lo-fi minimalism.\u003c/p>\n\u003cp>In 2022, the \u003ca href=\"https://www.samoanews.com/linking-samoans/samoan-slang-fuels-aussie-interest-polynesian-culture-language\">big uce\u003c/a> dropped \u003ci>Bag of Bars\u003c/i>, a collaboration with Bay Area soundmaker Steelo Fury. On songs like “Heaven’s Tears,” “Prism,” “Tech Kwon Do,” and “Beached Thoughts,” the album allows for a quieter, wandering — if not euphonious — lyricism. Meditative and unforced, the album is free from remnants of mobb or hyphy energy to which many rappers in the region can be zealously bound.\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/lLuEMJGvlQU'\n title='//www.youtube.com/embed/lLuEMJGvlQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, with \u003ci>Selected Works\u003c/i> — released in the spring of 2024 — the emcee proves he’s stayed active in the lyrical dojo, delivering seven tracks on his best project to date. With a third collaborator at the helm, \u003ca href=\"https://www.instagram.com/allsngeye/\">THEALLSEEINGEYE\u003c/a> — an East Bay factotum who produces, raps, paints and even designed the album cover — AdamBeen’s artistry continues to grow into jazzier permutations while retaining a gritty, industrial texture reflective of Hayward’s backstreets.\u003c/p>\n\u003cp>A blue-collar suburb just south of Oakland, and the third largest city in Alameda County, Hayward first garnered shine in the Bay Area hip-hop cosmos in 1991, when Spice 1 released his anthemic track, “187 Proof.” The city has had only intermittent regional stars, like 187 Fac or Darkroom Familia, since.\u003c/p>\n\u003cp>Even back then, Spice 1 — the rapid-spitting gangster rapper known for his collaborations with 2Pac, the Luniz, E-40 and other California heavyweights — didn’t really rep Hayward with the same fervor his peers reserved for Oakland, Frisco, Vallejo and Richmond. Though a similar city in demographics and vibe — predominantly blue collar, dotted with warehouses and junkyards, close to the shoreline — Hayward, or the Stack, never reached the same level of rap eminence.\u003c/p>\n\u003cp>AdamBeen might be in the best position to change that. His artistic merit surpasses any online algorithm or follower count. For any true rap lover, particularly those with an allegiance to the boom-bap era, Been has a promising allure, particularly as one of Hayward’s sole representatives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As he establishes on “Stop & Listen,” the introductory track to \u003ci>Selected Works\u003c/i>, he’s doing things his own way and doesn’t plan on switching up: “I ain’t no S.O.S [\u003ca href=\"https://unitedgangs.com/sons-of-samoa/\">Sons Of Samoa\u003c/a>], I ain’t on no same old shit / Had to make changes without changing / …you gotta hate yourself before you hate this.”\u003c/p>\n\u003chr>\n\n\u003c/div>\u003c/p>",
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"title": "Moon Unit Zappa Memoir Rides Messy Legacy of Father’s Genius on Journey to Self-Love",
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"content": "\u003cp>Moon Unit Zappa got the question a lot, particularly during the “Valley Girl” years: “What was it like growing up with \u003ca href=\"https://www.kqed.org/news/3279/mothers-of-preservation-frank-zappa-film-project-focuses-on-restoration-2\">Frank Zappa\u003c/a> for a dad?”\u003c/p>\n\u003cp>The eldest daughter of the quirky and unconventional musical visionary, who died at 52 in 1993, gives the world an extended, nuanced, often funny, many times painful answer to that question in her new memoir, \u003cem>Earth to Moon\u003c/em>, to be released Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13962848\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962848\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27%E2%80%AFAM.png\" alt=\"A book cover depicting a cartoon girl walking on the moon's surface. Earth if visible beyond.\" width=\"834\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-768x1120.png 768w\" sizes=\"auto, (max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Earth to Moon’ by Moon Unit Zappa. \u003ccite>(Dey Street Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book’s title carries the power of her life’s journey. Her mother, Frank’s second wife Gail, often used the phrase to scold her as a child — “Earth to Moon, the Earth doesn’t revolve around you” — but as Moon, now 56, matures, it comes to symbolize the grounding energy of appreciating her place on the planet. She punctuates her book with clever, space-themed sections, photos and old journal entries.\u003c/p>\n\u003cp>[aside postid='arts_13962315']“Love yourself, love yourself, love yourself” is one of her “big takeaways.”\u003c/p>\n\u003cp>Moon Unit’s hurts are many. She describes a childhood wrought with confusion and disappointment, in which she acted to nurture and protect her younger siblings — Dweezil, Ahmet and Diva — even as her own big life questions remained largely unaddressed by her preoccupied father and volatile mother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take sex. She was regularly exposed to her father’s scantily clad groupies, nudity around the house and being able to hear her parents’ love-making (and arguing) through the walls, yet had no clue how to use a tampon. It was the same with money. Although Moon accrued a nest egg from her and her father’s Grammy-nominated 1982 hit “Valley Girl” large enough to buy her own house (“Like, omigod!”), she never had “normal” childhood experiences like allowance and chores and struggled to hold a steady job.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qb21lsCQ3EM\u003c/p>\n\u003cp>Growing up in 1970s Hollywood meant hanging with plenty of fellow celebrities, though. Actors Justine and Jason Bateman are friends, they know Michael J. Fox as “Mike,” her brother Dweezil dates Molly Ringwald (and later VJs on MTV), and, in one hilarious scene, she chases her heartthrob, Jon Bon Jovi, to a fundraiser only to discover they’re star-crossed. Moon also relieves her stress by attending live comedy shows with the likes of newcomers Chris Rock and Janeane Garofalo.\u003c/p>\n\u003cp>[aside postid='arts_13962790']In his 1989 \u003cem>The Real Frank Zappa Book\u003c/em>, Frank admits he’s grumpy, has a bad attitude toward “typical familyism,” has no “friends,” and no time for “social activities.” (Quote marks, his.) “I do, however, have a wonderful wife and four totally unbelievable children, and that, folks, is way better,” he writes. Frank Zappa explains that he chooses to treat his children like people — as in, like adults — and believes, “Whatever they’re going to do in life, they’s going to do regardless of home instruction.”\u003c/p>\n\u003cp>Moon Unit describes those traits left her with a yearning — for more of his time, his attention, his validation. She and her mother frequently clash as they navigate Frank’s long absences, affairs, and occasional bomb drops (say, a possible run for president, or “Moon, I have cancer.”)\u003c/p>\n\u003cp>In one poignant episode, Moon describes being a child and being overcome with a fear of death. She dares to venture to Frank’s basement lair to seek her father’s comfort and he rebuffs her, telling her just not to think about it. Back in her room, she imagines what it would be like to be her dad and just not be afraid. She listens to his music and pretends he’s telling her a story.\u003c/p>\n\u003cp>“I listen to the notes of his song-story and my breathing slows down. My body feels heavy now,” she writes. “My eyes close to the night and the dark. I keep listening and let my daddy’s music wrap around me like tangled seaweed, and the music and my steady heartbeat intertwine until sleep pulls me under.”\u003c/p>\n\u003cp>Perhaps her biggest disappointment is her mother’s now well-publicized decision to make Ahmet and Diva “the sole and exclusive managers of all business” related to Frank after her death. She and Dweezil were given no rights to decisions about the family home, their father or their last name, which prompted deep soul-searching.\u003c/p>\n\u003cp>[aside postid='arts_13962650']Moon says she remains estranged from her two youngest siblings, and for different reasons from Dweezil, but she writes that she is finding her way to healing. She is a mother, a writer, an actor, a comic, an artist, a podcaster and a “tea baroness.”\u003c/p>\n\u003cp>Among the things that she’s learned is that growing up doesn’t end when you become an adult. She writes, “The way out is through. Make peace with what hurts and head toward joy.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Earth to Moon’ by Moon Unit Zappa is released nationwide on Aug. 20, 2024, via Dey Street Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moon Unit Zappa got the question a lot, particularly during the “Valley Girl” years: “What was it like growing up with \u003ca href=\"https://www.kqed.org/news/3279/mothers-of-preservation-frank-zappa-film-project-focuses-on-restoration-2\">Frank Zappa\u003c/a> for a dad?”\u003c/p>\n\u003cp>The eldest daughter of the quirky and unconventional musical visionary, who died at 52 in 1993, gives the world an extended, nuanced, often funny, many times painful answer to that question in her new memoir, \u003cem>Earth to Moon\u003c/em>, to be released Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13962848\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962848\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27%E2%80%AFAM.png\" alt=\"A book cover depicting a cartoon girl walking on the moon's surface. Earth if visible beyond.\" width=\"834\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-768x1120.png 768w\" sizes=\"auto, (max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Earth to Moon’ by Moon Unit Zappa. \u003ccite>(Dey Street Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book’s title carries the power of her life’s journey. Her mother, Frank’s second wife Gail, often used the phrase to scold her as a child — “Earth to Moon, the Earth doesn’t revolve around you” — but as Moon, now 56, matures, it comes to symbolize the grounding energy of appreciating her place on the planet. She punctuates her book with clever, space-themed sections, photos and old journal entries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Love yourself, love yourself, love yourself” is one of her “big takeaways.”\u003c/p>\n\u003cp>Moon Unit’s hurts are many. She describes a childhood wrought with confusion and disappointment, in which she acted to nurture and protect her younger siblings — Dweezil, Ahmet and Diva — even as her own big life questions remained largely unaddressed by her preoccupied father and volatile mother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take sex. She was regularly exposed to her father’s scantily clad groupies, nudity around the house and being able to hear her parents’ love-making (and arguing) through the walls, yet had no clue how to use a tampon. It was the same with money. Although Moon accrued a nest egg from her and her father’s Grammy-nominated 1982 hit “Valley Girl” large enough to buy her own house (“Like, omigod!”), she never had “normal” childhood experiences like allowance and chores and struggled to hold a steady job.\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/Qb21lsCQ3EM'\n title='//www.youtube.com/embed/Qb21lsCQ3EM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Growing up in 1970s Hollywood meant hanging with plenty of fellow celebrities, though. Actors Justine and Jason Bateman are friends, they know Michael J. Fox as “Mike,” her brother Dweezil dates Molly Ringwald (and later VJs on MTV), and, in one hilarious scene, she chases her heartthrob, Jon Bon Jovi, to a fundraiser only to discover they’re star-crossed. Moon also relieves her stress by attending live comedy shows with the likes of newcomers Chris Rock and Janeane Garofalo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In his 1989 \u003cem>The Real Frank Zappa Book\u003c/em>, Frank admits he’s grumpy, has a bad attitude toward “typical familyism,” has no “friends,” and no time for “social activities.” (Quote marks, his.) “I do, however, have a wonderful wife and four totally unbelievable children, and that, folks, is way better,” he writes. Frank Zappa explains that he chooses to treat his children like people — as in, like adults — and believes, “Whatever they’re going to do in life, they’s going to do regardless of home instruction.”\u003c/p>\n\u003cp>Moon Unit describes those traits left her with a yearning — for more of his time, his attention, his validation. She and her mother frequently clash as they navigate Frank’s long absences, affairs, and occasional bomb drops (say, a possible run for president, or “Moon, I have cancer.”)\u003c/p>\n\u003cp>In one poignant episode, Moon describes being a child and being overcome with a fear of death. She dares to venture to Frank’s basement lair to seek her father’s comfort and he rebuffs her, telling her just not to think about it. Back in her room, she imagines what it would be like to be her dad and just not be afraid. She listens to his music and pretends he’s telling her a story.\u003c/p>\n\u003cp>“I listen to the notes of his song-story and my breathing slows down. My body feels heavy now,” she writes. “My eyes close to the night and the dark. I keep listening and let my daddy’s music wrap around me like tangled seaweed, and the music and my steady heartbeat intertwine until sleep pulls me under.”\u003c/p>\n\u003cp>Perhaps her biggest disappointment is her mother’s now well-publicized decision to make Ahmet and Diva “the sole and exclusive managers of all business” related to Frank after her death. She and Dweezil were given no rights to decisions about the family home, their father or their last name, which prompted deep soul-searching.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Moon says she remains estranged from her two youngest siblings, and for different reasons from Dweezil, but she writes that she is finding her way to healing. She is a mother, a writer, an actor, a comic, an artist, a podcaster and a “tea baroness.”\u003c/p>\n\u003cp>Among the things that she’s learned is that growing up doesn’t end when you become an adult. She writes, “The way out is through. Make peace with what hurts and head toward joy.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Earth to Moon’ by Moon Unit Zappa is released nationwide on Aug. 20, 2024, via Dey Street Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New KEXP Show, ‘Vinelands,’ Will Play New Bay Area Music",
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"content": "\u003cp>There’s plenty to draw on when we think of Bay Area musical history. The 1960s were marked by psychedelic pop. A decade later, Sylvester ignited dance floors with his flare for disco synths. And later, legacy rock bands such as Metallica and Green Day emerged. \u003c/p>\n\u003cp>A new weekly radio show, called \u003cem>Vinelands\u003c/em>, wants to pay homage to these “golden ages” of Bay Area music — while highlighting emerging artists, says Kelley Stoltz, the show’s co-host and a San Francisco musician, whose 18th album came out in June and is known for guitar-laden psych pop tunes.\u003c/p>\n\u003cp>“We’re due for another deeper examination,” he said.\u003c/p>\n\u003cp>[aside postID='arts_13954030']\u003cem>Vinelands\u003c/em>, which premieres Saturday, comes on the heels of a \u003ca href=\"https://www.kqed.org/arts/13954030/kexp-san-francisco-bay-area-expansion-92-7-fm\">Bay Area expansion of KEXP\u003c/a>, a respected independent music station based in Seattle. Stoltz said when his own music was played on KEXP in the mid-aughts, it was a turning point in his career.\u003c/p>\n\u003cp>“I liken it to the applause you get at a live gig,” he added. “It’s that encouragement that you’re not just screaming in a void.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Speaking with KQED’s Brian Watt, Stoltz talked about the vision for \u003cem>Vinelands\u003c/em> and gave a preview of the inaugural playlist. \u003c/p>\n\u003cp>\u003cem>Interview edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> \u003cstrong>The name of this show, I’m guessing there’s a reference to wine. But is there more to it than that?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kelley Stoltz\u003c/strong>: My co-host Gabriel Lopez and I had a meeting over coffee. We were just shooting names back and forth. Bing bong, bing bong. \u003cem>Vinelands\u003c/em> popped out, and I think in reference to Northern California, to Thomas Pynchon and science fiction. To me, it means it’s like a chain of community. And I think that works.\u003c/p>\n\u003cp>\u003cstrong>The Bay Area has produced a lot of great musicians over the years. But what’s exciting to you about the up-and-coming artists who are performing here nowadays?\u003c/strong>\u003c/p>\n\u003cp>There’s so many different kinds of music being explored by young people today. As a guitar-based singer-songwriter-type of person, my ears are always open to people who are doing that kind of music. There are bands [like] Chimes School, The Umbrellas. Maya has her own stuff and plays with a group called \u003ca href=\"https://www.kqed.org/news/11979776/mild-universe-connected-endlessly\">Mild Universe\u003c/a>. It’s vaguely psychedelic pop. It’s a touch of The Byrds, R.E.M. – with an awareness of early ’80s English music that’s made a big resurgence here, for whatever reason.\u003c/p>\n\u003cp>It’s evident to me that there is a whole new generation of people who are working hard and putting in the time and figuring out a way to make it work. It’s not easy in this economy. It never was really, even in the old days. But there are so many different genres being explored, and it’s just exciting to me.\u003c/p>\n\u003cfigure id=\"attachment_13962800\" class=\"wp-caption aligncenter\" style=\"max-width: 1418px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg\" alt=\"\" width=\"1418\" height=\"1360\" class=\"size-full wp-image-13962800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg 1418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-800x767.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-1020x978.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-768x737.jpg 768w\" sizes=\"(max-width: 1418px) 100vw, 1418px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is there a scene of Bay Area music that you feel is especially under-covered right now that you want to highlight on the show?\u003c/strong>\u003c/p>\n\u003cp>They’re all under-covered. I think mainstream radio tends to look for something to go to. This year it’s Seattle, then it’s Detroit, then it’s Bristol. It’s easier to focus on one thing, highlight it and explore it and then leave it. The Bay had its last golden age, 2008 to 2012. It got a lot of press. And I think we’re just six months, a year away from people going, ‘Whoa, there’s a lot going on there right now.’\u003c/p>\n\u003cp>\u003cstrong>What is on the playlist for this first show?\u003c/strong>\u003c/p>\n\u003cp>I’ve got Charles Brown, one of the greatest singers all of time. The Flaming Groovies, a band from the ’60s-’70s. They’re still playing today. “Shake Some Action” is probably the greatest power-pop song ever written; it’s the blueprint for 40 years of music. That’s a Bay Area invention. Sylvester. Patrick Kelly. How many people are still trying to achieve that sound and have that reach to all different kinds of people? Tower of Power, John Lee Hooker. It goes on.\u003c/p>\n\u003cp>The great thing about Gabriel and me is I’m deep over here. He’s deep over there. We don’t want to do a specialty show that’s focused on just Oakland R&B from 1982-83. It’s not indie rock, psychedelic music from the ’60s only. And I guess that’s where \u003cem>Vinelands\u003c/em> comes in. It’s this long line of growth from way back on up to today. And I think we want to explore all kinds of music. Luckily, KEXP is all about it. And I hope you discover something you never heard. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Vinelands’ airs every Saturday from 6 p.m.–9 p.m. on KEXP at 92.7 FM, and streaming on \u003ca href=\"https://kexp.org/shows/vinelands/\">KEXP’s site\u003c/a>. The Seattle-based station is a tenant partner of KQED.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s plenty to draw on when we think of Bay Area musical history. The 1960s were marked by psychedelic pop. A decade later, Sylvester ignited dance floors with his flare for disco synths. And later, legacy rock bands such as Metallica and Green Day emerged. \u003c/p>\n\u003cp>A new weekly radio show, called \u003cem>Vinelands\u003c/em>, wants to pay homage to these “golden ages” of Bay Area music — while highlighting emerging artists, says Kelley Stoltz, the show’s co-host and a San Francisco musician, whose 18th album came out in June and is known for guitar-laden psych pop tunes.\u003c/p>\n\u003cp>“We’re due for another deeper examination,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Vinelands\u003c/em>, which premieres Saturday, comes on the heels of a \u003ca href=\"https://www.kqed.org/arts/13954030/kexp-san-francisco-bay-area-expansion-92-7-fm\">Bay Area expansion of KEXP\u003c/a>, a respected independent music station based in Seattle. Stoltz said when his own music was played on KEXP in the mid-aughts, it was a turning point in his career.\u003c/p>\n\u003cp>“I liken it to the applause you get at a live gig,” he added. “It’s that encouragement that you’re not just screaming in a void.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speaking with KQED’s Brian Watt, Stoltz talked about the vision for \u003cem>Vinelands\u003c/em> and gave a preview of the inaugural playlist. \u003c/p>\n\u003cp>\u003cem>Interview edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> \u003cstrong>The name of this show, I’m guessing there’s a reference to wine. But is there more to it than that?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kelley Stoltz\u003c/strong>: My co-host Gabriel Lopez and I had a meeting over coffee. We were just shooting names back and forth. Bing bong, bing bong. \u003cem>Vinelands\u003c/em> popped out, and I think in reference to Northern California, to Thomas Pynchon and science fiction. To me, it means it’s like a chain of community. And I think that works.\u003c/p>\n\u003cp>\u003cstrong>The Bay Area has produced a lot of great musicians over the years. But what’s exciting to you about the up-and-coming artists who are performing here nowadays?\u003c/strong>\u003c/p>\n\u003cp>There’s so many different kinds of music being explored by young people today. As a guitar-based singer-songwriter-type of person, my ears are always open to people who are doing that kind of music. There are bands [like] Chimes School, The Umbrellas. Maya has her own stuff and plays with a group called \u003ca href=\"https://www.kqed.org/news/11979776/mild-universe-connected-endlessly\">Mild Universe\u003c/a>. It’s vaguely psychedelic pop. It’s a touch of The Byrds, R.E.M. – with an awareness of early ’80s English music that’s made a big resurgence here, for whatever reason.\u003c/p>\n\u003cp>It’s evident to me that there is a whole new generation of people who are working hard and putting in the time and figuring out a way to make it work. It’s not easy in this economy. It never was really, even in the old days. But there are so many different genres being explored, and it’s just exciting to me.\u003c/p>\n\u003cfigure id=\"attachment_13962800\" class=\"wp-caption aligncenter\" style=\"max-width: 1418px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg\" alt=\"\" width=\"1418\" height=\"1360\" class=\"size-full wp-image-13962800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg 1418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-800x767.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-1020x978.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-768x737.jpg 768w\" sizes=\"(max-width: 1418px) 100vw, 1418px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is there a scene of Bay Area music that you feel is especially under-covered right now that you want to highlight on the show?\u003c/strong>\u003c/p>\n\u003cp>They’re all under-covered. I think mainstream radio tends to look for something to go to. This year it’s Seattle, then it’s Detroit, then it’s Bristol. It’s easier to focus on one thing, highlight it and explore it and then leave it. The Bay had its last golden age, 2008 to 2012. It got a lot of press. And I think we’re just six months, a year away from people going, ‘Whoa, there’s a lot going on there right now.’\u003c/p>\n\u003cp>\u003cstrong>What is on the playlist for this first show?\u003c/strong>\u003c/p>\n\u003cp>I’ve got Charles Brown, one of the greatest singers all of time. The Flaming Groovies, a band from the ’60s-’70s. They’re still playing today. “Shake Some Action” is probably the greatest power-pop song ever written; it’s the blueprint for 40 years of music. That’s a Bay Area invention. Sylvester. Patrick Kelly. How many people are still trying to achieve that sound and have that reach to all different kinds of people? Tower of Power, John Lee Hooker. It goes on.\u003c/p>\n\u003cp>The great thing about Gabriel and me is I’m deep over here. He’s deep over there. We don’t want to do a specialty show that’s focused on just Oakland R&B from 1982-83. It’s not indie rock, psychedelic music from the ’60s only. And I guess that’s where \u003cem>Vinelands\u003c/em> comes in. It’s this long line of growth from way back on up to today. And I think we want to explore all kinds of music. Luckily, KEXP is all about it. And I hope you discover something you never heard. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Vinelands’ airs every Saturday from 6 p.m.–9 p.m. on KEXP at 92.7 FM, and streaming on \u003ca href=\"https://kexp.org/shows/vinelands/\">KEXP’s site\u003c/a>. The Seattle-based station is a tenant partner of KQED.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.hieroday.com/\">Hiero Day\u003c/a>, the popular \u003ca href=\"https://www.kqed.org/arts/tag/hiero-day\">annual hip-hop festival\u003c/a> in Oakland, has been canceled for 2024. Festival co-organizer and artist Tajai Massey told KQED that his team’s decision was due to financial difficulties, and that the event will return in 2025.\u003c/p>\n\u003cp>“We all sat down and regrouped and said, ‘Hey, let’s take some time, spend the entire year fundraising and then be ready for next year,’” said Massey, who produces Hiero Day with business partner Khari Bailey and a group of volunteers.\u003c/p>\n\u003cp>Part of those financial difficulties are debts incurred from 2023’s event, when Hiero Day threw a free, well-attended celebration for hip-hop’s 50th anniversary. Performers at the Labor Day event in Oakland’s Frank Ogawa Plaza included Chicago rapper Common, Massey’s group Hieroglyphics and other local artists, including Cellski and Kev Choice.\u003c/p>\n\u003cp>Hiero Day hired local company \u003ca href=\"https://www.ungaffableproductions.com/\">Ungaffable Productions\u003c/a> to provide the event’s stage production, operations and security. But company owner Tony Garcia alleges that Hiero Day still owes him $36,130 plus late fees for a range of services for Hiero Day 2023, including stages, sound systems and 125 staff members.\u003c/p>\n\u003cp>[aside postID='arts_13934324']A frustrated Garcia told KQED he’s had to cover the costs himself, and still doesn’t have a timeline for when he’ll be paid back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Unfortunately, what I’ve had to do here is max out my credit cards, take out personal loans and pretty much use all of my savings to pay off a bunch of people,” said Garcia. The situation has strained his relationship with business partners, he added, and required him to put in extra hours at his day job as a union carpenter to provide for his son.\u003c/p>\n\u003cp>“I’m not a bank,” Garcia said. “I’m not rich.”\u003c/p>\n\u003cp>Bailey, who handles Hiero Day’s finances, declined to be interviewed. In an email to KQED, he blamed Hiero Day’s debts, in part, on the City of Oakland, which he said contributed less sponsorship money than it had promised. He declined to say which city department promised the funding, how much was promised or how much Hiero Day ultimately received.\u003c/p>\n\u003cp>“Some of the funds we were told were earmarked for us ended up not being paid to us by the City, which is the amount owed to Ungaffable Productions,” Bailey wrote in the email.\u003c/p>\n\u003cp>“[Garcia] has a legitimate gripe. And all we’re trying to do is make good on it,” Massey said.\u003c/p>\n\u003cp>[aside postID='arts_13957786']When asked about the details of the City of Oakland’s sponsorship agreement with Hiero Day, Citywide Director of Communications & Engagement Sean Maher said in an email that the city waived police, fire inspection, custodial and other fees for the event, amounting to over $21,000. He wasn’t certain whether there were other discussions or arrangements about direct financial support, he said, and did not respond to multiple follow-up calls and emails.\u003c/p>\n\u003cp>Eleven months later, Garcia said he has no indication of when the money is coming. He’s filed complaints with the city attorney’s office, Labor Commissioner’s Office and Federal Trade Commission, and is considering legal action.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This isn’t the route I wanted to take,” he said. “But [Hiero Day] left me no other option but to make this public.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.hieroday.com/\">Hiero Day\u003c/a>, the popular \u003ca href=\"https://www.kqed.org/arts/tag/hiero-day\">annual hip-hop festival\u003c/a> in Oakland, has been canceled for 2024. Festival co-organizer and artist Tajai Massey told KQED that his team’s decision was due to financial difficulties, and that the event will return in 2025.\u003c/p>\n\u003cp>“We all sat down and regrouped and said, ‘Hey, let’s take some time, spend the entire year fundraising and then be ready for next year,’” said Massey, who produces Hiero Day with business partner Khari Bailey and a group of volunteers.\u003c/p>\n\u003cp>Part of those financial difficulties are debts incurred from 2023’s event, when Hiero Day threw a free, well-attended celebration for hip-hop’s 50th anniversary. Performers at the Labor Day event in Oakland’s Frank Ogawa Plaza included Chicago rapper Common, Massey’s group Hieroglyphics and other local artists, including Cellski and Kev Choice.\u003c/p>\n\u003cp>Hiero Day hired local company \u003ca href=\"https://www.ungaffableproductions.com/\">Ungaffable Productions\u003c/a> to provide the event’s stage production, operations and security. But company owner Tony Garcia alleges that Hiero Day still owes him $36,130 plus late fees for a range of services for Hiero Day 2023, including stages, sound systems and 125 staff members.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Unfortunately, what I’ve had to do here is max out my credit cards, take out personal loans and pretty much use all of my savings to pay off a bunch of people,” said Garcia. The situation has strained his relationship with business partners, he added, and required him to put in extra hours at his day job as a union carpenter to provide for his son.\u003c/p>\n\u003cp>“I’m not a bank,” Garcia said. “I’m not rich.”\u003c/p>\n\u003cp>Bailey, who handles Hiero Day’s finances, declined to be interviewed. In an email to KQED, he blamed Hiero Day’s debts, in part, on the City of Oakland, which he said contributed less sponsorship money than it had promised. He declined to say which city department promised the funding, how much was promised or how much Hiero Day ultimately received.\u003c/p>\n\u003cp>“Some of the funds we were told were earmarked for us ended up not being paid to us by the City, which is the amount owed to Ungaffable Productions,” Bailey wrote in the email.\u003c/p>\n\u003cp>“[Garcia] has a legitimate gripe. And all we’re trying to do is make good on it,” Massey said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When asked about the details of the City of Oakland’s sponsorship agreement with Hiero Day, Citywide Director of Communications & Engagement Sean Maher said in an email that the city waived police, fire inspection, custodial and other fees for the event, amounting to over $21,000. He wasn’t certain whether there were other discussions or arrangements about direct financial support, he said, and did not respond to multiple follow-up calls and emails.\u003c/p>\n\u003cp>Eleven months later, Garcia said he has no indication of when the money is coming. He’s filed complaints with the city attorney’s office, Labor Commissioner’s Office and Federal Trade Commission, and is considering legal action.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This isn’t the route I wanted to take,” he said. “But [Hiero Day] left me no other option but to make this public.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Turning 16 is a classic milestone for American teenagers: the driver’s license, the questionable decisions, the exhilaration of independence.\u003c/p>\n\u003cp>But for \u003ca href=\"https://magikmagikorchestra.com/\">Magik*Magik Orchestra\u003c/a>, the anniversary feels more like a homecoming, says founder and artistic director \u003ca href=\"https://www.kqed.org/arts/13654262/women-to-watch-minna-choi\">Minna Choi\u003c/a>. Two San Francisco shows this Friday, Aug. 16 — an early, kid-friendly show and a later one for the grownups — mark the orchestra’s \u003ca href=\"https://www.eventbrite.com/e/magik-in-the-green-room-sweet-sixteen-anniversary-show-tickets-962528517707\">first live, public performances\u003c/a> since before the pandemic. Billed as a “sweet 16” party, both will feature Magik*Magik’s string quartet accompanying singer-songwriter \u003ca href=\"https://www.kqed.org/arts/13910723/dear-homeland-diana-gameros-documentary-trailer\">Diana Gameros\u003c/a> and the Shakespeare-inspired indie-pop band the Frail Ophelias.\u003c/p>\n\u003cp>“It all feels very celebratory,” says Choi, especially on the heels of a tough few years. “We’re finally emerging from our little hidden place.”\u003c/p>\n\u003cp>As a made-to-order orchestra whose configurations can range from a solo violinist to an 80-piece symphony, Magik*Magik has occupied a unique place in the Bay Area music landscape. Founded in 2008, they quickly became your favorite indie rocker’s favorite collaborator, providing live and in-studio accompaniment for Death Cab for Cutie, Weezer, Third Eye Blind, the Dodos, Geographer and John Vanderslice. In 2014, Magik*Magik got hired as the house band for Pop-Up Magazine, and toured the country for much of the next decade performing original scores for the beloved storytelling event.\u003c/p>\n\u003cfigure id=\"attachment_13962652\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-scaled.jpg\" alt=\"an indie musician dude with a guitar performs on stage with a string orchestra\" width=\"2560\" height=\"1624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-1536x974.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-2048x1299.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-1920x1218.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ben Gibbard of Death Cab for Cutie performs with Magik*Magik Orchestra at the Beacon Theatre in New York in 2012. \u003ccite>(Mike Lawrie/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the pandemic was brutal to the orchestra: Choi recalls losing $40,000 of upcoming work in one week back in April 2020, more than a third of their yearly budget. John Vanderslice, a major Magik*Magik collaborator and patron, moved to Los Angeles that year after \u003ca href=\"https://www.kqed.org/arts/13873789/tiny-telephone-sf-to-close-foreshadowing-an-arts-hubs-uncertain-future\">closing his original Mission District location of Tiny Telephone Studios\u003c/a>. And Pop-Up Magazine, which briefly returned to live performances after a COVID hiatus, permanently ended its run in January 2023.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So Choi pivoted. She moved to Sausalito in 2021, into a spot with a room for a home studio, and picked up work composing film scores. Magik*Magik stayed afloat with studio work, including some collaborations with bands, but increasingly for an expanding roster of corporate clients, like Meta and a range of gaming apps. Ever since, Choi’s quest for financial stability — and determination to keep rates competitive for the orchestra’s top-tier musicians — means their live performances have mainly been for large company holiday parties and galas.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=398qIWN9N38\u003c/p>\n\u003cp>But Choi says they’re ready for the next chapter. “Coming out of COVID, and entering this new phase of my life — I’m in my 40s now — I was thinking, ‘What kind of work do we want to do? Do we really want to just work for corporations?’ That was never the intention of this group,” she says. Looking into fundraising possibilities, she realized it was time to treat the orchestra like a true San Francisco arts institution, and throw their own events.\u003c/p>\n\u003cp>“We had super-scrappy Magik 1.0, where everybody got paid $50 and a slice of pizza to do a cool show with the Dodos. And then we grew up out of that and financially became more secure, but artistically it’s been a bit more corporate,” she says. “So I see this as Magik 3.0 — how can we combine these in a way that lets us go back to collaborating with up-and-coming independent artists?”\u003c/p>\n\u003cfigure id=\"attachment_13962654\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962654\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-scaled.jpeg\" alt=\"a Latina woman with long black hair dressed in white sitting in a field with an acoustic guitar\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Diana Gameros will perform at Magik*Magik Orchestra’s sweet sixteen party Aug. 16. \u003ccite>(Cristina Isabel Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Aug. 16 shows will be their first foray into this new chapter, and also a bit of an experiment, says Choi: Prior to the main performances from Gameros and the Frail Ophelias, musicians will be stationed throughout the War Memorial’s elegant, Beaux Arts \u003ca href=\"https://sfwarmemorial.org/the-green-room/\">Green Room\u003c/a> playing short solo sets, and attendees are welcome to wander the space, taking it all in at their own pace. The family-friendly shows will provide floor mats, juice boxes, crayons and coloring pages with illustrated portraits of the artists. (Choi envisions the adjacent balcony area as a “cry area,” should younger kids need a place to let it all out.)\u003c/p>\n\u003cp>Both shows, Choi hopes, will offer the kind of intimate space in which attendees can strike up a conversation with their neighbor. Because coming out of the pandemic, her other big goal for Magik*Magik was that it should help foster human connection.\u003c/p>\n\u003cp>“For better or for worse, Magik*Magik Orchestra always reflects where I’m at personally,” she says with a laugh. “[The pandemic] made me realize how important friendships are to my mental health … and the way that I’ve always made friends, since I was a child, was through music.”\u003c/p>\n\u003cp>“So I want to do our part to help the people of San Francisco feel a little less isolated, a little less lonely,” she says. “And two people connecting over their love of a song is a really powerful, genuine way to make a new friend.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Noise Pop Presents: Magik In the Green Room,’ a sweet sixteen anniversary show featuring Diana Gameros, the Frail Ophelias, Magik*Magik and Live Strings, runs for two shows, at 5 p.m. and 8 p.m., on Friday, Aug. 16, at the Green Room in the War Memorial (401 Van Ness Ave., San Francisco). \u003ca href=\"https://www.eventbrite.com/e/magik-in-the-green-room-sweet-sixteen-anniversary-show-tickets-962528517707?aff=oddtdtcreator\">Tickets ($25) and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Turning 16 is a classic milestone for American teenagers: the driver’s license, the questionable decisions, the exhilaration of independence.\u003c/p>\n\u003cp>But for \u003ca href=\"https://magikmagikorchestra.com/\">Magik*Magik Orchestra\u003c/a>, the anniversary feels more like a homecoming, says founder and artistic director \u003ca href=\"https://www.kqed.org/arts/13654262/women-to-watch-minna-choi\">Minna Choi\u003c/a>. Two San Francisco shows this Friday, Aug. 16 — an early, kid-friendly show and a later one for the grownups — mark the orchestra’s \u003ca href=\"https://www.eventbrite.com/e/magik-in-the-green-room-sweet-sixteen-anniversary-show-tickets-962528517707\">first live, public performances\u003c/a> since before the pandemic. Billed as a “sweet 16” party, both will feature Magik*Magik’s string quartet accompanying singer-songwriter \u003ca href=\"https://www.kqed.org/arts/13910723/dear-homeland-diana-gameros-documentary-trailer\">Diana Gameros\u003c/a> and the Shakespeare-inspired indie-pop band the Frail Ophelias.\u003c/p>\n\u003cp>“It all feels very celebratory,” says Choi, especially on the heels of a tough few years. “We’re finally emerging from our little hidden place.”\u003c/p>\n\u003cp>As a made-to-order orchestra whose configurations can range from a solo violinist to an 80-piece symphony, Magik*Magik has occupied a unique place in the Bay Area music landscape. Founded in 2008, they quickly became your favorite indie rocker’s favorite collaborator, providing live and in-studio accompaniment for Death Cab for Cutie, Weezer, Third Eye Blind, the Dodos, Geographer and John Vanderslice. In 2014, Magik*Magik got hired as the house band for Pop-Up Magazine, and toured the country for much of the next decade performing original scores for the beloved storytelling event.\u003c/p>\n\u003cfigure id=\"attachment_13962652\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-scaled.jpg\" alt=\"an indie musician dude with a guitar performs on stage with a string orchestra\" width=\"2560\" height=\"1624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-1536x974.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-2048x1299.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-143503000-1920x1218.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ben Gibbard of Death Cab for Cutie performs with Magik*Magik Orchestra at the Beacon Theatre in New York in 2012. \u003ccite>(Mike Lawrie/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the pandemic was brutal to the orchestra: Choi recalls losing $40,000 of upcoming work in one week back in April 2020, more than a third of their yearly budget. John Vanderslice, a major Magik*Magik collaborator and patron, moved to Los Angeles that year after \u003ca href=\"https://www.kqed.org/arts/13873789/tiny-telephone-sf-to-close-foreshadowing-an-arts-hubs-uncertain-future\">closing his original Mission District location of Tiny Telephone Studios\u003c/a>. And Pop-Up Magazine, which briefly returned to live performances after a COVID hiatus, permanently ended its run in January 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So Choi pivoted. She moved to Sausalito in 2021, into a spot with a room for a home studio, and picked up work composing film scores. Magik*Magik stayed afloat with studio work, including some collaborations with bands, but increasingly for an expanding roster of corporate clients, like Meta and a range of gaming apps. Ever since, Choi’s quest for financial stability — and determination to keep rates competitive for the orchestra’s top-tier musicians — means their live performances have mainly been for large company holiday parties and galas.\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/398qIWN9N38'\n title='//www.youtube.com/embed/398qIWN9N38'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Choi says they’re ready for the next chapter. “Coming out of COVID, and entering this new phase of my life — I’m in my 40s now — I was thinking, ‘What kind of work do we want to do? Do we really want to just work for corporations?’ That was never the intention of this group,” she says. Looking into fundraising possibilities, she realized it was time to treat the orchestra like a true San Francisco arts institution, and throw their own events.\u003c/p>\n\u003cp>“We had super-scrappy Magik 1.0, where everybody got paid $50 and a slice of pizza to do a cool show with the Dodos. And then we grew up out of that and financially became more secure, but artistically it’s been a bit more corporate,” she says. “So I see this as Magik 3.0 — how can we combine these in a way that lets us go back to collaborating with up-and-coming independent artists?”\u003c/p>\n\u003cfigure id=\"attachment_13962654\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962654\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-scaled.jpeg\" alt=\"a Latina woman with long black hair dressed in white sitting in a field with an acoustic guitar\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Diana-Gameros-guitar-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Diana Gameros will perform at Magik*Magik Orchestra’s sweet sixteen party Aug. 16. \u003ccite>(Cristina Isabel Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Aug. 16 shows will be their first foray into this new chapter, and also a bit of an experiment, says Choi: Prior to the main performances from Gameros and the Frail Ophelias, musicians will be stationed throughout the War Memorial’s elegant, Beaux Arts \u003ca href=\"https://sfwarmemorial.org/the-green-room/\">Green Room\u003c/a> playing short solo sets, and attendees are welcome to wander the space, taking it all in at their own pace. The family-friendly shows will provide floor mats, juice boxes, crayons and coloring pages with illustrated portraits of the artists. (Choi envisions the adjacent balcony area as a “cry area,” should younger kids need a place to let it all out.)\u003c/p>\n\u003cp>Both shows, Choi hopes, will offer the kind of intimate space in which attendees can strike up a conversation with their neighbor. Because coming out of the pandemic, her other big goal for Magik*Magik was that it should help foster human connection.\u003c/p>\n\u003cp>“For better or for worse, Magik*Magik Orchestra always reflects where I’m at personally,” she says with a laugh. “[The pandemic] made me realize how important friendships are to my mental health … and the way that I’ve always made friends, since I was a child, was through music.”\u003c/p>\n\u003cp>“So I want to do our part to help the people of San Francisco feel a little less isolated, a little less lonely,” she says. “And two people connecting over their love of a song is a really powerful, genuine way to make a new friend.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Noise Pop Presents: Magik In the Green Room,’ a sweet sixteen anniversary show featuring Diana Gameros, the Frail Ophelias, Magik*Magik and Live Strings, runs for two shows, at 5 p.m. and 8 p.m., on Friday, Aug. 16, at the Green Room in the War Memorial (401 Van Ness Ave., San Francisco). \u003ca href=\"https://www.eventbrite.com/e/magik-in-the-green-room-sweet-sixteen-anniversary-show-tickets-962528517707?aff=oddtdtcreator\">Tickets ($25) and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Da Brat and Wendy Guevara to Headline Oakland Pride",
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"content": "\u003cfigure id=\"attachment_13962645\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dabrat.jpg\" alt=\"Da Brat poses for a portrait in a tie-dye sweat suit.\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dabrat.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dabrat-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dabrat-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dabrat-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dabrat-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dabrat-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Da Brat headlines Oakland Pride on Sept. 8. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between “\u003ca href=\"https://www.youtube.com/watch?v=pKrVAznccZ0\">What’Chu Like\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=Yq5RoJ8Zwjg\">In Love Wit Chu\u003c/a>,” Chicago rapper Da Brat made some of the sexiest grind-on-your-boo hits of the late ’90s and early 2000s. Not to mention she laid down fire verses on tracks by some of the biggest female stars of that era, including Mariah Carey (“\u003ca href=\"https://youtu.be/PyjuUu_XDZ8?si=9FXQ6CrFdTjoavda\">Heartbreaker (Remix)\u003c/a>”), Missy Elliott (“\u003ca href=\"https://www.youtube.com/watch?v=9UvBX3REqSY\">Sock It 2 Me\u003c/a>”) and Lil’ Kim (“\u003ca href=\"https://youtu.be/2StcXjwrGHY?si=v_wL5giTV5vcHN37\">Not Tonight (Ladies Night Remix)\u003c/a>”). [aside postid='arts_13953497,arts_13938947']\u003c/p>\n\u003cp>For decades, Da Brat kept her sexuality under wraps. Now out and proud (and raising a baby boy with her wife, Jesseca “Judy” Harris-Dupart), the rap icon will touch down in Oakland to headline the main stage of Oakland Pride on Sept. 8.\u003c/p>\n\u003cp>The theme of this year’s celebration is “Rooted in Pride.” After a parade at 11 a.m., the outdoor party continues from noon–6 p.m. with music and performances on three stages, including a Latin Stage and a Community Stage.\u003c/p>\n\u003cp>Headlining the Latin stage is Mexican singer, YouTuber and reality TV personality Wendy Guevara, whose sound is a high-energy blend of \u003ca href=\"https://www.youtube.com/watch?v=CslPsmayJx4\">pop, EDM and reggaeton\u003c/a>. The rest of the Oakland Pride lineup will soon be announced.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Oakland Pride takes place Sunday, Sept. 8, from 11 a.m.–6 p.m. on 20th Street and Broadway in downtown Oakland. Adult tickets are $15, with discounts for youth and seniors. \u003ca href=\"https://www.eventbrite.com/e/oakland-pride-parade-festival-2024-tickets-951061599847\" target=\"_blank\" rel=\"noopener\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For decades, Da Brat kept her sexuality under wraps. Now out and proud (and raising a baby boy with her wife, Jesseca “Judy” Harris-Dupart), the rap icon will touch down in Oakland to headline the main stage of Oakland Pride on Sept. 8.\u003c/p>\n\u003cp>The theme of this year’s celebration is “Rooted in Pride.” After a parade at 11 a.m., the outdoor party continues from noon–6 p.m. with music and performances on three stages, including a Latin Stage and a Community Stage.\u003c/p>\n\u003cp>Headlining the Latin stage is Mexican singer, YouTuber and reality TV personality Wendy Guevara, whose sound is a high-energy blend of \u003ca href=\"https://www.youtube.com/watch?v=CslPsmayJx4\">pop, EDM and reggaeton\u003c/a>. The rest of the Oakland Pride lineup will soon be announced.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Oakland Pride takes place Sunday, Sept. 8, from 11 a.m.–6 p.m. on 20th Street and Broadway in downtown Oakland. Adult tickets are $15, with discounts for youth and seniors. \u003ca href=\"https://www.eventbrite.com/e/oakland-pride-parade-festival-2024-tickets-951061599847\" target=\"_blank\" rel=\"noopener\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hundreds of Raymond Pettibon’s Black Flag Show Fliers Go to Auction",
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"content": "\u003cp>A new auction of Raymond Pettibon’s artwork is about to give punk rock fans a chance to own a piece of Bay Area music history.\u003c/p>\n\u003cp>Pettibon’s signature black and white sketches during the 1980s \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">heyday of California punk\u003c/a> were consistently confrontational and thought-provoking, and often lewd or grotesque. Pettibon’s striking images adorned fliers, posters, album covers, T-shirts, ads and a variety of other ephemera for bands like Black Flag, Flipper and Minutemen. Now, more than 300 of these items are about to go on sale via Wright Auction House in Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13962610\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-scaled-e1723569491786.jpg\" alt=\"A flier featuring black and white drawings of crowds of men in underpants and tank tops.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1983 Raymond Pettibon flier advertising Black Flag, Saccharine Trust, NIGhist and Rebel Truth at the On Broadway in San Francisco. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though phone and online bidding for \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">\u003cem>Raymond Pettibon: The Punk Years\u003c/em> \u003c/a>officially opens on Aug. 22, advanced bids have already begun rolling in online. Starting bids across the board are $50, and estimated sale prices range between $150 and $1,500. One yellow \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker/165\">“Jealous Again” skateboard\u003c/a>, for example, is anticipated to garner as much as $1,000. Pettibon’s art zines are expected to fetch as much as $600 each, even though some of them are already available to \u003ca href=\"https://archive.org/details/raymond-pettibon-captive-chains-1978/mode/2up\">read on the Internet Archive\u003c/a> and \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=30298694462&ref_=ps_ggl_17738760402&cm_mmc=ggl-_-COM_Shopp_Rare-_-product_id=bi%3A%2030298694462-_-keyword=&gclid=Cj0KCQjw5ea1BhC6ARIsAEOG5pyXvpIYYDbjU13JzzkMmXJVWvx_ClE4ojS53oSjQh4EJTAiH0kca28aArBREALw_wcB\">buy online for less\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13938024']The bulk of the Bay Area-related items up for grabs are Pettibon’s Black Flag fliers for shows at Mabuhay Gardens and On Broadway, historic venues in San Francisco’s North Beach. Pettibon’s work for the band was prolific, in part because his brother Greg Ginn is Black Flag’s guitarist. Items promoting other bands are present here too — the likes of Descendents, Meat Puppets and Hüsker Dü playing lesser-known Bay Area clubs like Palo Alto’s Keystone, which closed in 1986.\u003c/p>\n\u003cfigure id=\"attachment_13962611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-Kennedys-scaled-e1723570000868.jpg\" alt=\"A flier featuring black and white sketches of four people including John F Kennedy and Lee Harvey Oswald.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1979 flier for Black Flag and Dead Kennedys at the Mabuhay Gardens by Raymond Pettibon. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction was curated by\u003ca href=\"https://specificobject.com/about.cfm\"> Specific Object\u003c/a>, a New York City gallery and bookstore owned by former MoMA curator David Platzker. There is something profoundly surreal about this particular moment in California underground music being presented and sold in this manner, but it’s also an opportunity to get your hands on Pettibon’s most searing work, presented in its original format. And that’s worth bidding on.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Raymond Pettibon: The Punk Years\u003c/a>\u003c/em>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">, \u003c/a>\u003cem>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Curated by Specific Object\u003c/a>’ is open to online bids now through Aug. 22, 2024.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new auction of Raymond Pettibon’s artwork is about to give punk rock fans a chance to own a piece of Bay Area music history.\u003c/p>\n\u003cp>Pettibon’s signature black and white sketches during the 1980s \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">heyday of California punk\u003c/a> were consistently confrontational and thought-provoking, and often lewd or grotesque. Pettibon’s striking images adorned fliers, posters, album covers, T-shirts, ads and a variety of other ephemera for bands like Black Flag, Flipper and Minutemen. Now, more than 300 of these items are about to go on sale via Wright Auction House in Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13962610\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-scaled-e1723569491786.jpg\" alt=\"A flier featuring black and white drawings of crowds of men in underpants and tank tops.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1983 Raymond Pettibon flier advertising Black Flag, Saccharine Trust, NIGhist and Rebel Truth at the On Broadway in San Francisco. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though phone and online bidding for \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">\u003cem>Raymond Pettibon: The Punk Years\u003c/em> \u003c/a>officially opens on Aug. 22, advanced bids have already begun rolling in online. Starting bids across the board are $50, and estimated sale prices range between $150 and $1,500. One yellow \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker/165\">“Jealous Again” skateboard\u003c/a>, for example, is anticipated to garner as much as $1,000. Pettibon’s art zines are expected to fetch as much as $600 each, even though some of them are already available to \u003ca href=\"https://archive.org/details/raymond-pettibon-captive-chains-1978/mode/2up\">read on the Internet Archive\u003c/a> and \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=30298694462&ref_=ps_ggl_17738760402&cm_mmc=ggl-_-COM_Shopp_Rare-_-product_id=bi%3A%2030298694462-_-keyword=&gclid=Cj0KCQjw5ea1BhC6ARIsAEOG5pyXvpIYYDbjU13JzzkMmXJVWvx_ClE4ojS53oSjQh4EJTAiH0kca28aArBREALw_wcB\">buy online for less\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The bulk of the Bay Area-related items up for grabs are Pettibon’s Black Flag fliers for shows at Mabuhay Gardens and On Broadway, historic venues in San Francisco’s North Beach. Pettibon’s work for the band was prolific, in part because his brother Greg Ginn is Black Flag’s guitarist. Items promoting other bands are present here too — the likes of Descendents, Meat Puppets and Hüsker Dü playing lesser-known Bay Area clubs like Palo Alto’s Keystone, which closed in 1986.\u003c/p>\n\u003cfigure id=\"attachment_13962611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-Kennedys-scaled-e1723570000868.jpg\" alt=\"A flier featuring black and white sketches of four people including John F Kennedy and Lee Harvey Oswald.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1979 flier for Black Flag and Dead Kennedys at the Mabuhay Gardens by Raymond Pettibon. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction was curated by\u003ca href=\"https://specificobject.com/about.cfm\"> Specific Object\u003c/a>, a New York City gallery and bookstore owned by former MoMA curator David Platzker. There is something profoundly surreal about this particular moment in California underground music being presented and sold in this manner, but it’s also an opportunity to get your hands on Pettibon’s most searing work, presented in its original format. And that’s worth bidding on.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Raymond Pettibon: The Punk Years\u003c/a>\u003c/em>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">, \u003c/a>\u003cem>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Curated by Specific Object\u003c/a>’ is open to online bids now through Aug. 22, 2024.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"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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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
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