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"content": "\u003cfigure id=\"attachment_13961469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668.jpg\" alt=\"\" width=\"2000\" height=\"1502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1920x1442.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sudan Archives performs during the 2024 Pitchfork Music Festival at Union Park on July 19, 2024 in Chicago, Illinois. \u003ccite>(Barry Brecheisen/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like floating down a river or biting into a perfectly ripe peach, a free, outdoor concert at a waterfront park is just one of those peak summer experiences. Especially when the headliner is \u003ca href=\"https://sudanarchives.com/\">Sudan Archives\u003c/a>, one of this generation’s most dynamic artists. The LA singer, violinist and producer has made massive crowds dance to her smart, sexy electronic pop at festivals worldwide, and she touches down in San Francisco on July 27 for a free show at \u003ca href=\"https://sfport.com/cranecovepark\">Crane Cove Park\u003c/a>, with picturesque views of the San Francisco Bay.\u003c/p>\n\u003cp>A collaboration between the nonprofit San Francisco Parks Alliance and local concert promoters and venues, \u003ca href=\"https://sflivefest.com/\">SF Live\u003c/a> kicked off in May as part of Mayor London Breed’s efforts to get the city out of its doom loop narrative and boost its nightlife and entertainment sectors, which are still struggling in the wake of the pandemic. Sudan Archives’ set marks the first of three upcoming SF Live shows produced by local promoter \u003ca href=\"https://www.noisepop.com/\">Noise Pop\u003c/a>, which puts on an annual music festival of the same name.\u003c/p>\n\u003cp>https://youtu.be/w5iI590h4RE?si=R7LQxroRGkSgZMhg\u003c/p>\n\u003cp>Noise Pop tapped independent venue \u003ca href=\"https://rickshawstop.com/\">Rickshaw Stop\u003c/a> to curate the Sudan Archives show, which features an all-Black, all-queer lineup. Rounding out the bill is The Seshen’s \u003ca href=\"https://www.instagram.com/lalin_music/?hl=en\">Lalin St. Juste\u003c/a>, whose intense, enigmatic electronic pop excavates themes of spirituality, transformation and the singer’s Haitian roots. Oakland-raised \u003ca href=\"https://www.instagram.com/kossisko/?hl=en\">Kossisko\u003c/a>, who recently performed at SF Pride, will preside over a feel-good dance party with tracks off their funky new album \u003ci>Slayerz Ball\u003c/i>, which celebrates genderfluid self-expression.\u003c/p>\n\u003cp>“I think in general right now, we just need to feel united,” says Kossisko. “I think there needs to be more of this stuff, I think because of the fact that we’re always behind our screens now.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/PIC_Em1fk94?si=uf9s_R6uT52p_CrR\u003c/p>\n\u003cp>Not only that, but by all counts, the live music sector has been completely out of whack the past few years, ever since pandemic shutdowns. Between the impossible economics of streaming platforms, \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">which barely pay artists\u003c/a>, and \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">inflation cutting into artists’ earnings on tour\u003c/a>, working musicians and small venues are still struggling to emerge from the financial hole of 2020, even four years later.\u003c/p>\n\u003cp>Sure, fans are splurging on hyped arena tours by major-label stars, but support for smaller acts can be “hit or miss,” says Dan Strachota, head of operations at Rickshaw Stop. “You’ll have wonderful nights where the music is great and the people are wonderful, and the people have a few drinks and everybody makes money, and then you’ll have the same exact kind of sound a week later and no one will show up,” he explains.\u003c/p>\n\u003cp>“It seems weird that people would be less likely to pay for a $10 show than they would a $200 show, but I think people just go for what they’re certain about,” he continues. “The known quantities do better than the more experimental, weird, uncertain small bands. And we kind of make our living on those, which we hold near and dear to our hearts.”\u003c/p>\n\u003cp>People are still going out less, too. But with the celebratory sound of \u003ci>Slayerz Ball\u003c/i>, Kossisko wants to break audiences out of their shells. “Like if I go somewhere and I hear a song I like, even if I’m the only person dancing, I’m going to dance and I’m going to shake some ass and just have fun,” they say. “But I noticed that, especially post-pandemic, it feels like people are so self-conscious and so inward now. [With] this album, I wanted to make something that was super self-indulgent and super fun.”\u003c/p>\n\u003cp>https://youtu.be/yV9sz4S1zNs?si=oSW_6frx2tXA0Y5S\u003c/p>\n\u003cp>After Kossisko’s show with Sudan Archives and Lalin St. Juste on July 27, SF Live plans to keep the good vibes rolling. At the Golden Gate Park bandshell on Aug. 3, longtime queer venue El Rio and production company Illuminate present \u003ca href=\"https://sflivefest.com/upcoming-free-shows\">San Cha\u003c/a>, whose experimental sound reimagines rancheras, dance pop and even opera. Noise Pop’s next offerings for the series are the \u003ca href=\"https://sflivefest.com/sf-live-calendar/chinabasin-aug17\">Talking Heads’ Jerry Harrison and Adrian Belew\u003c/a> at China Basin Park on Aug. 17 (co-produced by Great American Music Hall) and \u003ca href=\"https://sflivefest.com/sf-live-calendar/potrerodelsol-sept07\">Eagles of Death Metal\u003c/a> at Potrero Del Sol on Sept. 7 (co-produced by Kilowatt). [aside postid='arts_13961459']\u003c/p>\n\u003cp>Despite the many doomsday headlines we see about San Francisco, there’s clearly an appetite for these kinds of free events. The Bhangra & Beats Night Market, also sponsored by Mayor Breed and the Office of Economic Workforce and Development, recently brought thousands of families and music lovers to the typically sleepy Financial District for a night of Punjabi rhythms, Afrobeats and food. And last weekend, electronic music label Dirty Bird packed out Embarcadero Plaza for a free show put on by Another Planet Entertainment as part of its deal with the city to hold ticketed concerts in Golden Gate Park.\u003c/p>\n\u003cp>As far as SF Live is concerned, Noise Pop CEO Michelle Swing says she wants these concerts to inspire attendees to support the local venues presenting them, and to make a compelling case for city funding for the arts.\u003c/p>\n\u003cp>“I hope that this program is a really good demonstration of why music programming is so important and critical to the culture of the city,” she says, “and how it’s fundamentally important for the community, for the economy.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sudan Archives, Kossisko and Lalin St. Juste perform at \u003ca href=\"https://sflivefest.com/sf-live-calendar/cranecove-july27\">Crane Cove Park on July 27, 12-5 p.m.\u003c/a> \u003ca href=\"https://sflivefest.com/upcoming-free-shows\">Upcoming SF Live concerts can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13961469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668.jpg\" alt=\"\" width=\"2000\" height=\"1502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-2162758668-1920x1442.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sudan Archives performs during the 2024 Pitchfork Music Festival at Union Park on July 19, 2024 in Chicago, Illinois. \u003ccite>(Barry Brecheisen/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like floating down a river or biting into a perfectly ripe peach, a free, outdoor concert at a waterfront park is just one of those peak summer experiences. Especially when the headliner is \u003ca href=\"https://sudanarchives.com/\">Sudan Archives\u003c/a>, one of this generation’s most dynamic artists. The LA singer, violinist and producer has made massive crowds dance to her smart, sexy electronic pop at festivals worldwide, and she touches down in San Francisco on July 27 for a free show at \u003ca href=\"https://sfport.com/cranecovepark\">Crane Cove Park\u003c/a>, with picturesque views of the San Francisco Bay.\u003c/p>\n\u003cp>A collaboration between the nonprofit San Francisco Parks Alliance and local concert promoters and venues, \u003ca href=\"https://sflivefest.com/\">SF Live\u003c/a> kicked off in May as part of Mayor London Breed’s efforts to get the city out of its doom loop narrative and boost its nightlife and entertainment sectors, which are still struggling in the wake of the pandemic. Sudan Archives’ set marks the first of three upcoming SF Live shows produced by local promoter \u003ca href=\"https://www.noisepop.com/\">Noise Pop\u003c/a>, which puts on an annual music festival of the same name.\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/w5iI590h4RE'\n title='//www.youtube.com/embed/w5iI590h4RE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Noise Pop tapped independent venue \u003ca href=\"https://rickshawstop.com/\">Rickshaw Stop\u003c/a> to curate the Sudan Archives show, which features an all-Black, all-queer lineup. Rounding out the bill is The Seshen’s \u003ca href=\"https://www.instagram.com/lalin_music/?hl=en\">Lalin St. Juste\u003c/a>, whose intense, enigmatic electronic pop excavates themes of spirituality, transformation and the singer’s Haitian roots. Oakland-raised \u003ca href=\"https://www.instagram.com/kossisko/?hl=en\">Kossisko\u003c/a>, who recently performed at SF Pride, will preside over a feel-good dance party with tracks off their funky new album \u003ci>Slayerz Ball\u003c/i>, which celebrates genderfluid self-expression.\u003c/p>\n\u003cp>“I think in general right now, we just need to feel united,” says Kossisko. “I think there needs to be more of this stuff, I think because of the fact that we’re always behind our screens now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PIC_Em1fk94'\n title='//www.youtube.com/embed/PIC_Em1fk94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not only that, but by all counts, the live music sector has been completely out of whack the past few years, ever since pandemic shutdowns. Between the impossible economics of streaming platforms, \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">which barely pay artists\u003c/a>, and \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">inflation cutting into artists’ earnings on tour\u003c/a>, working musicians and small venues are still struggling to emerge from the financial hole of 2020, even four years later.\u003c/p>\n\u003cp>Sure, fans are splurging on hyped arena tours by major-label stars, but support for smaller acts can be “hit or miss,” says Dan Strachota, head of operations at Rickshaw Stop. “You’ll have wonderful nights where the music is great and the people are wonderful, and the people have a few drinks and everybody makes money, and then you’ll have the same exact kind of sound a week later and no one will show up,” he explains.\u003c/p>\n\u003cp>“It seems weird that people would be less likely to pay for a $10 show than they would a $200 show, but I think people just go for what they’re certain about,” he continues. “The known quantities do better than the more experimental, weird, uncertain small bands. And we kind of make our living on those, which we hold near and dear to our hearts.”\u003c/p>\n\u003cp>People are still going out less, too. But with the celebratory sound of \u003ci>Slayerz Ball\u003c/i>, Kossisko wants to break audiences out of their shells. “Like if I go somewhere and I hear a song I like, even if I’m the only person dancing, I’m going to dance and I’m going to shake some ass and just have fun,” they say. “But I noticed that, especially post-pandemic, it feels like people are so self-conscious and so inward now. [With] this album, I wanted to make something that was super self-indulgent and super fun.”\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/yV9sz4S1zNs'\n title='//www.youtube.com/embed/yV9sz4S1zNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After Kossisko’s show with Sudan Archives and Lalin St. Juste on July 27, SF Live plans to keep the good vibes rolling. At the Golden Gate Park bandshell on Aug. 3, longtime queer venue El Rio and production company Illuminate present \u003ca href=\"https://sflivefest.com/upcoming-free-shows\">San Cha\u003c/a>, whose experimental sound reimagines rancheras, dance pop and even opera. Noise Pop’s next offerings for the series are the \u003ca href=\"https://sflivefest.com/sf-live-calendar/chinabasin-aug17\">Talking Heads’ Jerry Harrison and Adrian Belew\u003c/a> at China Basin Park on Aug. 17 (co-produced by Great American Music Hall) and \u003ca href=\"https://sflivefest.com/sf-live-calendar/potrerodelsol-sept07\">Eagles of Death Metal\u003c/a> at Potrero Del Sol on Sept. 7 (co-produced by Kilowatt). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the many doomsday headlines we see about San Francisco, there’s clearly an appetite for these kinds of free events. The Bhangra & Beats Night Market, also sponsored by Mayor Breed and the Office of Economic Workforce and Development, recently brought thousands of families and music lovers to the typically sleepy Financial District for a night of Punjabi rhythms, Afrobeats and food. And last weekend, electronic music label Dirty Bird packed out Embarcadero Plaza for a free show put on by Another Planet Entertainment as part of its deal with the city to hold ticketed concerts in Golden Gate Park.\u003c/p>\n\u003cp>As far as SF Live is concerned, Noise Pop CEO Michelle Swing says she wants these concerts to inspire attendees to support the local venues presenting them, and to make a compelling case for city funding for the arts.\u003c/p>\n\u003cp>“I hope that this program is a really good demonstration of why music programming is so important and critical to the culture of the city,” she says, “and how it’s fundamentally important for the community, for the economy.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sudan Archives, Kossisko and Lalin St. Juste perform at \u003ca href=\"https://sflivefest.com/sf-live-calendar/cranecove-july27\">Crane Cove Park on July 27, 12-5 p.m.\u003c/a> \u003ca href=\"https://sflivefest.com/upcoming-free-shows\">Upcoming SF Live concerts can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Kehlani’s ‘CRASH’ Tour Lands at SF’s Chase Center",
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"content": "\u003cp>Kehlani is having a huge year. The Oakland R&B star’s new hit, “\u003ca href=\"https://youtu.be/6qatTTscK4c?si=gKn7MkVc_Rmlxc7i\">After Hours\u003c/a>,” has an irresistible dancehall pulse that’s been fueling steamy moments at clubs and day parties all summer. And her new album \u003cem>CRASH\u003c/em> explores the many shades of love, lust and desire, with unexpected experiments (like a Jill Scott and Young Miko pairing on the dripping wet “\u003ca href=\"https://youtu.be/xoIkT0252vQ?si=OXQMfmCkGkPyNU9T\">Sucia\u003c/a>”) that stick the landing.\u003c/p>\n\u003cp>Kehlani is taking \u003cem>CRASH\u003c/em> on the road this summer with an arena tour that kicks off in Minneapolis on Sept. 4, and concludes with a hometown show at San Francisco’s Chase Center on Nov. 2. Joining Kehlani are UK girl group \u003ca href=\"https://youtu.be/NQT7eAKDbNk?si=zG4_Mu7bEOw36Hkc\">FLO\u003c/a> and rising Atlanta rapper \u003ca href=\"https://youtu.be/0MedMI2RKt8?si=r5bAztpLDsCTyU52\">Anycia\u003c/a>.\u003c/p>\n\u003cp>Tickets go on sale to the general public this Friday, July 26 at 10 a.m. But there are a \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">few ways to get your hands on them early\u003c/a>.\u003c/p>\n\u003cp>The first is a Citi card presale that begins July 23 at 2 p.m. local time through the Citi Entertainment program. An artist presale starts 10 a.m. on July 24 with the password “24CRASH.” The Bay’s own \u003ca href=\"https://apeconcerts.com/events/kehlani-241102/\">Another Planet Entertainment\u003c/a>, which is co-producing the event, has a presale at the same time with the password “tears.”\u003c/p>\n\u003cp>Ticketmaster and Live Nation both have presales that begin July 25 at 10 a.m.; if you use their services, check your account for details. Spotify, Bandsintown and GSW Dub Club also have presales at that time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once you have your presale code and are good to go, all tickets can be found \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">on Ticketmaster\u003c/a>. They suggest signing into your account 10 minutes early.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>CRASH\u003c/em> sees Kehlani elevating to new artistic heights. It’s queer yet universal, with a palpable confidence that reflects the singer’s vulnerability and outspokenness. (Off the mic, Kehlani has been \u003ca href=\"https://www.nbcnews.com/pop-culture/pop-culture-news/kehlani-stands-palestinians-newest-music-video-rcna155091\">advocating for Palestinians\u003c/a> while most of the music industry stays silent.) We can expect to see more of that bold vision when they take center stage.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kehlani is having a huge year. The Oakland R&B star’s new hit, “\u003ca href=\"https://youtu.be/6qatTTscK4c?si=gKn7MkVc_Rmlxc7i\">After Hours\u003c/a>,” has an irresistible dancehall pulse that’s been fueling steamy moments at clubs and day parties all summer. And her new album \u003cem>CRASH\u003c/em> explores the many shades of love, lust and desire, with unexpected experiments (like a Jill Scott and Young Miko pairing on the dripping wet “\u003ca href=\"https://youtu.be/xoIkT0252vQ?si=OXQMfmCkGkPyNU9T\">Sucia\u003c/a>”) that stick the landing.\u003c/p>\n\u003cp>Kehlani is taking \u003cem>CRASH\u003c/em> on the road this summer with an arena tour that kicks off in Minneapolis on Sept. 4, and concludes with a hometown show at San Francisco’s Chase Center on Nov. 2. Joining Kehlani are UK girl group \u003ca href=\"https://youtu.be/NQT7eAKDbNk?si=zG4_Mu7bEOw36Hkc\">FLO\u003c/a> and rising Atlanta rapper \u003ca href=\"https://youtu.be/0MedMI2RKt8?si=r5bAztpLDsCTyU52\">Anycia\u003c/a>.\u003c/p>\n\u003cp>Tickets go on sale to the general public this Friday, July 26 at 10 a.m. But there are a \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">few ways to get your hands on them early\u003c/a>.\u003c/p>\n\u003cp>The first is a Citi card presale that begins July 23 at 2 p.m. local time through the Citi Entertainment program. An artist presale starts 10 a.m. on July 24 with the password “24CRASH.” The Bay’s own \u003ca href=\"https://apeconcerts.com/events/kehlani-241102/\">Another Planet Entertainment\u003c/a>, which is co-producing the event, has a presale at the same time with the password “tears.”\u003c/p>\n\u003cp>Ticketmaster and Live Nation both have presales that begin July 25 at 10 a.m.; if you use their services, check your account for details. Spotify, Bandsintown and GSW Dub Club also have presales at that time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once you have your presale code and are good to go, all tickets can be found \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">on Ticketmaster\u003c/a>. They suggest signing into your account 10 minutes early.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>CRASH\u003c/em> sees Kehlani elevating to new artistic heights. It’s queer yet universal, with a palpable confidence that reflects the singer’s vulnerability and outspokenness. (Off the mic, Kehlani has been \u003ca href=\"https://www.nbcnews.com/pop-culture/pop-culture-news/kehlani-stands-palestinians-newest-music-video-rcna155091\">advocating for Palestinians\u003c/a> while most of the music industry stays silent.) We can expect to see more of that bold vision when they take center stage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bonnie Raitt, the Grateful Dead and Francis Ford Coppola Among New Kennedy Center Honorees",
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"headTitle": "Bonnie Raitt, the Grateful Dead and Francis Ford Coppola Among New Kennedy Center Honorees | KQED",
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"content": "\u003cp>An iconoclastic filmmaking legend, a songwriting powerhouse and one of the world’s most enduring musical acts headline this year’s crop of Kennedy Center Honors recipients.\u003c/p>\n\u003cp>Director Francis Ford Coppola and the Grateful Dead will be honored for lifetime achievement in the arts, along with blues legend Bonnie Raitt, jazz trumpeter Arturo Sandoval and the legendary Harlem theater The Apollo, which has launched generations of Black artists.\u003c/p>\n\u003cp>The majority of this year’s honorees have direct ties to the Bay Area, most prominently the Grateful Dead, who lived in the Haight-Ashbury and defined its 1960s scene. Raitt has lived in Marin County since the 1990s, and Coppola has long made his home in Napa County. \u003c/p>\n\u003cp>This 47th Kennedy Center class will be honored with an evening of tributes, testimonials and performances on Dec. 8 at Washington’s John F. Kennedy Center for the Performing Arts. The ceremony will be broadcast on CBS on Dec. 23.\u003c/p>\n\u003cp>Starting out as a folk-infused quintet in psychedelic-era 1960s San Francisco, the Grateful Dead steadily morphed into a cultural phenomenon and one of the most successful touring acts of all time.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13925413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead, pictured on the corner of Haight and Ashbury in San Francisco. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fueled by the carnival atmosphere of its traveling Deadhead fanbase and an ethos that encouraged tape-trading and emphasized live performance over studio output, the Dead have spanned multiple generations and remain wildly popular. Lead guitarist and founding member Jerry Garcia died in 1995, but the band continues almost nonstop touring in multiple incarnations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a lot of ingredients that go into it,” drummer Mickey Hart said, when asked about the music’s longevity. “The fans say that the shows feel like home. It gives them that feeling of connectiveness and community and joy and love for life and the music.”\u003c/p>\n\u003cp>Currently calling themselves Dead and Company with guitarist John Mayer taking Garcia’s place, the band is in the midst of a several-month residency at The Sphere in Las Vegas.\u003c/p>\n\u003cp>Coppola, 85, has established himself as a trailblazing filmmaker, winning five Academy Awards and earning a reputation as a driven artist willing to risk his reputation and finances for his vision. Even after the massive successes of \u003cem>The Godfather\u003c/em> and a sequel, Coppola drove himself into near bankruptcy while filming \u003cem>Apocalypse Now\u003c/em>, which turned out to be another classic. He later filmed \u003cem>The Conversation\u003c/em> in San Francisco, set in Union Square. \u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pictured in Los Angeles in 1991. Eleanor Coppola died in April 2024 at age 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, he wondered whether he had ruffled too many powerful feathers along the way to ever receive Kennedy Center Honors induction.\u003c/p>\n\u003cp>“I’ve been eligible for the past 20 years, so the fact that I never received it made me feel that maybe I never would,” said Coppola, who took part in fellow director Martin Scorsese’s induction in 2007. “I just assumed I wasn’t going to win it, so to hear that I was chosen was a surprise and a delight.”\u003c/p>\n\u003cp>Coppola, who has produced wine from his northern California vineyard for more than 40 years, also made sure to shout out another northern California recipient this year.\u003c/p>\n\u003cp>“And it’s a big treat to be there this year with the Grateful Dead, my San Francisco colleagues,” he said. “I’m very delighted and pleased.”\u003c/p>\n\u003cp>Raitt’s memories of the Kennedy Center Honors go back to the 1970s, when she accompanied her father, Broadway performer John Raitt, who was taking part in a tribute to composer Richard Rogers.\u003c/p>\n\u003cp>“I got to visit the White House and hang out with the Carters,” said Raitt, 74. “I got my first taste of what this weekend really means.”\u003c/p>\n\u003cp>As an adult performer, Raitt experienced the other side of the Kennedy Center Honors equation: performing as part of tributes to Mavis Staples in 2016 and Buddy Guy in 2012. These performances are frequently kept secret from the honorees themselves, and Raitt said she looks forward to seeing who the planners come up with for her tribute.\u003c/p>\n\u003cp>“I really, really want to be surprised, and I don’t want to know,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a 50-year career, Raitt has received a plethora of music awards, including 13 Grammys and induction into the Rock and Roll Hall of Fame. Rolling Stone magazine named her to its lists of the 100 greatest guitarists and the 100 greatest singers of all time. But Raitt said the Kennedy Center Honors status holds a special place because it extends to all aspects of the performing arts, encompassing all forms of music, dance and performance.\u003c/p>\n\u003cp>“The thing that puts (Kennedy Center Honors) at the pinnacle is that it’s culture-wide,” she said. “It’s hard for me to even fathom what this means.”\u003c/p>\n\u003cp>Sandoval, 74, rose to prominence as a musician in his native Cuba, playing piano and percussion but specializing in the trumpet. His work brought him into contact with jazz legend Dizzy Gillespie, who championed his music and personally helped him defect from Cuba while on tour in Europe in 1990. Shortly after his defection, Sandoval performed at his mentor Gillespie’s own Kennedy Center Honors induction.\u003c/p>\n\u003cfigure id=\"attachment_11691645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-11691645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Arturo Sandoval \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Modestly apart, I do think I deserve it. I worked so hard for so many years,” Sandoval told The Associated Press. “It’s a huge honor, and I feel completely overwhelmed. I have to pinch myself sometimes. I’m just a little farmer from Cuba. God has been so good to me.”\u003c/p>\n\u003cp>It’s extremely rare for the Kennedy Center Honors to select a venue, rather than a performer. But The Apollo’s nine-decade run as an incubator for generations of Black talent has qualified it as an exception.\u003c/p>\n\u003cp>“It’s not a traditional honoree, for sure,” said Michelle Ebanks, the theater’s president and CEO, who cited the recent induction of the show \u003cem>Sesame Street\u003c/em> as a similar out-of-the-box selection. “We’re absolutely delighted by the honor.”\u003c/p>\n\u003cfigure id=\"attachment_13868993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg\" alt=\"The Apollo Theater marquee, pictured in 'The Apollo,' Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13868993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1200x676.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Apollo Theater marquee, pictured in ‘The Apollo,’ Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harlem landmark has served as a proving ground for Black performers dating back to Billie Holiday, James Brown and Stevie Wonder and extending into modern performers like Lauryn Hill. This year, the theater has moved events to a new venue down the street, dubbed The Apollo Stages at the Victoria Theater, while the original venue undergoes renovation and expansion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s more than a theater. It’s a cultural touchstone … that’s rooted in the Harlem community,” Ebanks said. “It really is a recognition of a collective passion. … Over the decades, The Apollo has never stood still.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An iconoclastic filmmaking legend, a songwriting powerhouse and one of the world’s most enduring musical acts headline this year’s crop of Kennedy Center Honors recipients.\u003c/p>\n\u003cp>Director Francis Ford Coppola and the Grateful Dead will be honored for lifetime achievement in the arts, along with blues legend Bonnie Raitt, jazz trumpeter Arturo Sandoval and the legendary Harlem theater The Apollo, which has launched generations of Black artists.\u003c/p>\n\u003cp>The majority of this year’s honorees have direct ties to the Bay Area, most prominently the Grateful Dead, who lived in the Haight-Ashbury and defined its 1960s scene. Raitt has lived in Marin County since the 1990s, and Coppola has long made his home in Napa County. \u003c/p>\n\u003cp>This 47th Kennedy Center class will be honored with an evening of tributes, testimonials and performances on Dec. 8 at Washington’s John F. Kennedy Center for the Performing Arts. The ceremony will be broadcast on CBS on Dec. 23.\u003c/p>\n\u003cp>Starting out as a folk-infused quintet in psychedelic-era 1960s San Francisco, the Grateful Dead steadily morphed into a cultural phenomenon and one of the most successful touring acts of all time.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13925413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead, pictured on the corner of Haight and Ashbury in San Francisco. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fueled by the carnival atmosphere of its traveling Deadhead fanbase and an ethos that encouraged tape-trading and emphasized live performance over studio output, the Dead have spanned multiple generations and remain wildly popular. Lead guitarist and founding member Jerry Garcia died in 1995, but the band continues almost nonstop touring in multiple incarnations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a lot of ingredients that go into it,” drummer Mickey Hart said, when asked about the music’s longevity. “The fans say that the shows feel like home. It gives them that feeling of connectiveness and community and joy and love for life and the music.”\u003c/p>\n\u003cp>Currently calling themselves Dead and Company with guitarist John Mayer taking Garcia’s place, the band is in the midst of a several-month residency at The Sphere in Las Vegas.\u003c/p>\n\u003cp>Coppola, 85, has established himself as a trailblazing filmmaker, winning five Academy Awards and earning a reputation as a driven artist willing to risk his reputation and finances for his vision. Even after the massive successes of \u003cem>The Godfather\u003c/em> and a sequel, Coppola drove himself into near bankruptcy while filming \u003cem>Apocalypse Now\u003c/em>, which turned out to be another classic. He later filmed \u003cem>The Conversation\u003c/em> in San Francisco, set in Union Square. \u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pictured in Los Angeles in 1991. Eleanor Coppola died in April 2024 at age 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, he wondered whether he had ruffled too many powerful feathers along the way to ever receive Kennedy Center Honors induction.\u003c/p>\n\u003cp>“I’ve been eligible for the past 20 years, so the fact that I never received it made me feel that maybe I never would,” said Coppola, who took part in fellow director Martin Scorsese’s induction in 2007. “I just assumed I wasn’t going to win it, so to hear that I was chosen was a surprise and a delight.”\u003c/p>\n\u003cp>Coppola, who has produced wine from his northern California vineyard for more than 40 years, also made sure to shout out another northern California recipient this year.\u003c/p>\n\u003cp>“And it’s a big treat to be there this year with the Grateful Dead, my San Francisco colleagues,” he said. “I’m very delighted and pleased.”\u003c/p>\n\u003cp>Raitt’s memories of the Kennedy Center Honors go back to the 1970s, when she accompanied her father, Broadway performer John Raitt, who was taking part in a tribute to composer Richard Rogers.\u003c/p>\n\u003cp>“I got to visit the White House and hang out with the Carters,” said Raitt, 74. “I got my first taste of what this weekend really means.”\u003c/p>\n\u003cp>As an adult performer, Raitt experienced the other side of the Kennedy Center Honors equation: performing as part of tributes to Mavis Staples in 2016 and Buddy Guy in 2012. These performances are frequently kept secret from the honorees themselves, and Raitt said she looks forward to seeing who the planners come up with for her tribute.\u003c/p>\n\u003cp>“I really, really want to be surprised, and I don’t want to know,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a 50-year career, Raitt has received a plethora of music awards, including 13 Grammys and induction into the Rock and Roll Hall of Fame. Rolling Stone magazine named her to its lists of the 100 greatest guitarists and the 100 greatest singers of all time. But Raitt said the Kennedy Center Honors status holds a special place because it extends to all aspects of the performing arts, encompassing all forms of music, dance and performance.\u003c/p>\n\u003cp>“The thing that puts (Kennedy Center Honors) at the pinnacle is that it’s culture-wide,” she said. “It’s hard for me to even fathom what this means.”\u003c/p>\n\u003cp>Sandoval, 74, rose to prominence as a musician in his native Cuba, playing piano and percussion but specializing in the trumpet. His work brought him into contact with jazz legend Dizzy Gillespie, who championed his music and personally helped him defect from Cuba while on tour in Europe in 1990. Shortly after his defection, Sandoval performed at his mentor Gillespie’s own Kennedy Center Honors induction.\u003c/p>\n\u003cfigure id=\"attachment_11691645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-11691645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Arturo Sandoval \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Modestly apart, I do think I deserve it. I worked so hard for so many years,” Sandoval told The Associated Press. “It’s a huge honor, and I feel completely overwhelmed. I have to pinch myself sometimes. I’m just a little farmer from Cuba. God has been so good to me.”\u003c/p>\n\u003cp>It’s extremely rare for the Kennedy Center Honors to select a venue, rather than a performer. But The Apollo’s nine-decade run as an incubator for generations of Black talent has qualified it as an exception.\u003c/p>\n\u003cp>“It’s not a traditional honoree, for sure,” said Michelle Ebanks, the theater’s president and CEO, who cited the recent induction of the show \u003cem>Sesame Street\u003c/em> as a similar out-of-the-box selection. “We’re absolutely delighted by the honor.”\u003c/p>\n\u003cfigure id=\"attachment_13868993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg\" alt=\"The Apollo Theater marquee, pictured in 'The Apollo,' Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13868993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1200x676.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Apollo Theater marquee, pictured in ‘The Apollo,’ Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harlem landmark has served as a proving ground for Black performers dating back to Billie Holiday, James Brown and Stevie Wonder and extending into modern performers like Lauryn Hill. This year, the theater has moved events to a new venue down the street, dubbed The Apollo Stages at the Victoria Theater, while the original venue undergoes renovation and expansion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Butterfly clips and mood rings ruled the late ’90s. And a budding relationship wasn’t official without a solid AOL Instant Messenger away message like: \u003cem>bRb, ~~wHen y0u ThiNk aB0uT mE, dO yu tHiNk ab0uT uS… fAlLiiN iN L0vE… d0 yOu wANnA GeT WiTh mE, wiTh Me~~ <3\u003c/em>.\u003c/p>\n\u003cp>These lyrics came from \u003ca href=\"https://www.instagram.com/ladiesofonevo1ce/\">One Vo1ce\u003c/a>’s “When U Think About Me,” a synthy, upbeat R&B track that reached No. 17 on the Billboard charts in 1999. In this era of girl groups like TLC, Destiny’s Child and the Spice Girls, One Vo1ce reached mainstream success while putting the Bay and Filipino American artists on the map.\u003c/p>\n\u003cp>https://youtu.be/cMi9IP_aT1s?si=gHycTTcJat7W8dBh\u003c/p>\n\u003cp>And they’re still making music together. Currently, the Vallejo-bred trio consists of longtime friends Marie Ceralvo, Mae Ceralvo and Monica Castillo. (Marie and Monica started out as a quintet with Aimee Castillo, Melissa Ruiz and Lindsay Mangoba, later replaced by Mae.)\u003c/p>\n\u003cp>Singing brought the girls together in middle school, when they would harmonize during recess in the hallways. As things got more serious, their talent and grit pushed their professional music careers forward.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One Vo1ce’s parents — who were also friends — supported the girls’ calling. “I remember my dad calling a meeting with all of our parents sitting around the big table in my living room and saying, ‘Are we doing this?’” Monica recalls. “My dad didn’t really know the caliber really or even understand what we were doing.”\u003c/p>\n\u003cp>After a San Francisco show where fans lined up for autographs, he began to see that they had a real shot at making it. By 1998, One Vo1ce signed with Kamikaze Records. The next year, their debut album \u003cem>Just the Beginning\u003c/em> dropped, with hits “All Day, All Nite” and “Always On My Mind.” The songs sound like young love, like skipping geometry to kick it or staying up until 2 a.m. on the landline, and they still hold up 25 years later.\u003c/p>\n\u003cp>https://youtu.be/Sul5rUYmU0Q?si=k94CSlRSsP066RBM\u003c/p>\n\u003ch2>Filipino American musicians climb the pop charts\u003c/h2>\n\u003cp>One Vo1ce arrived during a surge of Bay Area-raised Filipino American musicians. Freestyle singers \u003ca href=\"https://youtu.be/bA_Ko-kOIFc?si=cQ0eU8c_pHB_pT0R\">Buffy\u003c/a> and \u003ca href=\"https://youtu.be/kVipDwHE8Ho?si=3VJNuhRneIb5kaPu\">Jocelyn Enriquez\u003c/a>, originally of R&B group \u003ca href=\"https://youtu.be/-vhs_s1ZQg4?si=mbv5hRnSJG5ZaYfd\">Pinay\u003c/a>, climbed the Billboard charts, and boybands \u003ca href=\"https://youtu.be/l8Xr4DAGhF4?si=b8uJuK-ghwiEz5It\">Innerlude\u003c/a>, \u003ca href=\"https://youtu.be/772hElelPhc?si=VO0i7OWEWBPiW2Oh\">Kai\u003c/a> and \u003ca href=\"https://youtu.be/li4XINEQKvY?si=Zm9LQe1EhKM3odc8\">Drop n Harmony\u003c/a> were getting national traction.\u003c/p>\n\u003cp>“We did a lot of shows like at [Diablo Valley College], Ohlone College, and that’s where we ran into groups like Kai or Drop n Harmony, and dance groups like Jedi Mind Tricks — all the groups that were around in the late ’90s,” Marie recalls. “That kind of inspired us even more to keep doing it.”\u003c/p>\n\u003cp>https://youtu.be/kPvbg_TA2Sc?si=AhrSAMUdbnV9nS6n\u003c/p>\n\u003cp>Though they were adolescents, the girls navigated the industry the best they could — and their fan base grew organically.\u003c/p>\n\u003cp>“Seeing a group of Filipina women in the music scene was so inspiring,” says Nicole Maxali, a filmmaker, podcast host and program manager at the Filipino arts incubator \u003ca href=\"https://www.kqed.org/arts/13913947/balay-kreative-soma-pilipinas-filipino-heritage-district\">Balay Kreative\u003c/a>. “It wasn’t just about the music, but the way they carried themselves and represented the culture. It was like, ‘Yup, we belong here too.’”\u003c/p>\n\u003cp>She goes on, “The early 2000s were a unique time — there wasn’t as much representation in mainstream media, so having One Vo1ce, Pinay and Drop N Harmony was exciting for us AAPI kids. They showed that you could embrace your roots and still be successful in the industry. It was empowering.”\u003c/p>\n\u003cp>https://youtu.be/ZrjWRTRb93Q?si=GaYy9bFXXA_F01SB\u003c/p>\n\u003ch2>A whirlwind industry experience\u003c/h2>\n\u003cp>In our interview, Monica, Mae and Marie reminisced about their “oh sh—” moments on their way to success. Two-hour CD signings at Sam Goody or Tower Records; hearing their song on the the radio for the first time in the back of Melissa’s silver Honda Prelude; seeing their music video on repeat on San Francisco’s California Music Channel; and getting stopped at Denny’s for an autograph while on tour in Michigan. [aside postid='arts_13933590']\u003c/p>\n\u003cp>“All we knew is we loved music,” says Marie. “We love to sing. We were having fun, yeah, but other than that, it wasn’t a goal to be on the radio, to get a music video, to travel and meet amazing people. It kind of just happened. It was just like, ‘This is what we do. This is our sound. We have fun doing it.’”\u003c/p>\n\u003cp>Today, music can be shared with the tap of a screen, but back then, it was all about the footwork. “There was no YouTube back there. There was no iTunes,” says Monica. “If you really liked an artist, you waited until the release date and you waited in line to grab it, and if it were sold out, you’d have to come back and try and get it again. There was, like, excitement in that. Now, you just go on Spotify. It’s an immediate gratification.”\u003c/p>\n\u003cfigure id=\"attachment_13961412\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2.jpg\" alt=\"\" width=\"720\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2-160x163.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The original members of One Vo1ce. \u003ccite>(Courtesy of One Vo1ce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between the late-night shows, red-eye flights and early-morning press calls, the girls’ high school and college lives were on pause. But without a doubt, when it came to music, One Vo1ce went all in.\u003c/p>\n\u003cp>“I tell people when they ask me about how it was, I’m like, ‘I’ve never worked so hard in my life,’” says Mae, who was still in high school and juggling teenage life, sports and music. “We definitely had the pressure on us to present our best selves. … And it may not have necessarily been healthy. I think that was very common in the industry back then.”\u003c/p>\n\u003cp>The record label wanted each member of One Vo1ce to have a unique vibe, perhaps like the Spice Girls. “When we started singing, we all had long, black hair, about the same length. We all kind of looked, you know, the same,” Monica says. “And then when we got signed, it was like, OK, I took blonde. Marie would be the one with the short, spiky, spunky hair. Mae was the one with the red hair. We all had to have a different look about us to differentiate ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13961411\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Today, Monica Castillo, Marie Ceralvo and Mae Ceralvo make up One Vo1ce. The trio is still making music and performing together. \u003ccite>(Courtesy of One Vo1ce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One Vo1ce’s latest chapter\u003c/h2>\n\u003cp>While representation in the music industry still needs work, there’s steady movement towards more visibility for Filipino American artists. H.E.R. and Saweetie, both raised in the Bay Area, have made major waves in R&B and rap, and pop idol Olivia Rodrigo proudly reps her Pinay roots. [aside postid='arts_13961014,arts_13938866']\u003c/p>\n\u003cp>“We’re seeing a whole wave of diversity kind of penetrating and saturating entertainment and arts overall,” Mae said. “We’ve had influences, like for many, many years, just not so much in the spotlight. Now that we’re in a different time, you know, the digital era has enabled a lot of people. … I think it’s definitely helped increase representation, but we can always use more.”\u003c/p>\n\u003cp>Today, Marie, Mae and Monica are sitting in the driver’s seat of their career. “We are a bit more involved in the creative process,” Marie says. “We wrote the songs. We decided which beat we wanted to use. We had input about the mixing process. Turn that down, turn that up, add more EQ. It’s more hands-on.”\u003c/p>\n\u003cp>They also manage themselves. “We decide when the album comes out. There’s no deadline,” she continues. “We don’t have to go to the gym every day. There’s no strict schedule. We decide when we do what, you know, we decide our pricing for shows, for anything.”\u003c/p>\n\u003cp>https://youtu.be/n0lfgK8X4yA?si=zeokuzgS8gu7Svte\u003c/p>\n\u003cp>Since 2019, the group has released a handful of singles, including “Friendster” and “Cherry,” and their latest project, \u003cem>Here to Stay\u003c/em>, came out earlier this year. The album showcases the trio’s new sound with slow jams like “Learning You,” perfect for sending to your boo, and feel-good, nostalgic tracks like “Lights” or “Fog City.”\u003c/p>\n\u003cp>Within the past year, One Vo1ce has hit the stage to perform at various events, including Romance & Breakups alongside Case and Ruff Endz in Orange County and Yaya Music Fest with Nu Flavor in Merced. Locally in Campbell, they performed an intimate acoustic show, inspired by NPR’s Tiny Desk Concert, at the plant shop \u003ca href=\"https://www.instagram.com/momsterasj/?hl=en\">Momstera\u003c/a>. The trio will return to Momstera in September.\u003c/p>\n\u003cp>https://youtu.be/X_MDG17x278?si=9Gr-P5Jk0fHN9Fyk\u003c/p>\n\u003cp>“We’ve been in the industry for 20-plus years, and just to see the evolution is really telling, you know, that music is a part of our lives,” Monica says.\u003c/p>\n\u003cp>A love for music started it all, but the friendship — a sisterhood — continues One Vo1ce’s journey in harmony.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Follow One Vo1ce on \u003ca href=\"https://www.instagram.com/ladiesofonevo1ce/\">Instagram\u003c/a> and \u003ca href=\"https://www.facebook.com/OneVo1ce/\">Facebook\u003c/a> for show announcements and music updates.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Butterfly clips and mood rings ruled the late ’90s. And a budding relationship wasn’t official without a solid AOL Instant Messenger away message like: \u003cem>bRb, ~~wHen y0u ThiNk aB0uT mE, dO yu tHiNk ab0uT uS… fAlLiiN iN L0vE… d0 yOu wANnA GeT WiTh mE, wiTh Me~~ <3\u003c/em>.\u003c/p>\n\u003cp>These lyrics came from \u003ca href=\"https://www.instagram.com/ladiesofonevo1ce/\">One Vo1ce\u003c/a>’s “When U Think About Me,” a synthy, upbeat R&B track that reached No. 17 on the Billboard charts in 1999. In this era of girl groups like TLC, Destiny’s Child and the Spice Girls, One Vo1ce reached mainstream success while putting the Bay and Filipino American artists on the map.\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/cMi9IP_aT1s'\n title='//www.youtube.com/embed/cMi9IP_aT1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And they’re still making music together. Currently, the Vallejo-bred trio consists of longtime friends Marie Ceralvo, Mae Ceralvo and Monica Castillo. (Marie and Monica started out as a quintet with Aimee Castillo, Melissa Ruiz and Lindsay Mangoba, later replaced by Mae.)\u003c/p>\n\u003cp>Singing brought the girls together in middle school, when they would harmonize during recess in the hallways. As things got more serious, their talent and grit pushed their professional music careers forward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One Vo1ce’s parents — who were also friends — supported the girls’ calling. “I remember my dad calling a meeting with all of our parents sitting around the big table in my living room and saying, ‘Are we doing this?’” Monica recalls. “My dad didn’t really know the caliber really or even understand what we were doing.”\u003c/p>\n\u003cp>After a San Francisco show where fans lined up for autographs, he began to see that they had a real shot at making it. By 1998, One Vo1ce signed with Kamikaze Records. The next year, their debut album \u003cem>Just the Beginning\u003c/em> dropped, with hits “All Day, All Nite” and “Always On My Mind.” The songs sound like young love, like skipping geometry to kick it or staying up until 2 a.m. on the landline, and they still hold up 25 years later.\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/Sul5rUYmU0Q'\n title='//www.youtube.com/embed/Sul5rUYmU0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Filipino American musicians climb the pop charts\u003c/h2>\n\u003cp>One Vo1ce arrived during a surge of Bay Area-raised Filipino American musicians. Freestyle singers \u003ca href=\"https://youtu.be/bA_Ko-kOIFc?si=cQ0eU8c_pHB_pT0R\">Buffy\u003c/a> and \u003ca href=\"https://youtu.be/kVipDwHE8Ho?si=3VJNuhRneIb5kaPu\">Jocelyn Enriquez\u003c/a>, originally of R&B group \u003ca href=\"https://youtu.be/-vhs_s1ZQg4?si=mbv5hRnSJG5ZaYfd\">Pinay\u003c/a>, climbed the Billboard charts, and boybands \u003ca href=\"https://youtu.be/l8Xr4DAGhF4?si=b8uJuK-ghwiEz5It\">Innerlude\u003c/a>, \u003ca href=\"https://youtu.be/772hElelPhc?si=VO0i7OWEWBPiW2Oh\">Kai\u003c/a> and \u003ca href=\"https://youtu.be/li4XINEQKvY?si=Zm9LQe1EhKM3odc8\">Drop n Harmony\u003c/a> were getting national traction.\u003c/p>\n\u003cp>“We did a lot of shows like at [Diablo Valley College], Ohlone College, and that’s where we ran into groups like Kai or Drop n Harmony, and dance groups like Jedi Mind Tricks — all the groups that were around in the late ’90s,” Marie recalls. “That kind of inspired us even more to keep doing it.”\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/kPvbg_TA2Sc'\n title='//www.youtube.com/embed/kPvbg_TA2Sc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though they were adolescents, the girls navigated the industry the best they could — and their fan base grew organically.\u003c/p>\n\u003cp>“Seeing a group of Filipina women in the music scene was so inspiring,” says Nicole Maxali, a filmmaker, podcast host and program manager at the Filipino arts incubator \u003ca href=\"https://www.kqed.org/arts/13913947/balay-kreative-soma-pilipinas-filipino-heritage-district\">Balay Kreative\u003c/a>. “It wasn’t just about the music, but the way they carried themselves and represented the culture. It was like, ‘Yup, we belong here too.’”\u003c/p>\n\u003cp>She goes on, “The early 2000s were a unique time — there wasn’t as much representation in mainstream media, so having One Vo1ce, Pinay and Drop N Harmony was exciting for us AAPI kids. They showed that you could embrace your roots and still be successful in the industry. It was empowering.”\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/ZrjWRTRb93Q'\n title='//www.youtube.com/embed/ZrjWRTRb93Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A whirlwind industry experience\u003c/h2>\n\u003cp>In our interview, Monica, Mae and Marie reminisced about their “oh sh—” moments on their way to success. Two-hour CD signings at Sam Goody or Tower Records; hearing their song on the the radio for the first time in the back of Melissa’s silver Honda Prelude; seeing their music video on repeat on San Francisco’s California Music Channel; and getting stopped at Denny’s for an autograph while on tour in Michigan. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All we knew is we loved music,” says Marie. “We love to sing. We were having fun, yeah, but other than that, it wasn’t a goal to be on the radio, to get a music video, to travel and meet amazing people. It kind of just happened. It was just like, ‘This is what we do. This is our sound. We have fun doing it.’”\u003c/p>\n\u003cp>Today, music can be shared with the tap of a screen, but back then, it was all about the footwork. “There was no YouTube back there. There was no iTunes,” says Monica. “If you really liked an artist, you waited until the release date and you waited in line to grab it, and if it were sold out, you’d have to come back and try and get it again. There was, like, excitement in that. Now, you just go on Spotify. It’s an immediate gratification.”\u003c/p>\n\u003cfigure id=\"attachment_13961412\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2.jpg\" alt=\"\" width=\"720\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/once-vo1ce-2-160x163.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The original members of One Vo1ce. \u003ccite>(Courtesy of One Vo1ce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between the late-night shows, red-eye flights and early-morning press calls, the girls’ high school and college lives were on pause. But without a doubt, when it came to music, One Vo1ce went all in.\u003c/p>\n\u003cp>“I tell people when they ask me about how it was, I’m like, ‘I’ve never worked so hard in my life,’” says Mae, who was still in high school and juggling teenage life, sports and music. “We definitely had the pressure on us to present our best selves. … And it may not have necessarily been healthy. I think that was very common in the industry back then.”\u003c/p>\n\u003cp>The record label wanted each member of One Vo1ce to have a unique vibe, perhaps like the Spice Girls. “When we started singing, we all had long, black hair, about the same length. We all kind of looked, you know, the same,” Monica says. “And then when we got signed, it was like, OK, I took blonde. Marie would be the one with the short, spiky, spunky hair. Mae was the one with the red hair. We all had to have a different look about us to differentiate ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13961411\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/one-vo1ce-1-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Today, Monica Castillo, Marie Ceralvo and Mae Ceralvo make up One Vo1ce. The trio is still making music and performing together. \u003ccite>(Courtesy of One Vo1ce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One Vo1ce’s latest chapter\u003c/h2>\n\u003cp>While representation in the music industry still needs work, there’s steady movement towards more visibility for Filipino American artists. H.E.R. and Saweetie, both raised in the Bay Area, have made major waves in R&B and rap, and pop idol Olivia Rodrigo proudly reps her Pinay roots. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re seeing a whole wave of diversity kind of penetrating and saturating entertainment and arts overall,” Mae said. “We’ve had influences, like for many, many years, just not so much in the spotlight. Now that we’re in a different time, you know, the digital era has enabled a lot of people. … I think it’s definitely helped increase representation, but we can always use more.”\u003c/p>\n\u003cp>Today, Marie, Mae and Monica are sitting in the driver’s seat of their career. “We are a bit more involved in the creative process,” Marie says. “We wrote the songs. We decided which beat we wanted to use. We had input about the mixing process. Turn that down, turn that up, add more EQ. It’s more hands-on.”\u003c/p>\n\u003cp>They also manage themselves. “We decide when the album comes out. There’s no deadline,” she continues. “We don’t have to go to the gym every day. There’s no strict schedule. We decide when we do what, you know, we decide our pricing for shows, for anything.”\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/n0lfgK8X4yA'\n title='//www.youtube.com/embed/n0lfgK8X4yA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since 2019, the group has released a handful of singles, including “Friendster” and “Cherry,” and their latest project, \u003cem>Here to Stay\u003c/em>, came out earlier this year. The album showcases the trio’s new sound with slow jams like “Learning You,” perfect for sending to your boo, and feel-good, nostalgic tracks like “Lights” or “Fog City.”\u003c/p>\n\u003cp>Within the past year, One Vo1ce has hit the stage to perform at various events, including Romance & Breakups alongside Case and Ruff Endz in Orange County and Yaya Music Fest with Nu Flavor in Merced. Locally in Campbell, they performed an intimate acoustic show, inspired by NPR’s Tiny Desk Concert, at the plant shop \u003ca href=\"https://www.instagram.com/momsterasj/?hl=en\">Momstera\u003c/a>. The trio will return to Momstera in September.\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/X_MDG17x278'\n title='//www.youtube.com/embed/X_MDG17x278'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We’ve been in the industry for 20-plus years, and just to see the evolution is really telling, you know, that music is a part of our lives,” Monica says.\u003c/p>\n\u003cp>A love for music started it all, but the friendship — a sisterhood — continues One Vo1ce’s journey in harmony.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow One Vo1ce on \u003ca href=\"https://www.instagram.com/ladiesofonevo1ce/\">Instagram\u003c/a> and \u003ca href=\"https://www.facebook.com/OneVo1ce/\">Facebook\u003c/a> for show announcements and music updates.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cadence Music Video Festival Hits the Big Screen in Oakland",
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"content": "\u003cp>Music videos were once shot on thousand-dollar cameras and edited over the course of weeks before premiering on MTV and BET. Nowadays, a kid can shoot and edit their own video between second and third period, upload a snippet to TikTok and become a viral celebrity before school is out. The game is different. Not any less artistic or less worthy of fanfare, but a lot has changed since the days of MTV’s \u003cem>Total Request Live\u003c/em> and BET’s \u003cem>Rap City\u003c/em>.\u003c/p>\n\u003cp>How cool would it be to break away from watching music videos on phones, and instead watch them on a humongous screen?\u003c/p>\n\u003cp>Enter \u003ca href=\"https://www.blinktone.com/film-festival\" target=\"_blank\" rel=\"noopener\">the Cadence Music Video Festival\u003c/a>. On Aug. 25 at the New Parkway in Oakland, artists, directors and producers from around the world will have the opportunity to show their music videos on the silver screen. \u003ca href=\"https://filmfreeway.com/CadenceMusicVideoFestival\" target=\"_blank\" rel=\"noopener\">Submissions for the festival\u003c/a> are open now through July 27, and the event is open to independent, grassroots projects and big-budget videos alike. (There’s a final, extended deadline of Aug. 17, but organizers recommend getting your work in early.)\u003c/p>\n\u003cfigure id=\"attachment_13961080\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13961080 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54%E2%80%AFPM-800x938.png\" alt=\"Filmmaker Sebastian Santiago on the job at a music video for Los Angeles rapper 03 Greedo. \" width=\"800\" height=\"938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54 PM-800x938.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54 PM-1020x1196.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54 PM-160x188.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54 PM-768x901.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54 PM.png 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Sebastian Santiago on the job at a music video for Los Angeles rapper 03 Greedo. \u003ccite>(Courtesy of Sebastian Santiago )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hosted by \u003ca href=\"https://www.instagram.com/thecleebrand/\" target=\"_blank\" rel=\"noopener\">CLee\u003c/a>, the event is organized by \u003ca href=\"https://www.blinktone.com/\" target=\"_blank\" rel=\"noopener\">BlinkTone Studios\u003c/a> co-owners \u003ca href=\"https://www.instagram.com/imxsebastian/\" target=\"_blank\" rel=\"noopener\">Sebastian Santiago\u003c/a> and \u003ca href=\"https://www.instagram.com/shotbyadamkg/\" target=\"_blank\" rel=\"noopener\">Adam Geiser. \u003c/a>They”ve directors behind videos for Bay Area artists ALLBLACK, 22nd Jim, Lil Bean and Zay Bang, as well as national artists like Babyface Ray, Sauce Walka and Money Man.\u003c/p>\n\u003cp>Twenty videos will be selected for the screening on Aug. 25. Of that bunch, there will be winners from five categories: Best Overall, Best Run and Gun, Best Production Video, Best Editing and Audience Choice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The winners will receive a trophy, as well as assorted filmmaking-related prizes from event sponsors \u003ca href=\"https://cinepacks.store/\" target=\"_blank\" rel=\"noopener\">CinePacks,\u003c/a> \u003ca href=\"https://www.instagram.com/p/C6PZ9ybSML7/?img_index=1\" target=\"_blank\" rel=\"noopener\">Hatch 86 Films\u003c/a> and more. [aside postid='arts_13960754']\u003c/p>\n\u003cp>While many folks’ aim is to get recognition, and maybe even win the festival, Santiago says his goal in creating this event is more about community. “This isn’t just to celebrate the directors,” says Santiago, “\u003cspan style=\"font-weight: 400\">but to bring people of different musical interests into one space.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Santiago says he’s \u003c/span>used to reading certain names in the credits for music videos, but he rarely gets to see these people in person. “Production is a group process, but it feels like a solo sport,” he says.\u003c/p>\n\u003cp>With that in mind, Santiago and company are intentionally bringing like-minded folks together. “This [festival] is for the artists in the videos, the camera crew, all of them,” says Santiago. “We thought this would be a great opportunity to celebrate them.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Cadence Music Video Festival takes place on Aug. 25 at the New Parkway in Oakland and will be livestreamed. \u003ca href=\"https://www.blinktone.com/film-festival\">Submission information and event details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music videos were once shot on thousand-dollar cameras and edited over the course of weeks before premiering on MTV and BET. Nowadays, a kid can shoot and edit their own video between second and third period, upload a snippet to TikTok and become a viral celebrity before school is out. The game is different. Not any less artistic or less worthy of fanfare, but a lot has changed since the days of MTV’s \u003cem>Total Request Live\u003c/em> and BET’s \u003cem>Rap City\u003c/em>.\u003c/p>\n\u003cp>How cool would it be to break away from watching music videos on phones, and instead watch them on a humongous screen?\u003c/p>\n\u003cp>Enter \u003ca href=\"https://www.blinktone.com/film-festival\" target=\"_blank\" rel=\"noopener\">the Cadence Music Video Festival\u003c/a>. On Aug. 25 at the New Parkway in Oakland, artists, directors and producers from around the world will have the opportunity to show their music videos on the silver screen. \u003ca href=\"https://filmfreeway.com/CadenceMusicVideoFestival\" target=\"_blank\" rel=\"noopener\">Submissions for the festival\u003c/a> are open now through July 27, and the event is open to independent, grassroots projects and big-budget videos alike. (There’s a final, extended deadline of Aug. 17, but organizers recommend getting your work in early.)\u003c/p>\n\u003cfigure id=\"attachment_13961080\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13961080 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54%E2%80%AFPM-800x938.png\" alt=\"Filmmaker Sebastian Santiago on the job at a music video for Los Angeles rapper 03 Greedo. \" width=\"800\" height=\"938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54 PM-800x938.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54 PM-1020x1196.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54 PM-160x188.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54 PM-768x901.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-11-at-5.56.54 PM.png 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Sebastian Santiago on the job at a music video for Los Angeles rapper 03 Greedo. \u003ccite>(Courtesy of Sebastian Santiago )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hosted by \u003ca href=\"https://www.instagram.com/thecleebrand/\" target=\"_blank\" rel=\"noopener\">CLee\u003c/a>, the event is organized by \u003ca href=\"https://www.blinktone.com/\" target=\"_blank\" rel=\"noopener\">BlinkTone Studios\u003c/a> co-owners \u003ca href=\"https://www.instagram.com/imxsebastian/\" target=\"_blank\" rel=\"noopener\">Sebastian Santiago\u003c/a> and \u003ca href=\"https://www.instagram.com/shotbyadamkg/\" target=\"_blank\" rel=\"noopener\">Adam Geiser. \u003c/a>They”ve directors behind videos for Bay Area artists ALLBLACK, 22nd Jim, Lil Bean and Zay Bang, as well as national artists like Babyface Ray, Sauce Walka and Money Man.\u003c/p>\n\u003cp>Twenty videos will be selected for the screening on Aug. 25. Of that bunch, there will be winners from five categories: Best Overall, Best Run and Gun, Best Production Video, Best Editing and Audience Choice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The winners will receive a trophy, as well as assorted filmmaking-related prizes from event sponsors \u003ca href=\"https://cinepacks.store/\" target=\"_blank\" rel=\"noopener\">CinePacks,\u003c/a> \u003ca href=\"https://www.instagram.com/p/C6PZ9ybSML7/?img_index=1\" target=\"_blank\" rel=\"noopener\">Hatch 86 Films\u003c/a> and more. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While many folks’ aim is to get recognition, and maybe even win the festival, Santiago says his goal in creating this event is more about community. “This isn’t just to celebrate the directors,” says Santiago, “\u003cspan style=\"font-weight: 400\">but to bring people of different musical interests into one space.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Santiago says he’s \u003c/span>used to reading certain names in the credits for music videos, but he rarely gets to see these people in person. “Production is a group process, but it feels like a solo sport,” he says.\u003c/p>\n\u003cp>With that in mind, Santiago and company are intentionally bringing like-minded folks together. “This [festival] is for the artists in the videos, the camera crew, all of them,” says Santiago. “We thought this would be a great opportunity to celebrate them.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Cadence Music Video Festival takes place on Aug. 25 at the New Parkway in Oakland and will be livestreamed. \u003ca href=\"https://www.blinktone.com/film-festival\">Submission information and event details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Review: Festival Napa Valley Opens With a Recital Among the Vineyards",
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"content": "\u003cp>On Friday evening, in a mercifully shaded meadow at Charles Krug Winery in St. Helena, the South African soprano Pretty Yende was finishing the final notes of “É Strano,” from \u003cem>La traviata\u003c/em>. If you know the aria, you know its demanding final runs and challenging final notes. And, if you were present on Friday, you also know that Yende \u003cem>nailed\u003c/em> it, immediately winning over the crowd and sparking the first standing ovation of the night. \u003c/p>\n\u003cp>Such world-class talent in a casual, accessible environment is what Festival Napa Valley, now in its 19th year, seems to do best. \u003c/p>\n\u003cp>For this reviewer, it was also a welcome contrast. The \u003ca href=\"https://bohemian.com/festival-del-sole-joshua-bell-at-castello-di-amorosa/\">last time I’d visited the festival\u003c/a> was for a handful of high-ticket concerts at Castello di Amorosa, the ornate $42 million castle north of St. Helena, with Reneé Fleming and Joshua Bell. Friday’s opening night performance, meanwhile, took place in a grassy field with food trucks, and general admission tickets were just $35. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worth just about any ticket price was Yende, whose timbre and control of dynamics is matched only by her ability to inhabit a song’s lyrics and convey its emotional weight. In a lavish white and purple floral gown, she opened Friday’s set with a stunning “Regnava nel silenzio” from \u003cem>Lucia di Lammermoor\u003c/em> and kept the quality high throughout. (Personal highlight: her “O mio babbino caro,” from \u003cem>Gianni Schicchi\u003c/em>.)\u003c/p>\n\u003cp>The Chilean-born tenor Jonathan Tetelman, more outwardly theatrical, routinely gestured with his hands to rizz up the crowd with a round, confident tone. In duets with Yende, this made for incredible chemistry between the two. I couldn’t have been the only one that anticipated, as they drew near at several points, that they’d actually kiss each other. \u003c/p>\n\u003cfigure id=\"attachment_13961161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tenor Jonathan Tetelman sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before its thrilling finale, Tetelman led a sing-along during “Nessun dorma” from \u003cem>Turandot\u003c/em>, in keeping with the casual, fun ambiance. (Earlier, he’d appeared off-stage, and off-mic, singing in the grass.) A series of duets brought the night to a close just as the sun dipped behind the hills, capping a day that had earlier reached a high of 104 degrees. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opening the evening was a world premiere by Yang Bao, the New York-based composer. With the thirtysomething Bao at the piano, and with animated conductor Carlo Montanaro leading Festival Orchestra Napa, \u003cem>Sol\u003c/em> introduced simple chord progressions while layers of melodies cyclically stacked on top of each other. With arpeggios galore and commercial appeal, \u003cem>Sol\u003c/em> felt like a film soundtrack, perhaps for a scene where two lovers separate — and then one, seized with guilt over what could have been, races through crowds of people to reunite and make amends. \u003c/p>\n\u003cfigure id=\"attachment_13961163\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Composer and pianist Yang Bao and conductor Carlo Montanaro premiere Bao’s ‘Sol’ with the Festival Orchestra Napa at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its conclusion, Maria Manetti Shrem approached the stage to offer Bao her appreciation; minutes later, she was onstage presenting Yende and Tetelman with the 2024 Manetti Shrem Opera Prize. Manetti Shrem, a donor to institutions including KQED, was not the only high-profile philanthropist at the performance: shortly afterward, festival cofounder Charles Letourneau pointed out Gordon Getty, sitting in the ninth row. (Getty, who like Manetti Shrem is a major donor to the festival, appears as a \u003ca href=\"https://festivalnapavalley.org/calendar/book-launch-gordon-gettys-upon-a-day/\">poet\u003c/a> and a \u003ca href=\"https://festivalnapavalley.org/calendar/vocal-fantastique-opera-and-chorale/\">composer\u003c/a> in this year’s schedule.)\u003c/p>\n\u003cp>And yet I felt that, had I arrived in cutoffs, sneakers and a T-shirt, I wouldn’t be out of place. This commingling between the two worlds – a bridge, even? – continues with upscale \u003ca href=\"https://festivalnapavalley.org/calendar/patron-dinner-at-castello-di-amorosa1/\">patron events at Castello di Amorosa\u003c/a> alongside \u003ca href=\"https://festivalnapavalley.org/calendar/?categoryid=2DC9B35E-F44E-8DBB-38C14CD147B9B950\">numerous free performances\u003c/a>, \u003ca href=\"https://festivalnapavalley.org/calendar/novack-concert-for-kids-daniela-liebman/\">concerts for young people\u003c/a> and an inexpensive \u003ca href=\"https://festivalnapavalley.org/about-us/past-events-listing/films-of-sophia-loren-0709/\">Sophia Loren film series\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13961160\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Friday’s performance, cofounder Richard Walker quipped that before a name change, when the festival used to be called Festival del Sole, “People thought we were a fish festival.” But I’ve actually been to \u003ca href=\"https://www.bbfishfest.org/\">a fish festival\u003c/a>, and on Friday, you know what? The vibes, as they say, weren’t too far off.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Festival Napa Valley continues through Sunday, July 21, at various venues around Napa County. \u003ca href=\"https://festivalnapavalley.org/attend/upcoming-events/\">Full festival schedule and information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Soprano Pretty Yende, tenor Jonathan Tetelman and composer Yang Bao opened the festival in a remarkably casual, accessible setting. ",
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"title": "Review: Festival Napa Valley Opens With a Recital Among the Vineyards | KQED",
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"headline": "Review: Festival Napa Valley Opens With a Recital Among the Vineyards",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday evening, in a mercifully shaded meadow at Charles Krug Winery in St. Helena, the South African soprano Pretty Yende was finishing the final notes of “É Strano,” from \u003cem>La traviata\u003c/em>. If you know the aria, you know its demanding final runs and challenging final notes. And, if you were present on Friday, you also know that Yende \u003cem>nailed\u003c/em> it, immediately winning over the crowd and sparking the first standing ovation of the night. \u003c/p>\n\u003cp>Such world-class talent in a casual, accessible environment is what Festival Napa Valley, now in its 19th year, seems to do best. \u003c/p>\n\u003cp>For this reviewer, it was also a welcome contrast. The \u003ca href=\"https://bohemian.com/festival-del-sole-joshua-bell-at-castello-di-amorosa/\">last time I’d visited the festival\u003c/a> was for a handful of high-ticket concerts at Castello di Amorosa, the ornate $42 million castle north of St. Helena, with Reneé Fleming and Joshua Bell. Friday’s opening night performance, meanwhile, took place in a grassy field with food trucks, and general admission tickets were just $35. \u003c/p>\n\u003cfigure id=\"attachment_13961162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9400-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worth just about any ticket price was Yende, whose timbre and control of dynamics is matched only by her ability to inhabit a song’s lyrics and convey its emotional weight. In a lavish white and purple floral gown, she opened Friday’s set with a stunning “Regnava nel silenzio” from \u003cem>Lucia di Lammermoor\u003c/em> and kept the quality high throughout. (Personal highlight: her “O mio babbino caro,” from \u003cem>Gianni Schicchi\u003c/em>.)\u003c/p>\n\u003cp>The Chilean-born tenor Jonathan Tetelman, more outwardly theatrical, routinely gestured with his hands to rizz up the crowd with a round, confident tone. In duets with Yende, this made for incredible chemistry between the two. I couldn’t have been the only one that anticipated, as they drew near at several points, that they’d actually kiss each other. \u003c/p>\n\u003cfigure id=\"attachment_13961161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9239-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tenor Jonathan Tetelman sings at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before its thrilling finale, Tetelman led a sing-along during “Nessun dorma” from \u003cem>Turandot\u003c/em>, in keeping with the casual, fun ambiance. (Earlier, he’d appeared off-stage, and off-mic, singing in the grass.) A series of duets brought the night to a close just as the sun dipped behind the hills, capping a day that had earlier reached a high of 104 degrees. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opening the evening was a world premiere by Yang Bao, the New York-based composer. With the thirtysomething Bao at the piano, and with animated conductor Carlo Montanaro leading Festival Orchestra Napa, \u003cem>Sol\u003c/em> introduced simple chord progressions while layers of melodies cyclically stacked on top of each other. With arpeggios galore and commercial appeal, \u003cem>Sol\u003c/em> felt like a film soundtrack, perhaps for a scene where two lovers separate — and then one, seized with guilt over what could have been, races through crowds of people to reunite and make amends. \u003c/p>\n\u003cfigure id=\"attachment_13961163\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9019-fnv-opening-240712-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Composer and pianist Yang Bao and conductor Carlo Montanaro premiere Bao’s ‘Sol’ with the Festival Orchestra Napa at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At its conclusion, Maria Manetti Shrem approached the stage to offer Bao her appreciation; minutes later, she was onstage presenting Yende and Tetelman with the 2024 Manetti Shrem Opera Prize. Manetti Shrem, a donor to institutions including KQED, was not the only high-profile philanthropist at the performance: shortly afterward, festival cofounder Charles Letourneau pointed out Gordon Getty, sitting in the ninth row. (Getty, who like Manetti Shrem is a major donor to the festival, appears as a \u003ca href=\"https://festivalnapavalley.org/calendar/book-launch-gordon-gettys-upon-a-day/\">poet\u003c/a> and a \u003ca href=\"https://festivalnapavalley.org/calendar/vocal-fantastique-opera-and-chorale/\">composer\u003c/a> in this year’s schedule.)\u003c/p>\n\u003cp>And yet I felt that, had I arrived in cutoffs, sneakers and a T-shirt, I wouldn’t be out of place. This commingling between the two worlds – a bridge, even? – continues with upscale \u003ca href=\"https://festivalnapavalley.org/calendar/patron-dinner-at-castello-di-amorosa1/\">patron events at Castello di Amorosa\u003c/a> alongside \u003ca href=\"https://festivalnapavalley.org/calendar/?categoryid=2DC9B35E-F44E-8DBB-38C14CD147B9B950\">numerous free performances\u003c/a>, \u003ca href=\"https://festivalnapavalley.org/calendar/novack-concert-for-kids-daniela-liebman/\">concerts for young people\u003c/a> and an inexpensive \u003ca href=\"https://festivalnapavalley.org/about-us/past-events-listing/films-of-sophia-loren-0709/\">Sophia Loren film series\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13961160\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13961160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9065-fnv-opening-240712-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pretty Yende at Charles Krug Winery in St. Helena for the opening night of Festival Napa Valley, July 12, 2024. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Friday’s performance, cofounder Richard Walker quipped that before a name change, when the festival used to be called Festival del Sole, “People thought we were a fish festival.” But I’ve actually been to \u003ca href=\"https://www.bbfishfest.org/\">a fish festival\u003c/a>, and on Friday, you know what? The vibes, as they say, weren’t too far off.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Festival Napa Valley continues through Sunday, July 21, at various venues around Napa County. \u003ca href=\"https://festivalnapavalley.org/attend/upcoming-events/\">Full festival schedule and information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Born in Colombia and embraced across Latin America, cumbia is the friendliest of African diaspora dance rhythms. It’s infinitely malleable \u003cspan style=\"font-weight: 400\">—\u003c/span> suitable for novice and expert dancers alike \u003cspan style=\"font-weight: 400\">— \u003c/span>and has adapted to local conditions wherever it has landed, from the Andean heights of Peru and Mexico’s Oaxaca Valley to the glittering nightclubs of Los Angeles.\u003c/p>\n\u003cp>It’s a foundational groove at Latin music events across the Bay Area. On July 21, Stanford Live presents \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Cumbia!@Frost\u003c/a>, a triple bill that cogently illustrates why the multifarious form is once again in the midst of a popular resurgence.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4PSMrMHLjf4\u003c/p>\n\u003cp>Joining Colombian standard-bearers Vilma Diaz y La Sonora is the Los Angeles electronica-laced band El Feeling, plus Mission District rising star La Doña and DJ Wonway Posibul. The event is designed “to highlight cumbia from different angles,” says Bogotá-born Albert Montanez, who is the Stanford Live producer of artistic programs.\u003c/p>\n\u003cp>A confluence of African, Spanish and Indigenous influences, cumbia was a folkloric dance on Colombia’s Atlantic coast for centuries before emerging as a pervasive form of popular music in the 1950s. While Afro-Cuban and Nuyorican salsa eclipsed cumbia in the 1970s, particularly at home in Colombia, various iterations of the style continued to thrive around Latin America, where its easily danceable \u003cem>chu-chucu-chu \u003c/em>groove made it ideal for multigenerational celebrations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X_FZE8vblJE\u003c/p>\n\u003cp>Shakira helped spark a resurgence with her chart-topping 2006 cumbia-meets-salsa hit “Hips Don’t Lie,” which she performed at the closing of the World Cup, complete with a “video showing what cumbia looks like in the streets of Colombia,” Montanez says. “Now you have all these incredible artists, many Colombian, playing these variations of cumbia, with \u003ca href=\"https://www.youtube.com/watch?v=VBcs8DZxBGc\">Karol G’s hip-hop cumbia\u003c/a> and \u003ca href=\"https://youtu.be/H6SZuAcqeW8?si=iQgd64MiheRfQbeD\">Bomba Estéreo’s psychedelic cumbia\u003c/a>.”\u003c/p>\n\u003cp>Vilma Diaz y La Sonora is a “classic, iconic ensemble that put cumbia on the international map,” Montanez says. “This is a reinterpretation of the original group from the early ’60s,” led by Medellín-reared Diaz, who trained as a nurse before she started performing with the group in the late ’80s. She’s fronted the band intermittently for decades, compiling a catalog of hits such as “\u003ca href=\"https://youtu.be/auG2pj0Mssw?si=rfv3USX0lTyyMGfA\">El Desamor\u003c/a>,” “\u003ca href=\"https://youtu.be/x3bp4FpBiIc?si=0vOx5p4PsO63rT_u\">Ya Para Qué\u003c/a>” and “\u003ca href=\"https://youtu.be/Uj4Rude1ru4?si=pkKpEl6khXJleOkO\">Escándalo\u003c/a>.”\u003c/p>\n\u003cp>One reason for La Sonora’s enduring popularity is the group pays attention to what its fans want to hear, “like a song we did 31 years ago that had rap, but now that segment is reggaetón,” says Diaz, speaking in Spanish, during a recent phone conversation from Los Angeles, the band’s co-home base along with Medellín. “We adapt to what’s current. Reggaeton, rock, hip-hop, rock en español, even one flamenco. The rhythm hasn’t changed. The essence is recognizable.” [aside postid='arts_13900272']\u003c/p>\n\u003cp>El Feeling is a recent addition to the teeming LA cumbia scene, artfully deploying sampling and electronic instruments. And La Doña, who recently announced the Sept. 6 release date of her new album, \u003cem>Los Altos De La Soledad\u003c/em>, has played cumbia since she was a kid performing with her family’s band, \u003ca href=\"https://youtu.be/lg3yPyfEwOo?si=AVvRjwgo1sbMcBNA\">La Familia Peña-Govea\u003c/a>. Mexican cumbia is one of many threads she weaves into her original music these days, which also draws on corridos, bolero, hyphy, son jarocho and reggaeton.\u003c/p>\n\u003cp>If the Bay Area has a cumbia center, it’s Oakland, where the \u003ca href=\"https://www.visitoakland.com/event/cumbia-en-la-fruitvale/32723/\">Cumbia en La Fruitvale\u003c/a> series continues on July 20. Oakland’s seven-piece psychedelic cumbia band Ritmos Tropicosmos represents a new generation picking up the mantle. They celebrate the release of their debut album \u003cem>La Vida es Pa’ Vivir\u003c/em> at the \u003ca href=\"https://www.instagram.com/p/C9QFCrfPrj8/\">Ivy Room July 27\u003c/a> with LA vallenato-cumbia band Very Be Careful.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pxs1uvPVqzs\u003c/p>\n\u003cp>That generational dynamic is a major factor in cumbia’s staying power. Young musicians might not set out to play it, but they find their way to cumbia. That’s what happened to Oaxacan-American guitarist and accordionist Marco Polo Santiago, who founded La Misa Negra in Oakland about 15 years ago.\u003c/p>\n\u003cp>“Southern Mexico is a hotspot for cumbia, and I was indoctrinated into it as a kid, though growing up in LA I got into hip-hop and metal,” he says. “I rediscovered cumbia when I was much older listening to the music my parents listened to and finding out its Colombian roots, which led to creating La Misa Negra, a throwback to that Colombian big-band sound.” [aside postid='arts_13961014']\u003c/p>\n\u003cp>“The thing about cumbia is that it’s super popular in the way no other Latin American genre is,” he adds. “So many different countries have their own version or adopt bands from other countries.”\u003c/p>\n\u003cp>For Montanez, Cumbia!@Frost is all about bringing cumbia into the foreground. Vilma Diaz y La Sonora perform regularly around the Bay Area, but many of the shows aren’t well publicized. If you’re not already in the know, you’ll probably miss them. Stanford Live is using the music to reach out to “Latino communities throughout the Bay Area, from Santa Cruz to San Francisco,” he says, including community partners in East Palo Alto.\u003c/p>\n\u003cp>“We have a dance workshop and cumbia class before the music,” he continues. “This is the first time Stanford Live and Stanford is producing an event like this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cumbia!@Frost takes place at Stanford University’s Frost Amphitheater on July 21 at 5 pm. \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Tickets start at $40; details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Born in Colombia and embraced across Latin America, cumbia is the friendliest of African diaspora dance rhythms. It’s infinitely malleable \u003cspan style=\"font-weight: 400\">—\u003c/span> suitable for novice and expert dancers alike \u003cspan style=\"font-weight: 400\">— \u003c/span>and has adapted to local conditions wherever it has landed, from the Andean heights of Peru and Mexico’s Oaxaca Valley to the glittering nightclubs of Los Angeles.\u003c/p>\n\u003cp>It’s a foundational groove at Latin music events across the Bay Area. On July 21, Stanford Live presents \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Cumbia!@Frost\u003c/a>, a triple bill that cogently illustrates why the multifarious form is once again in the midst of a popular resurgence.\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/4PSMrMHLjf4'\n title='//www.youtube.com/embed/4PSMrMHLjf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Joining Colombian standard-bearers Vilma Diaz y La Sonora is the Los Angeles electronica-laced band El Feeling, plus Mission District rising star La Doña and DJ Wonway Posibul. The event is designed “to highlight cumbia from different angles,” says Bogotá-born Albert Montanez, who is the Stanford Live producer of artistic programs.\u003c/p>\n\u003cp>A confluence of African, Spanish and Indigenous influences, cumbia was a folkloric dance on Colombia’s Atlantic coast for centuries before emerging as a pervasive form of popular music in the 1950s. While Afro-Cuban and Nuyorican salsa eclipsed cumbia in the 1970s, particularly at home in Colombia, various iterations of the style continued to thrive around Latin America, where its easily danceable \u003cem>chu-chucu-chu \u003c/em>groove made it ideal for multigenerational celebrations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/X_FZE8vblJE'\n title='//www.youtube.com/embed/X_FZE8vblJE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shakira helped spark a resurgence with her chart-topping 2006 cumbia-meets-salsa hit “Hips Don’t Lie,” which she performed at the closing of the World Cup, complete with a “video showing what cumbia looks like in the streets of Colombia,” Montanez says. “Now you have all these incredible artists, many Colombian, playing these variations of cumbia, with \u003ca href=\"https://www.youtube.com/watch?v=VBcs8DZxBGc\">Karol G’s hip-hop cumbia\u003c/a> and \u003ca href=\"https://youtu.be/H6SZuAcqeW8?si=iQgd64MiheRfQbeD\">Bomba Estéreo’s psychedelic cumbia\u003c/a>.”\u003c/p>\n\u003cp>Vilma Diaz y La Sonora is a “classic, iconic ensemble that put cumbia on the international map,” Montanez says. “This is a reinterpretation of the original group from the early ’60s,” led by Medellín-reared Diaz, who trained as a nurse before she started performing with the group in the late ’80s. She’s fronted the band intermittently for decades, compiling a catalog of hits such as “\u003ca href=\"https://youtu.be/auG2pj0Mssw?si=rfv3USX0lTyyMGfA\">El Desamor\u003c/a>,” “\u003ca href=\"https://youtu.be/x3bp4FpBiIc?si=0vOx5p4PsO63rT_u\">Ya Para Qué\u003c/a>” and “\u003ca href=\"https://youtu.be/Uj4Rude1ru4?si=pkKpEl6khXJleOkO\">Escándalo\u003c/a>.”\u003c/p>\n\u003cp>One reason for La Sonora’s enduring popularity is the group pays attention to what its fans want to hear, “like a song we did 31 years ago that had rap, but now that segment is reggaetón,” says Diaz, speaking in Spanish, during a recent phone conversation from Los Angeles, the band’s co-home base along with Medellín. “We adapt to what’s current. Reggaeton, rock, hip-hop, rock en español, even one flamenco. The rhythm hasn’t changed. The essence is recognizable.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>El Feeling is a recent addition to the teeming LA cumbia scene, artfully deploying sampling and electronic instruments. And La Doña, who recently announced the Sept. 6 release date of her new album, \u003cem>Los Altos De La Soledad\u003c/em>, has played cumbia since she was a kid performing with her family’s band, \u003ca href=\"https://youtu.be/lg3yPyfEwOo?si=AVvRjwgo1sbMcBNA\">La Familia Peña-Govea\u003c/a>. Mexican cumbia is one of many threads she weaves into her original music these days, which also draws on corridos, bolero, hyphy, son jarocho and reggaeton.\u003c/p>\n\u003cp>If the Bay Area has a cumbia center, it’s Oakland, where the \u003ca href=\"https://www.visitoakland.com/event/cumbia-en-la-fruitvale/32723/\">Cumbia en La Fruitvale\u003c/a> series continues on July 20. Oakland’s seven-piece psychedelic cumbia band Ritmos Tropicosmos represents a new generation picking up the mantle. They celebrate the release of their debut album \u003cem>La Vida es Pa’ Vivir\u003c/em> at the \u003ca href=\"https://www.instagram.com/p/C9QFCrfPrj8/\">Ivy Room July 27\u003c/a> with LA vallenato-cumbia band Very Be Careful.\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/pxs1uvPVqzs'\n title='//www.youtube.com/embed/pxs1uvPVqzs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That generational dynamic is a major factor in cumbia’s staying power. Young musicians might not set out to play it, but they find their way to cumbia. That’s what happened to Oaxacan-American guitarist and accordionist Marco Polo Santiago, who founded La Misa Negra in Oakland about 15 years ago.\u003c/p>\n\u003cp>“Southern Mexico is a hotspot for cumbia, and I was indoctrinated into it as a kid, though growing up in LA I got into hip-hop and metal,” he says. “I rediscovered cumbia when I was much older listening to the music my parents listened to and finding out its Colombian roots, which led to creating La Misa Negra, a throwback to that Colombian big-band sound.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The thing about cumbia is that it’s super popular in the way no other Latin American genre is,” he adds. “So many different countries have their own version or adopt bands from other countries.”\u003c/p>\n\u003cp>For Montanez, Cumbia!@Frost is all about bringing cumbia into the foreground. Vilma Diaz y La Sonora perform regularly around the Bay Area, but many of the shows aren’t well publicized. If you’re not already in the know, you’ll probably miss them. Stanford Live is using the music to reach out to “Latino communities throughout the Bay Area, from Santa Cruz to San Francisco,” he says, including community partners in East Palo Alto.\u003c/p>\n\u003cp>“We have a dance workshop and cumbia class before the music,” he continues. “This is the first time Stanford Live and Stanford is producing an event like this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cumbia!@Frost takes place at Stanford University’s Frost Amphitheater on July 21 at 5 pm. \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Tickets start at $40; details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tall Tee’s Sun-Drenched Summer Funk",
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"content": "\u003cp>Years before they released an album, the Bay Area funk duo \u003ca href=\"https://www.instagram.com/tallteesound\">Tall Tee\u003c/a> began building their fan base off the strength of friendship. Not only does their laidback camaraderie translate easily on stage, but the two members, \u003ca href=\"https://www.instagram.com/joogmac/\">Joog Mac\u003c/a> and \u003ca href=\"https://www.instagram.com/flexone/\">Flex One\u003c/a>, keep their hands in countless creative communities and hustles. For Joog, it’s his genre-spanning DJ collective \u003ca href=\"https://www.instagram.com/joogmac/\">Bussdown\u003c/a>, comfort food pop-up \u003ca href=\"https://www.instagram.com/that_smax/\">SMAX\u003c/a>, and work in the \u003ca href=\"https://www.kqed.org/arts/13923081/purity-wine-richmond-new-years-eve-party-inclusive-natural-winery\">natural wine industry\u003c/a>. For Flex, it’s videography, photography and even muay Thai.\u003c/p>\n\u003cp>Folks from all of these scenes show up when Tall Tee rocks a show. And whether they’re collaborating or pursuing solo ventures, Flex and Joog support each other completely. But that wasn’t necessarily the case when the two first met as San Francisco State University students over a decade ago, when they opened for underground hip-hop legends Zion I as two separate rap acts.\u003c/p>\n\u003cp>https://youtu.be/iW_1yQsyTq8?si=e0SGpnEI2qu3h3N4\u003c/p>\n\u003cp>“I saw what I thought was going to be my rival,” jokingly admits Flex, who was born and raised in San Francisco. “[But he] actually had similar interests, and we were in the same [broadcasting] program.”\u003c/p>\n\u003cp>The two eventually began working on music together, and after years of growing their hype through shows at venues like Oakland hotspot Crybaby, Tall Tee has officially arrived with their debut album \u003ci>Talk to Me\u003c/i>. Released in June, it’s full of feel-good, two-stepping boogie tracks prime for summer pool parties and barbecues. Over fat bass and wiggly synths with a booty-shaking groove, Flex and Joog tag-team singing and rapping, with dynamic flows and unpretentious lyrics that are as fun as they are cheeky. (It’s hard not to sing along, grinning, to lead single “So Fly,” where Joog rhymes “stick-ay ick-ay” with “freak-ay zeak-ay.”)\u003c/p>\n\u003cfigure id=\"attachment_13959342\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander “Flex” Lim (left) and Jon “Joog” Macapinlac sit at their studio in Oakland on June 5, 2024, from the funk band Tall Tee. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tall Tee taps into a deep Bay Area legacy of funk that began in the ’70s with Sly and the Family Stone, who hailed from Joog’s hometown of Vallejo. During the same era in San Francisco, Flex’s uncles formed the barrier-breaking Filipino-led funk, rock and soul band \u003ca href=\"https://www.kqed.org/arts/13926503/dakila-guerssen-records-asian-american-filipino-rock-history-san-francisco\">Dakila\u003c/a>, one of the first U.S. bands to sing in Tagalog.\u003c/p>\n\u003cp>It’s not lost on Tall Tee that funk also forms the backbone of the West Coast hip-hop they grew up on. “I was a student of \u003ca href=\"https://www.daveyd.com/whoisdaveyd.html\">Davey D\u003c/a>’s at SF State, and he really made you aware that in the East [Coast] they had DJ crews, but here everyone had a funk band in their garage,” says Flex, referencing the renowned local radio host and hip-hop scholar. “So I really try to pay homage and bring that same energy.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2436567542/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The boogie style that makes up Tall Tee’s sound emerged in the early ’80s, when funk musicians embraced the sleek, digitized sounds of emerging synthesizer technologies, and blended funk with disco. As influences, Flex and Joog cite \u003ca href=\"https://youtu.be/zSOUNeiTkiE?si=bqqSRPb5WfG3-2FC\">Kashif\u003c/a>, a hitmaker who penned Evelyn Champagne King’s “\u003ca href=\"https://youtu.be/p9f_4F-GZgY?si=NpHjjRS94wkH2AZ8\">I’m in Love\u003c/a>”; R&B great \u003ca href=\"https://youtu.be/jtMHsNhQBvI?si=xhIe3BlAzNkjWSa2\">Patrice Rushen\u003c/a>; and Cameo, the flamboyant, leather-clad band of “\u003ca href=\"https://youtu.be/sn8KYD1Vco0?si=bws-0UHGEr6N_fpg\">Candy\u003c/a>” fame. [aside postid='arts_13960094,arts_13926503,arts_13923978']\u003c/p>\n\u003cp>Once deemed cheesy and uncool (namely because of the \u003ca href=\"https://www.bbc.com/culture/article/20230922-the-night-angry-rock-fans-destroyed-disco-music\">racist and homophobic backlash\u003c/a> against disco), boogie experienced a revival over the past decade thanks to crate-digging DJs who recontextualized the genre and showed the world that it actually slaps. (And it’s not just for record collectors \u003cspan style=\"font-weight: 400\">—\u003c/span> you can now turn on your radio and hear \u003ca href=\"https://slate.com/culture/2024/06/sabrina-carpenter-espresso-song-summer-boogie-post-disco.html\">a boogie bassline\u003c/a> in Sabrina Carpenter’s massive hit “Espresso.”)\u003c/p>\n\u003cp>Locally, the chief architects of its resurgence are the crew behind the\u003ca href=\"https://www.kqed.org/arts/13837743/how-sweater-funk-djs-revived-boogie-a-once-uncool-sound\"> long-running party Sweater Funk\u003c/a>. After SF State, Joog and Flex became Sweater Funk regulars, and the all-vinyl dive bar dance party led Joog and Flex to \u003ca href=\"https://www.instagram.com/elive_beats/\">E. Live\u003c/a>, the producer of \u003ci>Talk to Me\u003c/i>. Their collaboration began in 2017, when Joog rapped over an instrumental E. Live posted online; after hearing his verse, E. Live invited Joog to one of his shows.\u003c/p>\n\u003cp>At the show, “when I met him, he was already playing. And then, like, in the middle of his set, he just handed me the mic and we did the song I recorded over,” Joog recalls. “My homies were actually smoking outside, and they were like, ‘Oh shit, is that Joog inside on the mic?’”\u003c/p>\n\u003cfigure id=\"attachment_13959345\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander “Flex” Lim and Jon “Joog” Macapinlac work with Deshawn Guilloux and Jarin Tindall, aka OG Jarin, at OG Jarin’s studio in Oakland on June 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The impromptu collab paved the way for the 10 groove-laden, cruise-with-the-windows-down tracks that make up \u003ci>Talk to Me\u003c/i>. Up next, Tall Tee will perform at 7th West on Aug. 3 for the party DAMoakland, and they’ll join E. Live on stage at The Independent on Aug. 16, opening for fellow funk revivalists Planet Booty. The duo is also self-funding an independent vinyl release of \u003ci>Talk to Me\u003c/i>, and working on a release party where they’ll perform with a full band, followed by a fall mini-tour in Japan. [ad fullwidth]\u003c/p>\n\u003cp>“We’ve garnered a lot of support through friends and through doing shows and performing, just through face to face and word of mouth for a long time,” says Joog. “This album was our first effort to make it very official.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Tall Tee performs on \u003ca href=\"https://www.eventbrite.com/e/damoakland-7th-west-tickets-919796585347\">Saturday, Aug. 3, as part of DAMoakland at 7th West in Oakland\u003c/a>; and with E. Live on \u003ca href=\"https://apeconcerts.com/events/planet-booty-240816/\">Friday, Aug. 16, at The Independent in San Francisco\u003c/a>. Follow \u003ca href=\"https://www.instagram.com/tallteesound/\">Tall Tee on Instagram\u003c/a> for show announcements and updates. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Years before they released an album, the Bay Area funk duo \u003ca href=\"https://www.instagram.com/tallteesound\">Tall Tee\u003c/a> began building their fan base off the strength of friendship. Not only does their laidback camaraderie translate easily on stage, but the two members, \u003ca href=\"https://www.instagram.com/joogmac/\">Joog Mac\u003c/a> and \u003ca href=\"https://www.instagram.com/flexone/\">Flex One\u003c/a>, keep their hands in countless creative communities and hustles. For Joog, it’s his genre-spanning DJ collective \u003ca href=\"https://www.instagram.com/joogmac/\">Bussdown\u003c/a>, comfort food pop-up \u003ca href=\"https://www.instagram.com/that_smax/\">SMAX\u003c/a>, and work in the \u003ca href=\"https://www.kqed.org/arts/13923081/purity-wine-richmond-new-years-eve-party-inclusive-natural-winery\">natural wine industry\u003c/a>. For Flex, it’s videography, photography and even muay Thai.\u003c/p>\n\u003cp>Folks from all of these scenes show up when Tall Tee rocks a show. And whether they’re collaborating or pursuing solo ventures, Flex and Joog support each other completely. But that wasn’t necessarily the case when the two first met as San Francisco State University students over a decade ago, when they opened for underground hip-hop legends Zion I as two separate rap acts.\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/iW_1yQsyTq8'\n title='//www.youtube.com/embed/iW_1yQsyTq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I saw what I thought was going to be my rival,” jokingly admits Flex, who was born and raised in San Francisco. “[But he] actually had similar interests, and we were in the same [broadcasting] program.”\u003c/p>\n\u003cp>The two eventually began working on music together, and after years of growing their hype through shows at venues like Oakland hotspot Crybaby, Tall Tee has officially arrived with their debut album \u003ci>Talk to Me\u003c/i>. Released in June, it’s full of feel-good, two-stepping boogie tracks prime for summer pool parties and barbecues. Over fat bass and wiggly synths with a booty-shaking groove, Flex and Joog tag-team singing and rapping, with dynamic flows and unpretentious lyrics that are as fun as they are cheeky. (It’s hard not to sing along, grinning, to lead single “So Fly,” where Joog rhymes “stick-ay ick-ay” with “freak-ay zeak-ay.”)\u003c/p>\n\u003cfigure id=\"attachment_13959342\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander “Flex” Lim (left) and Jon “Joog” Macapinlac sit at their studio in Oakland on June 5, 2024, from the funk band Tall Tee. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tall Tee taps into a deep Bay Area legacy of funk that began in the ’70s with Sly and the Family Stone, who hailed from Joog’s hometown of Vallejo. During the same era in San Francisco, Flex’s uncles formed the barrier-breaking Filipino-led funk, rock and soul band \u003ca href=\"https://www.kqed.org/arts/13926503/dakila-guerssen-records-asian-american-filipino-rock-history-san-francisco\">Dakila\u003c/a>, one of the first U.S. bands to sing in Tagalog.\u003c/p>\n\u003cp>It’s not lost on Tall Tee that funk also forms the backbone of the West Coast hip-hop they grew up on. “I was a student of \u003ca href=\"https://www.daveyd.com/whoisdaveyd.html\">Davey D\u003c/a>’s at SF State, and he really made you aware that in the East [Coast] they had DJ crews, but here everyone had a funk band in their garage,” says Flex, referencing the renowned local radio host and hip-hop scholar. “So I really try to pay homage and bring that same energy.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2436567542/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The boogie style that makes up Tall Tee’s sound emerged in the early ’80s, when funk musicians embraced the sleek, digitized sounds of emerging synthesizer technologies, and blended funk with disco. As influences, Flex and Joog cite \u003ca href=\"https://youtu.be/zSOUNeiTkiE?si=bqqSRPb5WfG3-2FC\">Kashif\u003c/a>, a hitmaker who penned Evelyn Champagne King’s “\u003ca href=\"https://youtu.be/p9f_4F-GZgY?si=NpHjjRS94wkH2AZ8\">I’m in Love\u003c/a>”; R&B great \u003ca href=\"https://youtu.be/jtMHsNhQBvI?si=xhIe3BlAzNkjWSa2\">Patrice Rushen\u003c/a>; and Cameo, the flamboyant, leather-clad band of “\u003ca href=\"https://youtu.be/sn8KYD1Vco0?si=bws-0UHGEr6N_fpg\">Candy\u003c/a>” fame. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once deemed cheesy and uncool (namely because of the \u003ca href=\"https://www.bbc.com/culture/article/20230922-the-night-angry-rock-fans-destroyed-disco-music\">racist and homophobic backlash\u003c/a> against disco), boogie experienced a revival over the past decade thanks to crate-digging DJs who recontextualized the genre and showed the world that it actually slaps. (And it’s not just for record collectors \u003cspan style=\"font-weight: 400\">—\u003c/span> you can now turn on your radio and hear \u003ca href=\"https://slate.com/culture/2024/06/sabrina-carpenter-espresso-song-summer-boogie-post-disco.html\">a boogie bassline\u003c/a> in Sabrina Carpenter’s massive hit “Espresso.”)\u003c/p>\n\u003cp>Locally, the chief architects of its resurgence are the crew behind the\u003ca href=\"https://www.kqed.org/arts/13837743/how-sweater-funk-djs-revived-boogie-a-once-uncool-sound\"> long-running party Sweater Funk\u003c/a>. After SF State, Joog and Flex became Sweater Funk regulars, and the all-vinyl dive bar dance party led Joog and Flex to \u003ca href=\"https://www.instagram.com/elive_beats/\">E. Live\u003c/a>, the producer of \u003ci>Talk to Me\u003c/i>. Their collaboration began in 2017, when Joog rapped over an instrumental E. Live posted online; after hearing his verse, E. Live invited Joog to one of his shows.\u003c/p>\n\u003cp>At the show, “when I met him, he was already playing. And then, like, in the middle of his set, he just handed me the mic and we did the song I recorded over,” Joog recalls. “My homies were actually smoking outside, and they were like, ‘Oh shit, is that Joog inside on the mic?’”\u003c/p>\n\u003cfigure id=\"attachment_13959345\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TALLTEE-40-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alexander “Flex” Lim and Jon “Joog” Macapinlac work with Deshawn Guilloux and Jarin Tindall, aka OG Jarin, at OG Jarin’s studio in Oakland on June 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The impromptu collab paved the way for the 10 groove-laden, cruise-with-the-windows-down tracks that make up \u003ci>Talk to Me\u003c/i>. Up next, Tall Tee will perform at 7th West on Aug. 3 for the party DAMoakland, and they’ll join E. Live on stage at The Independent on Aug. 16, opening for fellow funk revivalists Planet Booty. The duo is also self-funding an independent vinyl release of \u003ci>Talk to Me\u003c/i>, and working on a release party where they’ll perform with a full band, followed by a fall mini-tour in Japan. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve garnered a lot of support through friends and through doing shows and performing, just through face to face and word of mouth for a long time,” says Joog. “This album was our first effort to make it very official.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Tall Tee performs on \u003ca href=\"https://www.eventbrite.com/e/damoakland-7th-west-tickets-919796585347\">Saturday, Aug. 3, as part of DAMoakland at 7th West in Oakland\u003c/a>; and with E. Live on \u003ca href=\"https://apeconcerts.com/events/planet-booty-240816/\">Friday, Aug. 16, at The Independent in San Francisco\u003c/a>. Follow \u003ca href=\"https://www.instagram.com/tallteesound/\">Tall Tee on Instagram\u003c/a> for show announcements and updates. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dark Entries, the record label and Tenderloin shop that specializes in out-of-print and unreleased archival material, especially underground ’80s music, has reached a milestone 15 years. \u003c/p>\n\u003cp>Josh Cheon says he didn’t launch the label in 2009 thinking this far into the future. “But I think I always was a little overambitious,” he says. “I had a list of projects that I wanted to work on.”\u003c/p>\n\u003cp>Over the years, Dark Entries has put out more than 100 albums, including \u003ca href=\"https://www.darkentriesrecords.com/store/music/cd/patrick-cowley-mechanical-fantasy-box/\">unreleased electronic dance music\u003c/a> and \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/patrick-cowley-afternooners-2xlp/\">gay porn soundtracks\u003c/a> from Patrick Cowley; and \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/sylvester-private-recordings-august-1970/\">private jazz, blues and gospel recordings\u003c/a> by disco star Sylvester. Now, to celebrate that unexpected but entirely welcome longevity, he’s organized two anniversary parties in San Francisco — one a concert at the \u003ca href=\"https://wl.seetickets.us/event/topographies-brontez-purnell/608898?afflky=GreatAmericanMusicHall\">Great American Music Hall on July 13\u003c/a> and another at the \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/dark-entries-anniversary-party-107882?utm_source=themidway&utm_medium=venuewebsite\">Midway on July 20\u003c/a>.\u003c/p>\n\u003cp>The lineups for both nights are pulled together from musicians Cheon has worked with on Dark Entries releases, but each has a distinct flavor. \u003c/p>\n\u003cp>The Great American show, headlined by \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/topographies-interior-spring/\">Topographies\u003c/a>, will be more post-punk and ’80s leaning, with sets from \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/brontez-purnell-no-jack-swing/\">Brontez Purnell\u003c/a>, \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/loveshadow-ii-lp/\">Loveshadow\u003c/a> and Topazu. Topographies, formed in 2018 by Justin Oronos, Jeremie Ruest and Gray Tolhurst, put out their sophomore album earlier this year with Dark Entries, channeling cold wave forebears with impeccably moody, synthy shoegaze.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Purnell may be best known for his punk and garage rock (or his books, \u003ci>Since I Laid My Burden Down\u003c/i> and \u003ci>100 Boyfriends\u003c/i>), but on July 13 he’ll be performing electronic music he’s never played live before. “That’s definitely a good reason to come out,” Cheon chuckles, “because you might never see this again!”\u003c/p>\n\u003cp>Cheon describes Loveshadow, a Bay Area pop duo, as having “soulful Kate Bush kind of vibes,” and hints that there might be a secret guest joining them on vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1663667625&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>At the Midway, analog guru and underground Midwest rave hero \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/bill-converse-take-parts/\">Bill Converse\u003c/a> is playing his live set in San Francisco for the first time ever. “It’s going to be a pretty intense, fun dance party,” says Cheon, who caught Converse’s show in San Diego. This night, he says, will be “definitely more techno, house kind of vibes.” Also performing are \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/group-rhoda-passing-shades/\">Group Rhoda\u003c/a>, \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/dax-pierson-nerve-bumps-a-queer-divine-disappointment/\">Dax Pierson\u003c/a>, \u003ca href=\"https://www.instagram.com/carlossouffront/?hl=en\">Carlos Souffront\u003c/a> and \u003ca href=\"https://soundcloud.com/pre-optrans\">Pre Op Trans\u003c/a>. \u003c/p>\n\u003cp>With acts coming from as far away as Texas and Washington, Cheon is excited for it all to come together. “I’m glad they all said yes and that I was able to get them all to perform here,” he says. “Everyone’s kind of traveling to make this happen, which is really nice.” \u003c/p>\n\u003cp>The July 20 night also doubles as an unofficial afterparty for the \u003ca href=\"https://sfartbookfair.com/\">San Francisco Art Book Fair\u003c/a>, which runs July 18–21 at Minnesota Street Project. Dark Entries will have a table at the fair with a new publication presenting work by in-house designer \u003ca href=\"http://eloiseleigh.com/\">Eloise Leigh\u003c/a>, along with DIY typography and logos from bands featured on reissues.\u003c/p>\n\u003cp>Fifteen years in, can Cheon now envision a 30-year anniversary? “I don’t see me stopping this anytime soon,” he says. “And I have so much stuff I need to get out — there’s still a backlog of releases that are waiting in the queue. I literally just signed a contract today with an artist.”\u003c/p>\n\u003cp>As long as he’s having fun, he says, he’ll keep it going. Or, he adds: “As long as people keep buying records.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Dark Entries’ 15th anniversary parties are $18 presale, $25 at the door for both the July 13 \u003ca href=\"https://wl.seetickets.us/event/topographies-brontez-purnell/608898?afflky=GreatAmericanMusicHall\">Great American Music Hall\u003c/a> show and the July 20 \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/dark-entries-anniversary-party-107882?utm_source=themidway&utm_medium=venuewebsite\">Midway\u003c/a> show.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dark Entries, the record label and Tenderloin shop that specializes in out-of-print and unreleased archival material, especially underground ’80s music, has reached a milestone 15 years. \u003c/p>\n\u003cp>Josh Cheon says he didn’t launch the label in 2009 thinking this far into the future. “But I think I always was a little overambitious,” he says. “I had a list of projects that I wanted to work on.”\u003c/p>\n\u003cp>Over the years, Dark Entries has put out more than 100 albums, including \u003ca href=\"https://www.darkentriesrecords.com/store/music/cd/patrick-cowley-mechanical-fantasy-box/\">unreleased electronic dance music\u003c/a> and \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/patrick-cowley-afternooners-2xlp/\">gay porn soundtracks\u003c/a> from Patrick Cowley; and \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/sylvester-private-recordings-august-1970/\">private jazz, blues and gospel recordings\u003c/a> by disco star Sylvester. Now, to celebrate that unexpected but entirely welcome longevity, he’s organized two anniversary parties in San Francisco — one a concert at the \u003ca href=\"https://wl.seetickets.us/event/topographies-brontez-purnell/608898?afflky=GreatAmericanMusicHall\">Great American Music Hall on July 13\u003c/a> and another at the \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/dark-entries-anniversary-party-107882?utm_source=themidway&utm_medium=venuewebsite\">Midway on July 20\u003c/a>.\u003c/p>\n\u003cp>The lineups for both nights are pulled together from musicians Cheon has worked with on Dark Entries releases, but each has a distinct flavor. \u003c/p>\n\u003cp>The Great American show, headlined by \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/topographies-interior-spring/\">Topographies\u003c/a>, will be more post-punk and ’80s leaning, with sets from \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/brontez-purnell-no-jack-swing/\">Brontez Purnell\u003c/a>, \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/loveshadow-ii-lp/\">Loveshadow\u003c/a> and Topazu. Topographies, formed in 2018 by Justin Oronos, Jeremie Ruest and Gray Tolhurst, put out their sophomore album earlier this year with Dark Entries, channeling cold wave forebears with impeccably moody, synthy shoegaze.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Purnell may be best known for his punk and garage rock (or his books, \u003ci>Since I Laid My Burden Down\u003c/i> and \u003ci>100 Boyfriends\u003c/i>), but on July 13 he’ll be performing electronic music he’s never played live before. “That’s definitely a good reason to come out,” Cheon chuckles, “because you might never see this again!”\u003c/p>\n\u003cp>Cheon describes Loveshadow, a Bay Area pop duo, as having “soulful Kate Bush kind of vibes,” and hints that there might be a secret guest joining them on vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1663667625&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>At the Midway, analog guru and underground Midwest rave hero \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/bill-converse-take-parts/\">Bill Converse\u003c/a> is playing his live set in San Francisco for the first time ever. “It’s going to be a pretty intense, fun dance party,” says Cheon, who caught Converse’s show in San Diego. This night, he says, will be “definitely more techno, house kind of vibes.” Also performing are \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/group-rhoda-passing-shades/\">Group Rhoda\u003c/a>, \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/dax-pierson-nerve-bumps-a-queer-divine-disappointment/\">Dax Pierson\u003c/a>, \u003ca href=\"https://www.instagram.com/carlossouffront/?hl=en\">Carlos Souffront\u003c/a> and \u003ca href=\"https://soundcloud.com/pre-optrans\">Pre Op Trans\u003c/a>. \u003c/p>\n\u003cp>With acts coming from as far away as Texas and Washington, Cheon is excited for it all to come together. “I’m glad they all said yes and that I was able to get them all to perform here,” he says. “Everyone’s kind of traveling to make this happen, which is really nice.” \u003c/p>\n\u003cp>The July 20 night also doubles as an unofficial afterparty for the \u003ca href=\"https://sfartbookfair.com/\">San Francisco Art Book Fair\u003c/a>, which runs July 18–21 at Minnesota Street Project. Dark Entries will have a table at the fair with a new publication presenting work by in-house designer \u003ca href=\"http://eloiseleigh.com/\">Eloise Leigh\u003c/a>, along with DIY typography and logos from bands featured on reissues.\u003c/p>\n\u003cp>Fifteen years in, can Cheon now envision a 30-year anniversary? “I don’t see me stopping this anytime soon,” he says. “And I have so much stuff I need to get out — there’s still a backlog of releases that are waiting in the queue. I literally just signed a contract today with an artist.”\u003c/p>\n\u003cp>As long as he’s having fun, he says, he’ll keep it going. Or, he adds: “As long as people keep buying records.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Dark Entries’ 15th anniversary parties are $18 presale, $25 at the door for both the July 13 \u003ca href=\"https://wl.seetickets.us/event/topographies-brontez-purnell/608898?afflky=GreatAmericanMusicHall\">Great American Music Hall\u003c/a> show and the July 20 \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/dark-entries-anniversary-party-107882?utm_source=themidway&utm_medium=venuewebsite\">Midway\u003c/a> show.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The dense green woods of Sonoma County’s Forestville are home to a two-story music studio and residence that runs on solar energy. Known as \u003ca href=\"https://nestbuildcreate.com/\">The NEST\u003c/a>, the mocha colored building is made completely of wood, clay and cob; and it was created for the purpose of serving Native artists.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/raskdee/\" target=\"_blank\" rel=\"noopener\">Ras K’dee\u003c/a>, a Pomo-African hip-hop musician who grew up in the area, is the caretaker of the space, but he didn’t build it alone. He worked with over 350 people, many of them young folks from youth groups like \u003ca href=\"http://podersf.org\">PODER\u003c/a>, who took the 70-mile trip from San Francisco to this town by the Russian River, or Bidapte, “big river” in the Pomo language.\u003c/p>\n\u003cfigure id=\"attachment_13960798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960798 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg\" alt=\"Ras K'dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ras K’dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being the founder of \u003ca href=\"https://www.facebook.com/snagmagazine/\" target=\"_blank\" rel=\"noopener\">SNAG Magazine\u003c/a>, an Indigenous periodical that has been in print for over two decades, Ras K’dee is also a DJ and emcee in the group \u003ca href=\"https://www.audiopharmacy.com/\" target=\"_blank\" rel=\"noopener\">Audiopharmacy\u003c/a>. This week on Rightnowish, we talk about the importance of working together to create spaces for artists to grow, and the ins and outs of land reclamation in the North Bay.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7274032882\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw\u003c/b>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cb>Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your host Pendarvis Harshaw\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know about you but being in a forest soothes my soul. I got to feel that special bliss a few weeks back when I was in Sonoma County, specifically in the town of Forestville. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I got to visit a place called “The Nest.” It’s a quarter acre of land nestled among lush trees, and it serves as an arts and culture hub built by and for Indigenous folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last 6 years, it’s been the publishing home of a Native arts magazine called SNAG, which features poems, essays, photographs, and collages about Native identity and activism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest has also been a space for Indigenous folks across Northern California to convene for permaculture workshops, ceremonies and community feasts, as well as trainings on natural building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And what came out of those training sessions is the construction of a two story art studio made from cob.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Facilitating these trainings is a DJ and musician who started SNAG magazine. His name is Ras K’dee. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee, Guest\u003c/b>\u003cspan style=\"font-weight: 400\">: I’m Pomo. My ancestry is from right here. The river that flows down that we’re on right now is Bidapte, Big River. And then Ashokawna is where our people are from. And so we’re on our traditional lands right here, this is our traditional grounds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee sees The Nest as the intersection of creativity and environmental responsibility. And so he, with the help of other Indigenous folks have built this place to be completely fueled by solar panels. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll hear how Indigenous creativity is taking shape at The Nest right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> About 15 minutes away from the Russian River is The Nest, a space built by and for Native people. Ras K’dee who was born and raised in Sonoma County was able to purchase this plot of land with the inheritance he got from his grandmother selling her house. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ras K’dee, Marisol and I stand outside and take in the beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a land blessing from my, from my grandmother and my aunt, came and did like a land blessing, in the Pomo way, where they sing songs and offer prayers and, and, had our had our community here that were coming to help\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We got the land in 2012. But slowly, we’ve been building building it up. We actually intentionally didn’t build for, like, four years. We just kind of, like, watch the land and, during in the winter, during the spring, during the summer and just kind of in the fall, kind of see the different seasons and… Four years of that and like slowly just kind of clearing and like putting garden beds and stuff and planting trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This slow process of tending the land allowed Ras K’dee to be intentional about how to build out the space.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first structure he envisioned was the art studio. It’s brown, and 2 stories tall with hexagon sides and has a roof that extends over the sides. It kinda looks like a trumpet mushroom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He designed it by thinking about what would be conducive for creating. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was visualizing “what do painters or artists need?” You know, taller ceilings, you know, like, open like, clay wall where they can, like, you know, put their stuff up. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And the construction of this is completely made from cob.\u003c/span> \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">The building is sitting on mortared stone. And then it goes up about three feet. And then, on top of that is cob, which is the plaster of clay and straw and sand, mixed together. And it makes like a kind you know, really strong, like, kind of like concrete, almost. And so then you have, like, a foot of that and then from that going up is all pallet wall. So those are like pallets that are, that are stuffed with straw and plastered over.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">Structurally it’s got wood and it’s got these big lumber, lumber pieces that are holding it up. And inside you’ll see there’s beams going across. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena, Rightnowish Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Is it redwood beams?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee : \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah Redwood. Yeah. Wanna go and check it out?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, let’s go inside.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of footsteps]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee encourages us to touch the cob walls to feel all the love that was poured into making it. We do and it has a calming quality to it. He says, it’s the energy of all the people who he invited to help build it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had about 350 people work on the structure, over 350 people and mostly youth. There’s a lot of young people, a lot of youth groups. We had PODER and their youth group come up. We had a bunch of families, like friends with families came up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We had my friend Tomaggio and his family… were some of the first people here helping. They had a three year old and a one year old at the time. Inside is like a plastering and mixing area. And so you just put a tarp down and put all the ingredients in. And so the youth are just in there, just, you know jumping around, having fun. And like, we went to lunch and we were eating and, you know, just visiting and having a break and we came back and like the whole thing is like, mixed. We’re like, “oh man, you guys, you guys did the work, you know”?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it was really cool like seeing the young people, yeah, just bringing in the clay. Like, the three year old is like giving it to the one year old or the one year old giving it to the three year old and three year old is like, bringing it in to the parents and then the parents are like, putting it on the wall. So that’s kind of like how this started in here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> How did you even know how to do sustainable type of building?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m pretty self-taught. I also like went to a lot of workshops. But, really got my chops in Hoopa. At the Hoopa Rez, we built a straw bale structure. It was little bit different of, of a kind of a building. But you basically use the straw bales and you cut them and make them look kind of like Legos. So they’re like… and stack them and then you plaster that. And that that structure is still, still standing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">That really like gave me a perspective like what it takes and the amount of people and the amount of work that it takes to do this kind of building. But this is my first building that I built from scratch.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> When I was touching the wall, like you said, I noticed it was very cool. Can you talk about how the material itself is good for winter and summer? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, you know, the walls themselves absorb you know, the humidity, the moisture. And the clay walls, they’re like, really they’re known to, be a great barrier in terms of like, creating a more, just relaxed temperature inside. And what the clay does is it absorbs like the humidity and the kind of the, the heat, the moisture and kind of captures it. And when it starts to cool at night, it starts to release it inside. And so it keeps the building naturally fluctuating between just a comfortable temperature. But you’ll notice when we walk outside even, you know that it’s much cooler inside of here.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ya know, behind building a structure like this is that it’s nontoxic. You don’t have all the waste chemicals. You don’t have all the waste number one from from the construction industry. There’s a lot of waste. Like, I don’t know if you ever been to a construction site, but you look in the dumpsters, it’s like, full of, like, perfectly good, usable materials, but it’s just stuff they cut off or stuff they’re not going to use. So it’s it’s… I pulled a lot of the lumber for this structure out of dumpsters actually, because people just throw away perfectly good two by sixes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This room is essentially a sleeping den for Ras K’dee. A mattress takes up the full space and original art pieces from visiting artists hang on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next Ras K’dee invites us to check the upstairs level of this structure. For the last couple of years it’s served as a creative studio for visiting artists to retreat and work on their own visual art. Most recently, they had an Anishinaabe artist from Detroit stay and create graphics and articles for SNAG magazine.\u003cbr>\n\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Ras’Kdee talking]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We walk up a flight of stairs made from redwood trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay. Watch your head here this is a little low this side. Gotta duck down there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s cool up here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a fully fleshed out recording space. There’s acoustic and electric guitars hanging on the walls. a desk with 2 keyboards, sound mixers and recording microphones. The wooden roof has a skylight so the sun shines into the studio and provides beautiful natural lighting that feels conducive for getting the creative juices flowing.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee has even recorded a couple albums here with his group Audiopharmacy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee\u003c/b>\u003cspan style=\"font-weight: 400\">:\u003c/span> \u003cspan style=\"font-weight: 400\">The founders of the group are all kind of like rooted in hip hop and hip hop, I would say is, you know, really a music that’s founded on sampling. And so it literally sampled every genre, you know, and so that’s kind of like what we are. We’re like, we are every genre, you know. But I play keys, is my main instrument that I, that I grew up playing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After this short tour, we sit down to talk more about the vision behind The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You live here as well? What’s your day to day life like here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: Taking care of the garden is a big part of my day. Waking up in the morning, watering the garden, doing some weeding. I like to, I like to do a little bit of work. Work in the garden in the morning, and then jumping on my other work that I do. I’m also a musician and artist, so it’s a busy time. You know, we got gigs and stuff, so there’s a lot of calls and stuff happening around negotiating and figuring out gigs. But yeah, just supporting artists, you know is kind of what I do here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right now, I’m working on a mural project in Windsor, we’re, we’ve got like, a 100 foot wall over there and so bringing in the artists for that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So, juggling the arts, also juggling all that comes with managing nature. You’re in the middle of nowhere. What’s nightlife like out here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Quiet. it’s quiet. Like all those scary movies start creeping in, you know, you’re like, man, it’s dark out here. Like, what’s out here, like, you know, mountain lions, bears, you know, like you start thinking about things. And so it took me a while to like to like, unlearn that programing, you know, like to like, get out of that like, cycle, like fear and just be like, oh, it’s just nature.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Being out here alone and just kind of like in the elements, I started to really enjoy it and really enjoy that that peace,connecting to to that darkness in a different way. But, there’s constantly people coming through, especially during this, this time of year. We do like a men’s healing circle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> As a kid, were you the builder type?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I grew up in Sonoma County. I grew up, not too far from. And in northern Santa Rosa. Where we grew up, it was like the end of town, like our street was like the last street in town, basically. And like, as soon as you leave there, it’s just like hills,and so like, we would be off in the hills, you know, with our B-B guns, our slingshots. And it was like, you know, we go out all our homies, like 4 or 5 of us, you know, me and my brother, my older brother. And we would, we would just be out all day long. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’d have different forts built. It was always kind of like in my, back of my head is like, got to get to the forest, got to get back to the forest and build that tree fort. As an adult, you know, this is kind of like a representation of that I think.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this part of the region in Sonoma County, there’s a couple of other organizations that are doing similar work, like EARTHseed, like Heron Shadow. Are you in communication with these organizations? And is there like a movement occurring?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s definitely a movement. Yeah. It’s pretty special, actually, to be be a part of it. I am in community with a lot of a lot of the organizations you mentioned. I was just deejaying, actually, at EARTHseed’s “Black to Land” event last week. They open up their, their space to, you know, to, to the Black community. We we all collaborate. We all connect. And Heron Shadow has a farm, so they have more food and, they do like, Indigenous food and Indigenous seeds. They bring back seeds. And so it’s perfect because, you know, like we go over there like, do an exchange or do a collaboration and they gift us this with seeds and gift us with plants to bring back here to plant. So it’s kind of like this, you know, this sharing of resources.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being in your space and you talking about all the community groups that come here, it makes me think about how other land back efforts we’re seeing in NorCal are very different, in that it’s like a city, you know, giving a plot of land to a formal nonprofit to steward and tend. But this is like your private space built from your like, family equity. And talk to us about that decision to open up your personal space so that it is a collective thing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> This building couldn’t have been made without, you know, people coming. I think it was more of a prayer, you know, like I want to I want to put the prayer here, for this space to be a community space and for it to be, a resource for the community,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so we put the prayer in and like, you know, kind of like not knowing, you know, if the community was going to show up, just like, oh, let’s start doing this, this crazy project and see, see who shows up kind of thing and the community, community showed up.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering when you’re either in the garden or just sitting here with your dog Panda taking in the breeze, the sounds, how do you feel? Or what are you thinking about what this land means for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: What I’ve gained is, I guess, a sense of peace. And coming into this land with also like a lot of work to do to like prepare it, it felt like overwhelming, you know, and it felt like, you know, like impossible at first because it was an empty lot and it was just overgrown. And, you know, trees had fallen and it hadn’t been taken care for many years. And yeah, just doing the work to, like, slowly heal the land and steward it in a good way, you know, has really just helped me to like, to heal myself,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Indigenous people, you know, we see it as like as, like a generational commitment to the land. You know, like, we’re going to be here for generations. We’re not just here for build our house right now and then sell it and then, you know, move somewhere else, you know, or to Mexico or whatever, you know. What do they call them? Digital nomads. You know, like we’re not thinking in terms of that. We’re thinking in terms of generations.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So what are we building here right now that that we can leave generationally for, for our for our youth in the future, right. I don’t have youth of my own right now, but I have young people that I that I work with. This is a lifelong project. It’s not a temporary thing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were creating this space as kind of a showcase place where people can come and see, you know, a building that’s that’s cob. And they could touch the wall and feel and see what it looks like and what the different building techniques are and learn about the different building techniques and then be like, oh, I want to, I want to build an adobe, you know, adobe dome. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But really, really just incubate, incubate art that changes the world, you know, that’s that’s that’s why the space is here. So those are, those are the things that we want to do here and invite the artists that can bring about that change that we need in this world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ras K’dee, we can’t thank you enough. Much appreciation to you for welcoming us to your corner of Sonoma County to see and experience The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest is still evolving and Ras K’dee has plans to build a yurt and a dance studio to be able to host more classes and workshops. To stay updated on The Nest follow along on Instagram @SNAG.magazine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up Ras K’dee’s art and music projects, you can check out his IG @raskdee that’s spelled R-A-S-K-D-E-E.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace!\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The dense green woods of Sonoma County’s Forestville are home to a two-story music studio and residence that runs on solar energy. Known as \u003ca href=\"https://nestbuildcreate.com/\">The NEST\u003c/a>, the mocha colored building is made completely of wood, clay and cob; and it was created for the purpose of serving Native artists.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/raskdee/\" target=\"_blank\" rel=\"noopener\">Ras K’dee\u003c/a>, a Pomo-African hip-hop musician who grew up in the area, is the caretaker of the space, but he didn’t build it alone. He worked with over 350 people, many of them young folks from youth groups like \u003ca href=\"http://podersf.org\">PODER\u003c/a>, who took the 70-mile trip from San Francisco to this town by the Russian River, or Bidapte, “big river” in the Pomo language.\u003c/p>\n\u003cfigure id=\"attachment_13960798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960798 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg\" alt=\"Ras K'dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ras K’dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being the founder of \u003ca href=\"https://www.facebook.com/snagmagazine/\" target=\"_blank\" rel=\"noopener\">SNAG Magazine\u003c/a>, an Indigenous periodical that has been in print for over two decades, Ras K’dee is also a DJ and emcee in the group \u003ca href=\"https://www.audiopharmacy.com/\" target=\"_blank\" rel=\"noopener\">Audiopharmacy\u003c/a>. This week on Rightnowish, we talk about the importance of working together to create spaces for artists to grow, and the ins and outs of land reclamation in the North Bay.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7274032882\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw\u003c/b>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cb>Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your host Pendarvis Harshaw\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know about you but being in a forest soothes my soul. I got to feel that special bliss a few weeks back when I was in Sonoma County, specifically in the town of Forestville. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I got to visit a place called “The Nest.” It’s a quarter acre of land nestled among lush trees, and it serves as an arts and culture hub built by and for Indigenous folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last 6 years, it’s been the publishing home of a Native arts magazine called SNAG, which features poems, essays, photographs, and collages about Native identity and activism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest has also been a space for Indigenous folks across Northern California to convene for permaculture workshops, ceremonies and community feasts, as well as trainings on natural building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And what came out of those training sessions is the construction of a two story art studio made from cob.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Facilitating these trainings is a DJ and musician who started SNAG magazine. His name is Ras K’dee. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee, Guest\u003c/b>\u003cspan style=\"font-weight: 400\">: I’m Pomo. My ancestry is from right here. The river that flows down that we’re on right now is Bidapte, Big River. And then Ashokawna is where our people are from. And so we’re on our traditional lands right here, this is our traditional grounds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee sees The Nest as the intersection of creativity and environmental responsibility. And so he, with the help of other Indigenous folks have built this place to be completely fueled by solar panels. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll hear how Indigenous creativity is taking shape at The Nest right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> About 15 minutes away from the Russian River is The Nest, a space built by and for Native people. Ras K’dee who was born and raised in Sonoma County was able to purchase this plot of land with the inheritance he got from his grandmother selling her house. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ras K’dee, Marisol and I stand outside and take in the beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a land blessing from my, from my grandmother and my aunt, came and did like a land blessing, in the Pomo way, where they sing songs and offer prayers and, and, had our had our community here that were coming to help\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We got the land in 2012. But slowly, we’ve been building building it up. We actually intentionally didn’t build for, like, four years. We just kind of, like, watch the land and, during in the winter, during the spring, during the summer and just kind of in the fall, kind of see the different seasons and… Four years of that and like slowly just kind of clearing and like putting garden beds and stuff and planting trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This slow process of tending the land allowed Ras K’dee to be intentional about how to build out the space.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first structure he envisioned was the art studio. It’s brown, and 2 stories tall with hexagon sides and has a roof that extends over the sides. It kinda looks like a trumpet mushroom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He designed it by thinking about what would be conducive for creating. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was visualizing “what do painters or artists need?” You know, taller ceilings, you know, like, open like, clay wall where they can, like, you know, put their stuff up. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And the construction of this is completely made from cob.\u003c/span> \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">The building is sitting on mortared stone. And then it goes up about three feet. And then, on top of that is cob, which is the plaster of clay and straw and sand, mixed together. And it makes like a kind you know, really strong, like, kind of like concrete, almost. And so then you have, like, a foot of that and then from that going up is all pallet wall. So those are like pallets that are, that are stuffed with straw and plastered over.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">Structurally it’s got wood and it’s got these big lumber, lumber pieces that are holding it up. And inside you’ll see there’s beams going across. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena, Rightnowish Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Is it redwood beams?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee : \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah Redwood. Yeah. Wanna go and check it out?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, let’s go inside.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of footsteps]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee encourages us to touch the cob walls to feel all the love that was poured into making it. We do and it has a calming quality to it. He says, it’s the energy of all the people who he invited to help build it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had about 350 people work on the structure, over 350 people and mostly youth. There’s a lot of young people, a lot of youth groups. We had PODER and their youth group come up. We had a bunch of families, like friends with families came up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We had my friend Tomaggio and his family… were some of the first people here helping. They had a three year old and a one year old at the time. Inside is like a plastering and mixing area. And so you just put a tarp down and put all the ingredients in. And so the youth are just in there, just, you know jumping around, having fun. And like, we went to lunch and we were eating and, you know, just visiting and having a break and we came back and like the whole thing is like, mixed. We’re like, “oh man, you guys, you guys did the work, you know”?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it was really cool like seeing the young people, yeah, just bringing in the clay. Like, the three year old is like giving it to the one year old or the one year old giving it to the three year old and three year old is like, bringing it in to the parents and then the parents are like, putting it on the wall. So that’s kind of like how this started in here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> How did you even know how to do sustainable type of building?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m pretty self-taught. I also like went to a lot of workshops. But, really got my chops in Hoopa. At the Hoopa Rez, we built a straw bale structure. It was little bit different of, of a kind of a building. But you basically use the straw bales and you cut them and make them look kind of like Legos. So they’re like… and stack them and then you plaster that. And that that structure is still, still standing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">That really like gave me a perspective like what it takes and the amount of people and the amount of work that it takes to do this kind of building. But this is my first building that I built from scratch.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> When I was touching the wall, like you said, I noticed it was very cool. Can you talk about how the material itself is good for winter and summer? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, you know, the walls themselves absorb you know, the humidity, the moisture. And the clay walls, they’re like, really they’re known to, be a great barrier in terms of like, creating a more, just relaxed temperature inside. And what the clay does is it absorbs like the humidity and the kind of the, the heat, the moisture and kind of captures it. And when it starts to cool at night, it starts to release it inside. And so it keeps the building naturally fluctuating between just a comfortable temperature. But you’ll notice when we walk outside even, you know that it’s much cooler inside of here.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ya know, behind building a structure like this is that it’s nontoxic. You don’t have all the waste chemicals. You don’t have all the waste number one from from the construction industry. There’s a lot of waste. Like, I don’t know if you ever been to a construction site, but you look in the dumpsters, it’s like, full of, like, perfectly good, usable materials, but it’s just stuff they cut off or stuff they’re not going to use. So it’s it’s… I pulled a lot of the lumber for this structure out of dumpsters actually, because people just throw away perfectly good two by sixes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This room is essentially a sleeping den for Ras K’dee. A mattress takes up the full space and original art pieces from visiting artists hang on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next Ras K’dee invites us to check the upstairs level of this structure. For the last couple of years it’s served as a creative studio for visiting artists to retreat and work on their own visual art. Most recently, they had an Anishinaabe artist from Detroit stay and create graphics and articles for SNAG magazine.\u003cbr>\n\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Ras’Kdee talking]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We walk up a flight of stairs made from redwood trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay. Watch your head here this is a little low this side. Gotta duck down there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s cool up here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a fully fleshed out recording space. There’s acoustic and electric guitars hanging on the walls. a desk with 2 keyboards, sound mixers and recording microphones. The wooden roof has a skylight so the sun shines into the studio and provides beautiful natural lighting that feels conducive for getting the creative juices flowing.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee has even recorded a couple albums here with his group Audiopharmacy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee\u003c/b>\u003cspan style=\"font-weight: 400\">:\u003c/span> \u003cspan style=\"font-weight: 400\">The founders of the group are all kind of like rooted in hip hop and hip hop, I would say is, you know, really a music that’s founded on sampling. And so it literally sampled every genre, you know, and so that’s kind of like what we are. We’re like, we are every genre, you know. But I play keys, is my main instrument that I, that I grew up playing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After this short tour, we sit down to talk more about the vision behind The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You live here as well? What’s your day to day life like here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: Taking care of the garden is a big part of my day. Waking up in the morning, watering the garden, doing some weeding. I like to, I like to do a little bit of work. Work in the garden in the morning, and then jumping on my other work that I do. I’m also a musician and artist, so it’s a busy time. You know, we got gigs and stuff, so there’s a lot of calls and stuff happening around negotiating and figuring out gigs. But yeah, just supporting artists, you know is kind of what I do here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right now, I’m working on a mural project in Windsor, we’re, we’ve got like, a 100 foot wall over there and so bringing in the artists for that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So, juggling the arts, also juggling all that comes with managing nature. You’re in the middle of nowhere. What’s nightlife like out here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Quiet. it’s quiet. Like all those scary movies start creeping in, you know, you’re like, man, it’s dark out here. Like, what’s out here, like, you know, mountain lions, bears, you know, like you start thinking about things. And so it took me a while to like to like, unlearn that programing, you know, like to like, get out of that like, cycle, like fear and just be like, oh, it’s just nature.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Being out here alone and just kind of like in the elements, I started to really enjoy it and really enjoy that that peace,connecting to to that darkness in a different way. But, there’s constantly people coming through, especially during this, this time of year. We do like a men’s healing circle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> As a kid, were you the builder type?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I grew up in Sonoma County. I grew up, not too far from. And in northern Santa Rosa. Where we grew up, it was like the end of town, like our street was like the last street in town, basically. And like, as soon as you leave there, it’s just like hills,and so like, we would be off in the hills, you know, with our B-B guns, our slingshots. And it was like, you know, we go out all our homies, like 4 or 5 of us, you know, me and my brother, my older brother. And we would, we would just be out all day long. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’d have different forts built. It was always kind of like in my, back of my head is like, got to get to the forest, got to get back to the forest and build that tree fort. As an adult, you know, this is kind of like a representation of that I think.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this part of the region in Sonoma County, there’s a couple of other organizations that are doing similar work, like EARTHseed, like Heron Shadow. Are you in communication with these organizations? And is there like a movement occurring?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s definitely a movement. Yeah. It’s pretty special, actually, to be be a part of it. I am in community with a lot of a lot of the organizations you mentioned. I was just deejaying, actually, at EARTHseed’s “Black to Land” event last week. They open up their, their space to, you know, to, to the Black community. We we all collaborate. We all connect. And Heron Shadow has a farm, so they have more food and, they do like, Indigenous food and Indigenous seeds. They bring back seeds. And so it’s perfect because, you know, like we go over there like, do an exchange or do a collaboration and they gift us this with seeds and gift us with plants to bring back here to plant. So it’s kind of like this, you know, this sharing of resources.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being in your space and you talking about all the community groups that come here, it makes me think about how other land back efforts we’re seeing in NorCal are very different, in that it’s like a city, you know, giving a plot of land to a formal nonprofit to steward and tend. But this is like your private space built from your like, family equity. And talk to us about that decision to open up your personal space so that it is a collective thing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> This building couldn’t have been made without, you know, people coming. I think it was more of a prayer, you know, like I want to I want to put the prayer here, for this space to be a community space and for it to be, a resource for the community,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so we put the prayer in and like, you know, kind of like not knowing, you know, if the community was going to show up, just like, oh, let’s start doing this, this crazy project and see, see who shows up kind of thing and the community, community showed up.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering when you’re either in the garden or just sitting here with your dog Panda taking in the breeze, the sounds, how do you feel? Or what are you thinking about what this land means for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: What I’ve gained is, I guess, a sense of peace. And coming into this land with also like a lot of work to do to like prepare it, it felt like overwhelming, you know, and it felt like, you know, like impossible at first because it was an empty lot and it was just overgrown. And, you know, trees had fallen and it hadn’t been taken care for many years. And yeah, just doing the work to, like, slowly heal the land and steward it in a good way, you know, has really just helped me to like, to heal myself,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Indigenous people, you know, we see it as like as, like a generational commitment to the land. You know, like, we’re going to be here for generations. We’re not just here for build our house right now and then sell it and then, you know, move somewhere else, you know, or to Mexico or whatever, you know. What do they call them? Digital nomads. You know, like we’re not thinking in terms of that. We’re thinking in terms of generations.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So what are we building here right now that that we can leave generationally for, for our for our youth in the future, right. I don’t have youth of my own right now, but I have young people that I that I work with. This is a lifelong project. It’s not a temporary thing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were creating this space as kind of a showcase place where people can come and see, you know, a building that’s that’s cob. And they could touch the wall and feel and see what it looks like and what the different building techniques are and learn about the different building techniques and then be like, oh, I want to, I want to build an adobe, you know, adobe dome. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But really, really just incubate, incubate art that changes the world, you know, that’s that’s that’s why the space is here. So those are, those are the things that we want to do here and invite the artists that can bring about that change that we need in this world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ras K’dee, we can’t thank you enough. Much appreciation to you for welcoming us to your corner of Sonoma County to see and experience The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest is still evolving and Ras K’dee has plans to build a yurt and a dance studio to be able to host more classes and workshops. To stay updated on The Nest follow along on Instagram @SNAG.magazine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up Ras K’dee’s art and music projects, you can check out his IG @raskdee that’s spelled R-A-S-K-D-E-E.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace!\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"content": "\u003cp>The “First Lady of Rock” will be officially recognized by the city of San Francisco on July 15, 2024, a date also known as her 78th birthday.\u003c/p>\n\u003cp>On Tuesday, the Board of Supervisors passed \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=13073418&GUID=D23ACC41-E6E9-43A5-8B38-D56688018387\">a resolution\u003c/a> sponsored by Supervisors Connie Chan and Rafael Mandelman celebrating Linda Maria Ronstadt, the genre-defying singer who, over the course of her four-decade career, incorporated country, rock ‘n’ roll, big band, jazz, Mexican and Afro-Cuban musical influences.\u003c/p>\n\u003cp>[aside postID='arts_13900041']The declaration also makes special note of Ronstadt’s commitment to social justice, including \u003ca href=\"https://www.kqed.org/arts/13900041/linda-ronstadts-musical-journey-to-mexico-with-a-bus-of-young-bay-area-singers\">her involvement\u003c/a> with \u003ca href=\"https://www.loscenzontles.com/\">Los Cenzontles\u003c/a>, the San Pablo nonprofit dedicated to Mexican cultural arts, and her outspoken support for anti-war, LGBTQ+ and immigration causes. \u003c/p>\n\u003cp>Ronstadt grew up in Tuscon, Arizona and the Rio Sonora region of Northern Mexico, and spent much of her career in Los Angeles, but she has called San Francisco’s Sea Cliff neighborhood home for the past 25 years. \u003c/p>\n\u003cp>Chan, whose district includes Sea Cliff, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/linda-ronstadt-day-sf-19561657.php\">told the \u003ci>San Francisco Chronicle\u003c/i>\u003c/a> the suggestion for recognition came from local fans, and prompted the Supervisor’s team to start blasting Ronstadt hits in the office.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are so many to choose from: 1974’s “\u003ca href=\"https://youtu.be/e0vJNp5asqc?feature=shared\">You’re No Good\u003c/a>”; 1977’s “\u003ca href=\"https://youtu.be/Kp9G0zkorio?feature=shared\">Blue Bayou\u003c/a>”; or “\u003ca href=\"https://youtu.be/IRBZN8V2Fa4?feature=shared\">To Know Him Is to Love Him\u003c/a>,” from her 1984 album \u003ci>Trio\u003c/i> with Dolly Parton and Emmylou Harris.\u003c/p>\n\u003cp>Ronstadt has released over 30 studio albums, has had 38 Billboard Top 100 singles, won 11 Grammy Awards and was inducted into the Rock and Roll Hall of Fame in 2014, among many, many other accolades. She announced her retirement from performing in 2011; she is no longer able to sing due to progressive supranuclear palsy.\u003c/p>\n\u003cp>[aside postID='arts_13940378']San Francisco’s declaration comes just a few months after the announcement of a \u003ca href=\"https://www.kqed.org/arts/13940378/linda-ronstadt-biopic-selena-gomez\">forthcoming Linda Ronstadt biopic\u003c/a> starring Selena Gomez. The film, based on Ronstadt’s 2013 memoir \u003ci>Simple Dreams\u003c/i>, will be produced by John Boylan, Ronstadt’s manager, and James Keach, producer of the 2019 documentary \u003ci>Linda Ronstadt: The Sound of My Voice\u003c/i>. (Dramatic opportunities abound: In the 1970s and 1980s, Ronstadt was in high-profile romantic relationships with both Governor Jerry Brown and Star Wars director George Lucas.)\u003c/p>\n\u003cp>July 15 will recognize Ronstadt “for her amazing contributions to American culture, preservation of Mexican American heritage, and advancing social justice,” concludes the pronouncement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And most importantly: “The Board wishes Ms. Ronstadt a very happy birthday.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The “First Lady of Rock” will be officially recognized by the city of San Francisco on July 15, 2024, a date also known as her 78th birthday.\u003c/p>\n\u003cp>On Tuesday, the Board of Supervisors passed \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=13073418&GUID=D23ACC41-E6E9-43A5-8B38-D56688018387\">a resolution\u003c/a> sponsored by Supervisors Connie Chan and Rafael Mandelman celebrating Linda Maria Ronstadt, the genre-defying singer who, over the course of her four-decade career, incorporated country, rock ‘n’ roll, big band, jazz, Mexican and Afro-Cuban musical influences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The declaration also makes special note of Ronstadt’s commitment to social justice, including \u003ca href=\"https://www.kqed.org/arts/13900041/linda-ronstadts-musical-journey-to-mexico-with-a-bus-of-young-bay-area-singers\">her involvement\u003c/a> with \u003ca href=\"https://www.loscenzontles.com/\">Los Cenzontles\u003c/a>, the San Pablo nonprofit dedicated to Mexican cultural arts, and her outspoken support for anti-war, LGBTQ+ and immigration causes. \u003c/p>\n\u003cp>Ronstadt grew up in Tuscon, Arizona and the Rio Sonora region of Northern Mexico, and spent much of her career in Los Angeles, but she has called San Francisco’s Sea Cliff neighborhood home for the past 25 years. \u003c/p>\n\u003cp>Chan, whose district includes Sea Cliff, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/linda-ronstadt-day-sf-19561657.php\">told the \u003ci>San Francisco Chronicle\u003c/i>\u003c/a> the suggestion for recognition came from local fans, and prompted the Supervisor’s team to start blasting Ronstadt hits in the office.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>San Francisco’s declaration comes just a few months after the announcement of a \u003ca href=\"https://www.kqed.org/arts/13940378/linda-ronstadt-biopic-selena-gomez\">forthcoming Linda Ronstadt biopic\u003c/a> starring Selena Gomez. The film, based on Ronstadt’s 2013 memoir \u003ci>Simple Dreams\u003c/i>, will be produced by John Boylan, Ronstadt’s manager, and James Keach, producer of the 2019 documentary \u003ci>Linda Ronstadt: The Sound of My Voice\u003c/i>. (Dramatic opportunities abound: In the 1970s and 1980s, Ronstadt was in high-profile romantic relationships with both Governor Jerry Brown and Star Wars director George Lucas.)\u003c/p>\n\u003cp>July 15 will recognize Ronstadt “for her amazing contributions to American culture, preservation of Mexican American heritage, and advancing social justice,” concludes the pronouncement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And most importantly: “The Board wishes Ms. Ronstadt a very happy birthday.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Missy “Misdemeanor” Elliott done told us: she is supa fly. Supa dupa fly. So it was no surprise the hip-hop icon soared to stratospheric heights throughout her \u003cem>Out of This World\u003c/em> tour stop in front of a nearly sold-out crowd at Oakland Arena on Tuesday, July 9.\u003c/p>\n\u003cp>In her long-awaited first headlining tour, Missy kept her promise that there would be “no tour like it.” The unique mind that hatched her mold-breaking hit albums and videos across her 30-year career made sure Spaceship757 (the area code of her hometown of Portsmouth, Virginia) landed with all the bells, whistles, hydraulics and pyrotechnics.\u003c/p>\n\u003cp>I appreciate when an artist \u003cem>commits\u003c/em> to a theme for their show. From the simulated spaceship landing on the big screen, enhanced with smoke machines, to \u003cem>Star Wars\u003c/em>-style scrolling messages — Missy went all in.\u003c/p>\n\u003cp>If you’ve ever been to a Cirque du Soleil show, you can tell Missy’s been taking a few notes from the world-renowned circus troupe. Her set starts with a jester-like host informing us of the 75-minute journey we’re about to take. He continues to pop up throughout the night to guide the audience from “planet” to “planet” — or set change to set change.\u003c/p>\n\u003cfigure id=\"attachment_13961102\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13961102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs at the Oakland Arena on July 8, 2024. \u003ccite>(Alexis Smith/crowdMGMT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Missy emerged through the spaceship smoke in a sparkly yellow and silver outfit and helmet to open with her 2019 song “Throw It Back” — though it took a minute to register that. The arena’s sound throughout the entire night wasn’t great; certain songs, like that one, at times sounded more blown out than others. But that didn’t dampen the energy one bit, as the crowd went crazy and her 22 dancers flooded the stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Audience members got special wristbands at the door, and as the music played we got to see what they were there to do: They lit up in different colors to the beat. At any given moment, there was a sea of purple or green or red-then-orange lights. It was a dope touch. When she hit the verse “Missy in this bitch / doin’ shit you ain’t never seen” during “Cool Off,” I agreed wholeheartedly. \u003c/p>\n\u003cp>[aside postid='arts_13960206']Over the course of the 32-song setlist, the set and costume changes were smooth and seamless. Missy tapped longtime collaborator and celebrity stylist June Ambrose for her costumes, and every look and scene was \u003cem>a moment\u003c/em>. My favorite section was the dark, stormy planet that took us into “Rain (Supa Dupa Fly)” featuring a high fashion riff on Missy’s famous trash bag look. (That section also featured Missy’s fiery track “She’s a Bitch,” which was most recently sampled by Cardi B.)\u003c/p>\n\u003cp>At one point Missy and two dancers took flight on a platform during “Gossip Folks.” Later she’d do a lap around the arena, shaking hands while rapping during her megahit “Work It.”\u003c/p>\n\u003cfigure id=\"attachment_13960872\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg\" alt=\"Missy Elliott performs wearing a graffiti-printed bodysuit and balaclava, surrounded by dancers. \" width=\"1024\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-768x551.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs onstage during the 65th GRAMMY Awards at Crypto.com Arena on February 05, 2023 in Los Angeles, California. \u003ccite>(Michael Kovac/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter what hit song she was performing or what moving set-piece was lifting and lowering her, one thing was very apparent: Missy was having FUN. Her choreography was dialed in, and you could see and feel the confidence that makes her \u003cem>Missy Elliott\u003c/em>. The show felt triumphant (and deserving of a Las Vegas residency).\u003c/p>\n\u003cp>During a moment with the audience, she said, “I want y’all to know that I don’t take you for granted,” noting that everyone on the tour — Ciara, Busta Rhymes and Timbaland — have been making music for 20 or more years. \u003c/p>\n\u003cp>Earlier in the night, R&B star Ciara delivered a high-octane set with nonstop choreography and efficiently served up hits like “Goodies,” “Ride,” “Body Party” and “1,2 Step.” Towards the end of her set, she took a moment to show special affection for the Bay Area, telling the Oakland crowd “this is the town that helped put me on the map” when she started 20 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13961104\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg\" alt=\"\" width=\"1536\" height=\"1920\" class=\"size-full wp-image-13961104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1229x1536.jpg 1229w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Ciara performs at the Oakland Arena on July 8, 2024. \u003ccite>(Priscilla Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She was followed by hip-hop legend Busta Rhymes, who managed to be both high energy and underwhelming. Some of that was the poor sound quality, to be fair. Otherwise, there was a lot of chatter and a heavy emphasis on his 2000s hits. Beat-wise, I suppose it fit the outer space theme, but left me wanting him to “Gimme Some More” — literally. But we did get an attempt at a Journey sing-a-long… for the Bay? It fell flat. In other news, his partner-in-rhyme Spliff Star is still one of the best hype men in the game. [aside postid='arts_13959969']\u003c/p>\n\u003cp>To close the show, Missy’s co-stars emerged one by one — Timbaland to perform their classic “Up Jumps the Boogie”; Busta Rhymes to perform his song “Touch It” with her; and lastly Ciara to bring it home with her feature on “Lose Control.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After they all took a bow, Missy was left alone on stage. A smoky, lit-up platform raised her in the air and — \u003cem>poof\u003c/em>! She was gone. But the feeling of awe, satisfaction and gratitude for the journey to Planet Missy certainly was not.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Missy “Misdemeanor” Elliott done told us: she is supa fly. Supa dupa fly. So it was no surprise the hip-hop icon soared to stratospheric heights throughout her \u003cem>Out of This World\u003c/em> tour stop in front of a nearly sold-out crowd at Oakland Arena on Tuesday, July 9.\u003c/p>\n\u003cp>In her long-awaited first headlining tour, Missy kept her promise that there would be “no tour like it.” The unique mind that hatched her mold-breaking hit albums and videos across her 30-year career made sure Spaceship757 (the area code of her hometown of Portsmouth, Virginia) landed with all the bells, whistles, hydraulics and pyrotechnics.\u003c/p>\n\u003cp>I appreciate when an artist \u003cem>commits\u003c/em> to a theme for their show. From the simulated spaceship landing on the big screen, enhanced with smoke machines, to \u003cem>Star Wars\u003c/em>-style scrolling messages — Missy went all in.\u003c/p>\n\u003cp>If you’ve ever been to a Cirque du Soleil show, you can tell Missy’s been taking a few notes from the world-renowned circus troupe. Her set starts with a jester-like host informing us of the 75-minute journey we’re about to take. He continues to pop up throughout the night to guide the audience from “planet” to “planet” — or set change to set change.\u003c/p>\n\u003cfigure id=\"attachment_13961102\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13961102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs at the Oakland Arena on July 8, 2024. \u003ccite>(Alexis Smith/crowdMGMT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Missy emerged through the spaceship smoke in a sparkly yellow and silver outfit and helmet to open with her 2019 song “Throw It Back” — though it took a minute to register that. The arena’s sound throughout the entire night wasn’t great; certain songs, like that one, at times sounded more blown out than others. But that didn’t dampen the energy one bit, as the crowd went crazy and her 22 dancers flooded the stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Audience members got special wristbands at the door, and as the music played we got to see what they were there to do: They lit up in different colors to the beat. At any given moment, there was a sea of purple or green or red-then-orange lights. It was a dope touch. When she hit the verse “Missy in this bitch / doin’ shit you ain’t never seen” during “Cool Off,” I agreed wholeheartedly. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over the course of the 32-song setlist, the set and costume changes were smooth and seamless. Missy tapped longtime collaborator and celebrity stylist June Ambrose for her costumes, and every look and scene was \u003cem>a moment\u003c/em>. My favorite section was the dark, stormy planet that took us into “Rain (Supa Dupa Fly)” featuring a high fashion riff on Missy’s famous trash bag look. (That section also featured Missy’s fiery track “She’s a Bitch,” which was most recently sampled by Cardi B.)\u003c/p>\n\u003cp>At one point Missy and two dancers took flight on a platform during “Gossip Folks.” Later she’d do a lap around the arena, shaking hands while rapping during her megahit “Work It.”\u003c/p>\n\u003cfigure id=\"attachment_13960872\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg\" alt=\"Missy Elliott performs wearing a graffiti-printed bodysuit and balaclava, surrounded by dancers. \" width=\"1024\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-768x551.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs onstage during the 65th GRAMMY Awards at Crypto.com Arena on February 05, 2023 in Los Angeles, California. \u003ccite>(Michael Kovac/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter what hit song she was performing or what moving set-piece was lifting and lowering her, one thing was very apparent: Missy was having FUN. Her choreography was dialed in, and you could see and feel the confidence that makes her \u003cem>Missy Elliott\u003c/em>. The show felt triumphant (and deserving of a Las Vegas residency).\u003c/p>\n\u003cp>During a moment with the audience, she said, “I want y’all to know that I don’t take you for granted,” noting that everyone on the tour — Ciara, Busta Rhymes and Timbaland — have been making music for 20 or more years. \u003c/p>\n\u003cp>Earlier in the night, R&B star Ciara delivered a high-octane set with nonstop choreography and efficiently served up hits like “Goodies,” “Ride,” “Body Party” and “1,2 Step.” Towards the end of her set, she took a moment to show special affection for the Bay Area, telling the Oakland crowd “this is the town that helped put me on the map” when she started 20 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13961104\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg\" alt=\"\" width=\"1536\" height=\"1920\" class=\"size-full wp-image-13961104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1229x1536.jpg 1229w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Ciara performs at the Oakland Arena on July 8, 2024. \u003ccite>(Priscilla Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She was followed by hip-hop legend Busta Rhymes, who managed to be both high energy and underwhelming. Some of that was the poor sound quality, to be fair. Otherwise, there was a lot of chatter and a heavy emphasis on his 2000s hits. Beat-wise, I suppose it fit the outer space theme, but left me wanting him to “Gimme Some More” — literally. But we did get an attempt at a Journey sing-a-long… for the Bay? It fell flat. In other news, his partner-in-rhyme Spliff Star is still one of the best hype men in the game. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To close the show, Missy’s co-stars emerged one by one — Timbaland to perform their classic “Up Jumps the Boogie”; Busta Rhymes to perform his song “Touch It” with her; and lastly Ciara to bring it home with her feature on “Lose Control.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After they all took a bow, Missy was left alone on stage. A smoky, lit-up platform raised her in the air and — \u003cem>poof\u003c/em>! She was gone. But the feeling of awe, satisfaction and gratitude for the journey to Planet Missy certainly was not.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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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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"id": "code-switch-life-kit",
"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": {
"site": "radio",
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},
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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": {
"site": "news",
"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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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"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.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "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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"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",
"meta": {
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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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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"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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"source": "npr"
},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"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",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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