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This unearthed material, found in hampton’s home decades later, shows how complicated the gleam of rap’s golden age was even before it was minted.\u003c/p>\n\u003cp>The director’s visual memoir, which premiered at the 2024 Tribeca Film Festival, is a selection of roving snapshots of life from 1993 to 1995, a pivotal period when Dr. Dre’s \u003cem>The Chronic\u003c/em> stamped the flag in the West Coast and the \u003ca href=\"https://www.kqed.org/arts/13847666/hip-hop-deserves-that-respect-honoring-the-notorious-b-i-g-wu-tang-clan-in-nyc\">Notorious B.I.G.\u003c/a>’s \u003cem>Ready To Die\u003c/em> was the answer from the East, when the genre itself was transitioning from being a Black cultural dialogue to a money-making, mainstream fascination. It’s also when rap feminist foremothers were the fledglings weeding through a messy love-hate relationship timeline with the artform.\u003c/p>\n\u003cp>[aside postid='arts_13932030']During this time, new acts were popping up everywhere and hampton was getting all the footage she could. Before they were prolific rap icons or masters behind the boards, they were as hampton writes later, “kamikazee capitalists who just happened to be teenagers,” young men and women making sense out of the world. The film welcomes the viewer into intimate, informal interviews with Notorious B.I.G, Snoop Dogg and Method Man, smirked, bright-eyed faces of artists who would become bonafide stars way before their hip-hop or Hollywood personas were cemented.\u003c/p>\n\u003cp>With roots in hip-hop journalism, hampton (who stylizes her name in all lowercase as a nod to Black feminist bell hooks) is a writer, producer and filmmaker who’s penned influential pieces about music and culture for \u003cem>The Village Voice\u003c/em>, \u003cem>Vibe\u003c/em>, \u003cem>The Source\u003c/em> and more. She has positioned her lens to cover movements of both subjugation and liberation, including the award-winning documentaries \u003ca href=\"https://www.kqed.org/pop/109568/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-supported-the-star\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a> and \u003cem>Ladies First: A Story of Women in Hip-Hop\u003c/em>.\u003c/p>\n\u003cp>Though the exclusivity of the classic material is the draw, \u003cem>It Was All a Dream \u003c/em>stands out for another reason. By partially making herself the subject of the doc, hampton does what few artists ever have the courage or humility to do: show their first drafts. Though the narration of the film is pulled from articles she’d written in the same time period — eloquent words that now feel like sacred texts of early hip-hop feminist theory — the footage shows a much less incisive critic. It’s a period when hampton was a film student at NYU and, just as her subjects, still figuring it out as she went.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>[aside postid='arts_13934460']hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>[aside postid='arts_13927349']These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the film promises never-before-seen footage of hip-hop greats, \u003cem>It Was All a Dream \u003c/em>is really a nostalgic, nascent Trojan horse, one that shows the important, imperfect, initial seed-sowing of the deeper questions we’re still tilling as a hip-hop culture today.\u003c/p>\n\u003chr>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During this time, new acts were popping up everywhere and hampton was getting all the footage she could. Before they were prolific rap icons or masters behind the boards, they were as hampton writes later, “kamikazee capitalists who just happened to be teenagers,” young men and women making sense out of the world. The film welcomes the viewer into intimate, informal interviews with Notorious B.I.G, Snoop Dogg and Method Man, smirked, bright-eyed faces of artists who would become bonafide stars way before their hip-hop or Hollywood personas were cemented.\u003c/p>\n\u003cp>With roots in hip-hop journalism, hampton (who stylizes her name in all lowercase as a nod to Black feminist bell hooks) is a writer, producer and filmmaker who’s penned influential pieces about music and culture for \u003cem>The Village Voice\u003c/em>, \u003cem>Vibe\u003c/em>, \u003cem>The Source\u003c/em> and more. She has positioned her lens to cover movements of both subjugation and liberation, including the award-winning documentaries \u003ca href=\"https://www.kqed.org/pop/109568/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-supported-the-star\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a> and \u003cem>Ladies First: A Story of Women in Hip-Hop\u003c/em>.\u003c/p>\n\u003cp>Though the exclusivity of the classic material is the draw, \u003cem>It Was All a Dream \u003c/em>stands out for another reason. By partially making herself the subject of the doc, hampton does what few artists ever have the courage or humility to do: show their first drafts. Though the narration of the film is pulled from articles she’d written in the same time period — eloquent words that now feel like sacred texts of early hip-hop feminist theory — the footage shows a much less incisive critic. It’s a period when hampton was a film student at NYU and, just as her subjects, still figuring it out as she went.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the film promises never-before-seen footage of hip-hop greats, \u003cem>It Was All a Dream \u003c/em>is really a nostalgic, nascent Trojan horse, one that shows the important, imperfect, initial seed-sowing of the deeper questions we’re still tilling as a hip-hop culture today.\u003c/p>\n\u003chr>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was a scene straight out of the Apollo Theater: A full band on stage, vamping a steady groove. Two female backup singers approaching the mic with a singing chant: “Cell-ski… Cell-ski…” And then, walking in from the wings and past the rhythm section, Cellski himself, launching into “It’s On,” the first track from his 1994 album \u003cem>Mr. Predicter\u003c/em>. \u003c/p>\n\u003cp>It was a February night earlier this year at a packed-to-the-gills Brick & Mortar Music Hall in San Francisco, but with the band in the pocket and Cellski on his game — and the crowd in the palm of his hand — the show felt timeless. \u003c/p>\n\u003cp>[aside postID='arts_13922141']Now, Cellski’s back for a victory lap, and he’s bringing a lineup of rap veterans along. When he performs in San Francisco on Saturday, he’ll be joined by C-Bo, Dru Down, RBL Posse, D-Lo, J Stalin, B-Legit, Ramirez 187 and other special guests. \u003c/p>\n\u003cp>And then there’s the band, the \u003ca href=\"https://www.instagram.com/topchefsband/\">Top Chefs\u003c/a>, a tight ensemble of younger musicians from the Frisco collective \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a>. Part of what made the February show a success was its cross-generational aspect: today’s upcoming hip-hop artists backing up the legends and soaking up game.\u003c/p>\n\u003cp>With so many guests on this weekend’s bill, it’s unclear whether Cellski will perform \u003cem>Mr. Predicter\u003c/em> in its entirety, as he recently did to celebrate its 30th anniversary. But expect hits from the canon of San Francisco rap, tributes to the recently departed Lakeview rapper \u003ca href=\"https://www.youtube.com/watch?v=RfHv9mNs98Y\">Baldhead Rick\u003c/a>, and Cellski, a true street legend, leading the party. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Cellski performs with the Top Chefs and a slate of guests on Saturday, June 15, at the Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/chemical-baby-presents-cellski-friends-101696\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a scene straight out of the Apollo Theater: A full band on stage, vamping a steady groove. Two female backup singers approaching the mic with a singing chant: “Cell-ski… Cell-ski…” And then, walking in from the wings and past the rhythm section, Cellski himself, launching into “It’s On,” the first track from his 1994 album \u003cem>Mr. Predicter\u003c/em>. \u003c/p>\n\u003cp>It was a February night earlier this year at a packed-to-the-gills Brick & Mortar Music Hall in San Francisco, but with the band in the pocket and Cellski on his game — and the crowd in the palm of his hand — the show felt timeless. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, Cellski’s back for a victory lap, and he’s bringing a lineup of rap veterans along. When he performs in San Francisco on Saturday, he’ll be joined by C-Bo, Dru Down, RBL Posse, D-Lo, J Stalin, B-Legit, Ramirez 187 and other special guests. \u003c/p>\n\u003cp>And then there’s the band, the \u003ca href=\"https://www.instagram.com/topchefsband/\">Top Chefs\u003c/a>, a tight ensemble of younger musicians from the Frisco collective \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a>. Part of what made the February show a success was its cross-generational aspect: today’s upcoming hip-hop artists backing up the legends and soaking up game.\u003c/p>\n\u003cp>With so many guests on this weekend’s bill, it’s unclear whether Cellski will perform \u003cem>Mr. Predicter\u003c/em> in its entirety, as he recently did to celebrate its 30th anniversary. But expect hits from the canon of San Francisco rap, tributes to the recently departed Lakeview rapper \u003ca href=\"https://www.youtube.com/watch?v=RfHv9mNs98Y\">Baldhead Rick\u003c/a>, and Cellski, a true street legend, leading the party. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Cellski performs with the Top Chefs and a slate of guests on Saturday, June 15, at the Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/chemical-baby-presents-cellski-friends-101696\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "sanctuary-play-san-francisco-black-queer-joy-church-dance-mission-theater",
"title": "New Ways of Expressing Black Queer Joy In the Church",
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"content": "\u003cfigure id=\"attachment_13959660\" class=\"wp-caption aligncenter\" style=\"max-width: 1228px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13959660 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09%E2%80%AFAM.png\" alt=\"Singer and thespian, 3LISE, with a fierce black church hat and purple fan.\" width=\"1228\" height=\"1628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM.png 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-800x1061.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-1020x1352.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-768x1018.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-1159x1536.png 1159w\" sizes=\"(max-width: 1228px) 100vw, 1228px\">\u003cfigcaption class=\"wp-caption-text\">Singer and thespian 3LISE is the music director and songwriter for the play, ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a performance at The Chapel a couple years ago, singer ASTU was in the middle of performing the song “\u003ca href=\"https://www.youtube.com/watch?v=EOaSD7_vlAU\">G4U\u003c/a>” when their band broke into a gospel melody. Still in performance mode, ASTU called folks to the front of the venue — and the crowd responded.\u003c/p>\n\u003cp>“We had all these Black gay girls twerking to gospel music,” ASTU reflects, on a recent phone call. “I’m like, ‘This is church, \u003cem>literally\u003c/em>.’ People were just totally free. It was an incredible feeling.”\u003c/p>\n\u003cfigure id=\"attachment_13959663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13959663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29%E2%80%AFAM-800x1066.png\" alt=\"Jaz on Drums at a rehearsal for the play, Sanctuary. \" width=\"800\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-800x1066.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-1020x1359.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-768x1023.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-1153x1536.png 1153w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM.png 1234w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jaz on Drums at a rehearsal for the play ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling inspired the new play ‘\u003cem>\u003ca href=\"https://www.eventbrite.com/e/sanctuary-tickets-available-for-friday-june-14th-saturday-june-15th-tickets-893723831037?\">Sanctuary\u003c/a>\u003c/em>,’ a musical journey through church and spirituality that’s steeped in Afro-fantasy and queer joy. The story, written by \u003ca href=\"https://www.instagram.com/astu.music/\" target=\"_blank\" rel=\"noopener\">ASTU\u003c/a> and \u003ca href=\"https://www.instagram.com/isntshelovey/\">Lovey\u003c/a> and made possible by a grant from the \u003ca href=\"https://18thstreet.org/californiacreativecorps/#ASTU\">18th Street Arts Center\u003c/a> and support from \u003ca href=\"https://www.sfcenter.org/\">SF LGBT Center\u003c/a>, features original music from ASTU, \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/\">AroMa\u003c/a> and \u003ca href=\"https://www.instagram.com/3lisemusic/\">3LISE\u003c/a>\u003c/p>\n\u003cp>“The message,” ASTU says, “is that we start in victory. On top, in the church.” Part of reimagining spirituality through the church, they explain, is uplifting the idea of coming from abundance, not from a deficit. And with that, the ways in which we connect with the divine can shift.\u003c/p>\n\u003cp>[aside postID='arts_13825157']“In the Black church,” says ASTU, “music has been something that has saved us, across the diaspora.” As a former preacher who stepped away from the family practice to pursue their own dream, ASTU says they still enjoy the music — they will literally throw their hands in the air while dancing to gospel. “It just frees you,” ASTU says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And they’re clear that showing a new way to express joy in the church — like twerking — might ruffle some feathers. But that’s not going to stop them from doing it. “To reclaim that space as a gay Black femme person, there’s something incredible about that,” says ASTU.\u003c/p>\n\u003cfigure id=\"attachment_13959665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13959665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53%E2%80%AFAM-800x596.png\" alt=\"A behind the scenes shot of Wesley Leonx, Mia Pixley, and Chanelle Ignant rehearsing for the play 'Sanctuary.' \" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-800x596.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1020x760.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1536x1145.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-2048x1527.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1920x1431.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A behind-the-scenes shot of Wesley Leonx, Mia Pixley and Chanelle Ignant rehearsing for the play ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, as in life, there will be moments of both pain and joy. But what matters in the end is surrendering to ourselves, finding peace and honoring all of the parts of ourselves, says ASTU: “That’s kind of the journey we go on throughout the play.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sanctuary’ runs Friday and Saturday, June 14 and 15, at \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a> in San Francisco. Admission is free. \u003ca href=\"https://dancemissiontheater.org/2024/04/18/june-14-15-sanctuary/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "'Sanctuary' Explores New Expressions of Black Queer Joy In the Church | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959660\" class=\"wp-caption aligncenter\" style=\"max-width: 1228px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13959660 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09%E2%80%AFAM.png\" alt=\"Singer and thespian, 3LISE, with a fierce black church hat and purple fan.\" width=\"1228\" height=\"1628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM.png 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-800x1061.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-1020x1352.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-160x212.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-768x1018.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-9.52.09 AM-1159x1536.png 1159w\" sizes=\"(max-width: 1228px) 100vw, 1228px\">\u003cfigcaption class=\"wp-caption-text\">Singer and thespian 3LISE is the music director and songwriter for the play, ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a performance at The Chapel a couple years ago, singer ASTU was in the middle of performing the song “\u003ca href=\"https://www.youtube.com/watch?v=EOaSD7_vlAU\">G4U\u003c/a>” when their band broke into a gospel melody. Still in performance mode, ASTU called folks to the front of the venue — and the crowd responded.\u003c/p>\n\u003cp>“We had all these Black gay girls twerking to gospel music,” ASTU reflects, on a recent phone call. “I’m like, ‘This is church, \u003cem>literally\u003c/em>.’ People were just totally free. It was an incredible feeling.”\u003c/p>\n\u003cfigure id=\"attachment_13959663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13959663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29%E2%80%AFAM-800x1066.png\" alt=\"Jaz on Drums at a rehearsal for the play, Sanctuary. \" width=\"800\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-800x1066.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-1020x1359.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-768x1023.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM-1153x1536.png 1153w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.03.29 AM.png 1234w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jaz on Drums at a rehearsal for the play ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling inspired the new play ‘\u003cem>\u003ca href=\"https://www.eventbrite.com/e/sanctuary-tickets-available-for-friday-june-14th-saturday-june-15th-tickets-893723831037?\">Sanctuary\u003c/a>\u003c/em>,’ a musical journey through church and spirituality that’s steeped in Afro-fantasy and queer joy. The story, written by \u003ca href=\"https://www.instagram.com/astu.music/\" target=\"_blank\" rel=\"noopener\">ASTU\u003c/a> and \u003ca href=\"https://www.instagram.com/isntshelovey/\">Lovey\u003c/a> and made possible by a grant from the \u003ca href=\"https://18thstreet.org/californiacreativecorps/#ASTU\">18th Street Arts Center\u003c/a> and support from \u003ca href=\"https://www.sfcenter.org/\">SF LGBT Center\u003c/a>, features original music from ASTU, \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/\">AroMa\u003c/a> and \u003ca href=\"https://www.instagram.com/3lisemusic/\">3LISE\u003c/a>\u003c/p>\n\u003cp>“The message,” ASTU says, “is that we start in victory. On top, in the church.” Part of reimagining spirituality through the church, they explain, is uplifting the idea of coming from abundance, not from a deficit. And with that, the ways in which we connect with the divine can shift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“In the Black church,” says ASTU, “music has been something that has saved us, across the diaspora.” As a former preacher who stepped away from the family practice to pursue their own dream, ASTU says they still enjoy the music — they will literally throw their hands in the air while dancing to gospel. “It just frees you,” ASTU says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And they’re clear that showing a new way to express joy in the church — like twerking — might ruffle some feathers. But that’s not going to stop them from doing it. “To reclaim that space as a gay Black femme person, there’s something incredible about that,” says ASTU.\u003c/p>\n\u003cfigure id=\"attachment_13959665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13959665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53%E2%80%AFAM-800x596.png\" alt=\"A behind the scenes shot of Wesley Leonx, Mia Pixley, and Chanelle Ignant rehearsing for the play 'Sanctuary.' \" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-800x596.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1020x760.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1536x1145.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-2048x1527.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screenshot-2024-06-12-at-10.18.53 AM-1920x1431.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A behind-the-scenes shot of Wesley Leonx, Mia Pixley and Chanelle Ignant rehearsing for the play ‘Sanctuary.’ \u003ccite>(pejamane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, as in life, there will be moments of both pain and joy. But what matters in the end is surrendering to ourselves, finding peace and honoring all of the parts of ourselves, says ASTU: “That’s kind of the journey we go on throughout the play.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sanctuary’ runs Friday and Saturday, June 14 and 15, at \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a> in San Francisco. Admission is free. \u003ca href=\"https://dancemissiontheater.org/2024/04/18/june-14-15-sanctuary/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-laundromat-pizza-outer-richmond-musicians-bands-staff",
"title": "Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond",
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"content": "\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection; dough and industry advice are thrown and caught; band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection; dough and industry advice are thrown and caught; band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\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>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With painfully beautiful lyrics strewn over dark and sultry keys and a coarse drum pattern, the song “Trials,” off of East Oakland R&B singer \u003ca href=\"https://www.instagram.com/shante_music/\">Shanté\u003c/a>’s new album \u003cem>Smile\u003c/em> is a blues song. It’s not a juke joint blues song. It’s more like the blues someone might sing while doing their hair in the bathroom mirror, smoking a joint and reflecting on life.\u003c/p>\n\u003cp>“That’s exactly what I was doing when I wrote it, too,” Shanté tells me during a recent video phone call. Laughter erupts as she continues, “I swear, the crazy thing is, some of those songs on \u003cem>Smile\u003c/em> were written maybe a month or two before I actually recorded them.” She pauses as her son, a one-and-a-half-year-old named Noel, shoves a children’s book in her face.\u003c/p>\n\u003cp>“And when I did record them,” Shanté continues, “the lyrics hit harder because I was actually going through it.”\u003c/p>\n\u003cfigure id=\"attachment_13959498\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F.jpg\" alt=\"Shanté looks off to the viewers right as she poses for a photo while wearing a dress, hoop earrings and an afro.\" width=\"1067\" height=\"1608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F-1020x1537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F-1019x1536.jpg 1019w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">‘What I feel is what I write,’ says R&B singer Shanté. \u003ccite>(Sydney Welch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Smile\u003c/em>, a seven-track project, produced by \u003ca href=\"https://hokagesimon.com/pages/credits-2\">Hokage Simon\u003c/a> with a feature from East Oakland’s \u003ca href=\"https://www.instagram.com/ovrkast/?hl=en\">OVRKAST.\u003c/a> and her cover version of LaRussell’s “\u003ca href=\"https://www.youtube.com/watch?v=0S_MNxQ8s2s\">I Wont Leave\u003c/a>,” dropped last week. It’s Shanté’s second full album, and the project gives listeners a window into more than the trials she’s faced; it speaks on how she’s overcome them as well.\u003c/p>\n\u003cp>The album starts with “IM Ngl,” a soulfully brash song that shows that artist at her wits end. “Niggas got me fucked up, bitches got me fucked up,” she sings from the precipice of crashing out over stress. “Hold up, let me smoke this blunt,” she bellows, hitting a note so intimate it makes the listener feel like they’re sitting shotgun in the car, passing Shanté the lighter as she vents.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The next song, “Blur” provides a taste of the other end of the melodic spectrum, allowing Shanté to float over a brighter uptempo track. In “Chosen,” she shares optimistic lessons passed on to her by Tupac. And on the track “Idk,” she harmonizes, almost scatting as she shows love to the soil raised her: “Go on and on / from the Bay where we do our thang, it go like ya-did-da.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A4pTsweN3uk\u003c/p>\n\u003cp>The daughter of a Kenyan mother and an African American father from Berkeley, Shanté was raised by her grandmother. “I learned a lot from her, especially through music,” she says, reflecting on how her grandmother would dance and sing with her. “She’d always just let me be free.”\u003c/p>\n\u003cp>Although her grandmother passed in 2022, Shanté still feels her presence, especially when making music. “I pray before I record,” she says. “And every time I’m in the studio, I feel like she’s there to encourage me and motivate me.”\u003c/p>\n\u003cp>Spirituality is Shanté’s chosen method to dealing with the madness. In this project she traverses trauma by retaining a clear connection to the higher power, and through her music she allows audiences to ear hustle on her spiritual downloads. “When I do write about the higher power,” says Shanté, “it comes from my higher self.” Her intention isn’t to teach, but to remind herself of her own potential. “So, most of the time I’m talking to myself,” she says.\u003c/p>\n\u003cp>On cue, her son knocks something over in the distance and Shanté lets out an “ay-yi-yi” of exhaustion. At 20, she’s juggling being a young parent with a burgeoning career that has gained her thousands of fans across platforms and allowed her to work with some highly notable artists. And still, when asked about the intention of her work, she’s clear on who this is for.\u003c/p>\n\u003cp>“First of all,” says Shanté, refocusing on the conversation, “it’s really for me. Because I love music, that’s how I express myself.”\u003c/p>\n\u003cp>Singing is something she’s done since she was a kid at grandma’s house. It was something she did as a teen, hitting open mics and performing at venues around the Bay. And now as a young adult she uses the art as a valve, sometimes connecting with the higher power and other times singing about the lows of the blues.\u003c/p>\n\u003cp>Melodically vocalizing the ups and downs of the human experience, her music becomes as relatable as the process of doing your hair, looking in the mirror and reflecting on life.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Shanté’s album ‘Smile’ is available on all streaming services. \u003ca href=\"https://linktr.ee/shantemusic_\">Click here for more information\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With painfully beautiful lyrics strewn over dark and sultry keys and a coarse drum pattern, the song “Trials,” off of East Oakland R&B singer \u003ca href=\"https://www.instagram.com/shante_music/\">Shanté\u003c/a>’s new album \u003cem>Smile\u003c/em> is a blues song. It’s not a juke joint blues song. It’s more like the blues someone might sing while doing their hair in the bathroom mirror, smoking a joint and reflecting on life.\u003c/p>\n\u003cp>“That’s exactly what I was doing when I wrote it, too,” Shanté tells me during a recent video phone call. Laughter erupts as she continues, “I swear, the crazy thing is, some of those songs on \u003cem>Smile\u003c/em> were written maybe a month or two before I actually recorded them.” She pauses as her son, a one-and-a-half-year-old named Noel, shoves a children’s book in her face.\u003c/p>\n\u003cp>“And when I did record them,” Shanté continues, “the lyrics hit harder because I was actually going through it.”\u003c/p>\n\u003cfigure id=\"attachment_13959498\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F.jpg\" alt=\"Shanté looks off to the viewers right as she poses for a photo while wearing a dress, hoop earrings and an afro.\" width=\"1067\" height=\"1608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F-1020x1537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/2C7F7D6A-3890-417B-9C6B-CD63970B8D8F-1019x1536.jpg 1019w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">‘What I feel is what I write,’ says R&B singer Shanté. \u003ccite>(Sydney Welch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Smile\u003c/em>, a seven-track project, produced by \u003ca href=\"https://hokagesimon.com/pages/credits-2\">Hokage Simon\u003c/a> with a feature from East Oakland’s \u003ca href=\"https://www.instagram.com/ovrkast/?hl=en\">OVRKAST.\u003c/a> and her cover version of LaRussell’s “\u003ca href=\"https://www.youtube.com/watch?v=0S_MNxQ8s2s\">I Wont Leave\u003c/a>,” dropped last week. It’s Shanté’s second full album, and the project gives listeners a window into more than the trials she’s faced; it speaks on how she’s overcome them as well.\u003c/p>\n\u003cp>The album starts with “IM Ngl,” a soulfully brash song that shows that artist at her wits end. “Niggas got me fucked up, bitches got me fucked up,” she sings from the precipice of crashing out over stress. “Hold up, let me smoke this blunt,” she bellows, hitting a note so intimate it makes the listener feel like they’re sitting shotgun in the car, passing Shanté the lighter as she vents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The next song, “Blur” provides a taste of the other end of the melodic spectrum, allowing Shanté to float over a brighter uptempo track. In “Chosen,” she shares optimistic lessons passed on to her by Tupac. And on the track “Idk,” she harmonizes, almost scatting as she shows love to the soil raised her: “Go on and on / from the Bay where we do our thang, it go like ya-did-da.”\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/A4pTsweN3uk'\n title='//www.youtube.com/embed/A4pTsweN3uk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The daughter of a Kenyan mother and an African American father from Berkeley, Shanté was raised by her grandmother. “I learned a lot from her, especially through music,” she says, reflecting on how her grandmother would dance and sing with her. “She’d always just let me be free.”\u003c/p>\n\u003cp>Although her grandmother passed in 2022, Shanté still feels her presence, especially when making music. “I pray before I record,” she says. “And every time I’m in the studio, I feel like she’s there to encourage me and motivate me.”\u003c/p>\n\u003cp>Spirituality is Shanté’s chosen method to dealing with the madness. In this project she traverses trauma by retaining a clear connection to the higher power, and through her music she allows audiences to ear hustle on her spiritual downloads. “When I do write about the higher power,” says Shanté, “it comes from my higher self.” Her intention isn’t to teach, but to remind herself of her own potential. “So, most of the time I’m talking to myself,” she says.\u003c/p>\n\u003cp>On cue, her son knocks something over in the distance and Shanté lets out an “ay-yi-yi” of exhaustion. At 20, she’s juggling being a young parent with a burgeoning career that has gained her thousands of fans across platforms and allowed her to work with some highly notable artists. And still, when asked about the intention of her work, she’s clear on who this is for.\u003c/p>\n\u003cp>“First of all,” says Shanté, refocusing on the conversation, “it’s really for me. Because I love music, that’s how I express myself.”\u003c/p>\n\u003cp>Singing is something she’s done since she was a kid at grandma’s house. It was something she did as a teen, hitting open mics and performing at venues around the Bay. And now as a young adult she uses the art as a valve, sometimes connecting with the higher power and other times singing about the lows of the blues.\u003c/p>\n\u003cp>Melodically vocalizing the ups and downs of the human experience, her music becomes as relatable as the process of doing your hair, looking in the mirror and reflecting on life.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Shanté’s album ‘Smile’ is available on all streaming services. \u003ca href=\"https://linktr.ee/shantemusic_\">Click here for more information\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A lot of Bay Area salsa nights feature DJs spinning the classics by Celia Cruz and Willie Colón, so it’s a rare treat to see not one but three high-caliber ensembles playing both traditional and original music. On June 21, the art space MACLA (Movimiento de Arte y Cultura Latino Americana) and San Jose Jazz are hosting a free event with just that: \u003ca href=\"https://sanjosejazz.org/events/dia-de-san-juan/\">Día de San Juan Salsa Fest\u003c/a>, a celebration of Puerto Rican culture in downtown San Jose.\u003c/p>\n\u003cp>The family-friendly festival features long-running ensembles that expertly combine African and Indigenous rhythms: Latin Rhythm Boys, Orquesta Taino and La Mixta Criolla, with additional support from DJ Leydis. Parque de los Pobladores, a small park nestled between MACLA, the Institute of Contemporary Art and San Jose Museum of Quilts & Textiles, will become a dance floor when these acts perform from 5–10 p.m.\u003c/p>\n\u003cp>Día de San Juan Salsa Fest also promises family-friendly activities, dance lessons and Caribbean food.\u003c/p>\n\u003cp>It isn’t the only salsa offering coming up in San Jose this month. On June 10–14, the \u003ca href=\"https://queerafrolatindancefestival.com/\">Queer Afro Latin Dance Festival\u003c/a> arrives in San Jose, offering 60 gender-inclusive dance workshops in salsa and a variety of other genres, plus performances, discussions, dance parties and live salsa from Choco Orta and bachata from Johnny Sky. Unlike the Día de San Juan Salsa Fest, the Queer Afro Latin Dance Festival is ticketed, with pay-per-event options as well as festival passes for the entire week.\u003c/p>\n\u003cp>Whether you’re a dancer or head-nodding wallflower, there’s something to appreciate for Caribbean music lovers of all kinds during this wealth of cultural offerings in the South Bay.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://sanjosejazz.org/events/dia-de-san-juan/\">Día de San Juan Salsa Fest\u003c/a> takes place in Parque de los Pobladores in San Jose on June 21, 5–10 p.m. Free.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://queerafrolatindancefestival.com/tickets\">The Queer Afro Latin Dance Festival\u003c/a> takes place June 10–14. Dance workshops start at $25; concert tickets start at $75.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of Bay Area salsa nights feature DJs spinning the classics by Celia Cruz and Willie Colón, so it’s a rare treat to see not one but three high-caliber ensembles playing both traditional and original music. On June 21, the art space MACLA (Movimiento de Arte y Cultura Latino Americana) and San Jose Jazz are hosting a free event with just that: \u003ca href=\"https://sanjosejazz.org/events/dia-de-san-juan/\">Día de San Juan Salsa Fest\u003c/a>, a celebration of Puerto Rican culture in downtown San Jose.\u003c/p>\n\u003cp>The family-friendly festival features long-running ensembles that expertly combine African and Indigenous rhythms: Latin Rhythm Boys, Orquesta Taino and La Mixta Criolla, with additional support from DJ Leydis. Parque de los Pobladores, a small park nestled between MACLA, the Institute of Contemporary Art and San Jose Museum of Quilts & Textiles, will become a dance floor when these acts perform from 5–10 p.m.\u003c/p>\n\u003cp>Día de San Juan Salsa Fest also promises family-friendly activities, dance lessons and Caribbean food.\u003c/p>\n\u003cp>It isn’t the only salsa offering coming up in San Jose this month. On June 10–14, the \u003ca href=\"https://queerafrolatindancefestival.com/\">Queer Afro Latin Dance Festival\u003c/a> arrives in San Jose, offering 60 gender-inclusive dance workshops in salsa and a variety of other genres, plus performances, discussions, dance parties and live salsa from Choco Orta and bachata from Johnny Sky. Unlike the Día de San Juan Salsa Fest, the Queer Afro Latin Dance Festival is ticketed, with pay-per-event options as well as festival passes for the entire week.\u003c/p>\n\u003cp>Whether you’re a dancer or head-nodding wallflower, there’s something to appreciate for Caribbean music lovers of all kinds during this wealth of cultural offerings in the South Bay.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://sanjosejazz.org/events/dia-de-san-juan/\">Día de San Juan Salsa Fest\u003c/a> takes place in Parque de los Pobladores in San Jose on June 21, 5–10 p.m. Free.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s not too often that heavy hitters like The Pharcyde perform in a small Oakland storefront. The “Passin’ Me By” hitmakers led the West Coast’s alternative hip-hop scene of the ’90s along with Bay Area locals like Hieroglyphics, and on June 8 they headline HiiiWAV Fest, a free event that celebrates Black artistry and ingenuity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C7xkLd5PZoJ/\">HiiiWAV\u003c/a>, an Oakland nonprofit that connects artists with technology and entrepreneurial resources, is throwing the event in their 28th Street and Telegraph Avenue recording studio. In addition to the Pharcyde’s performance, legendary producer Just Blaze, who made hits with Jay-Z, Kanye West and Mariah Carey in the 2000s, will talk about his industry experience in a fireside chat.\u003c/p>\n\u003cp>Rounding out the bill is soulful vocalist and \u003ca href=\"https://www.kqed.org/arts/13909111/when-the-waters-get-deep-trailer-sol-development-oakland\">Sol Development\u003c/a> member SōLauren Adams; Honey Gold Jasmine, a rapper with hyphy beats and spiritual lyrics; Dame Drummer, an accomplished jazz percussionist who also makes uplifting neo-soul; Oakland School for the Arts’ Prospect Band; and HiiiWAV founder Bosko Kante.\u003c/p>\n\u003cp>Because this is a party with a purpose, HiiiWAV Fest also offers tech workshops, including one led by rapper and technologist Lance Coleman on AI. UC Berkeley Professor Nassirah Nelson will lead a Serato beatmaking master class. There’ll also be opportunities to check out out the Meta Quest 3 VR headset, the Ray-Ban Meta Smart Glasses and \u003ca href=\"https://youtu.be/qdeSqonbzPY?si=V_FbocXl6mao3b8G\">Kante’s invention\u003c/a>, the \u003ca href=\"https://www.electrospit.com/\">Electrospit\u003c/a>, an electronic talk box (imagine a iPhone-powered version of the funky, voice-controlled instrument made popular by Zapp & Roger).\u003c/p>\n\u003cp>DCisChillin will host, and DJ Darling Cool will be in the mix, getting the vibes right while attendees mingle.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>HiiiWAV Fest takes place on June 8, 12–5 p.m., at 2781 Telegraph Ave., Oakland. \u003ca href=\"https://www.eventbrite.com/e/welcome-to-hiiiwav-fest-2024-feat-the-pharcyde-just-blaze-afro-ai-tickets-883331828277?aff=odcleoeventsincollection\">Free with RSVP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not too often that heavy hitters like The Pharcyde perform in a small Oakland storefront. The “Passin’ Me By” hitmakers led the West Coast’s alternative hip-hop scene of the ’90s along with Bay Area locals like Hieroglyphics, and on June 8 they headline HiiiWAV Fest, a free event that celebrates Black artistry and ingenuity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C7xkLd5PZoJ/\">HiiiWAV\u003c/a>, an Oakland nonprofit that connects artists with technology and entrepreneurial resources, is throwing the event in their 28th Street and Telegraph Avenue recording studio. In addition to the Pharcyde’s performance, legendary producer Just Blaze, who made hits with Jay-Z, Kanye West and Mariah Carey in the 2000s, will talk about his industry experience in a fireside chat.\u003c/p>\n\u003cp>Rounding out the bill is soulful vocalist and \u003ca href=\"https://www.kqed.org/arts/13909111/when-the-waters-get-deep-trailer-sol-development-oakland\">Sol Development\u003c/a> member SōLauren Adams; Honey Gold Jasmine, a rapper with hyphy beats and spiritual lyrics; Dame Drummer, an accomplished jazz percussionist who also makes uplifting neo-soul; Oakland School for the Arts’ Prospect Band; and HiiiWAV founder Bosko Kante.\u003c/p>\n\u003cp>Because this is a party with a purpose, HiiiWAV Fest also offers tech workshops, including one led by rapper and technologist Lance Coleman on AI. UC Berkeley Professor Nassirah Nelson will lead a Serato beatmaking master class. There’ll also be opportunities to check out out the Meta Quest 3 VR headset, the Ray-Ban Meta Smart Glasses and \u003ca href=\"https://youtu.be/qdeSqonbzPY?si=V_FbocXl6mao3b8G\">Kante’s invention\u003c/a>, the \u003ca href=\"https://www.electrospit.com/\">Electrospit\u003c/a>, an electronic talk box (imagine a iPhone-powered version of the funky, voice-controlled instrument made popular by Zapp & Roger).\u003c/p>\n\u003cp>DCisChillin will host, and DJ Darling Cool will be in the mix, getting the vibes right while attendees mingle.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>HiiiWAV Fest takes place on June 8, 12–5 p.m., at 2781 Telegraph Ave., Oakland. \u003ca href=\"https://www.eventbrite.com/e/welcome-to-hiiiwav-fest-2024-feat-the-pharcyde-just-blaze-afro-ai-tickets-883331828277?aff=odcleoeventsincollection\">Free with RSVP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>This story is part of the series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]O[/dropcap]n a recent Sunday in June, thousands of fans watched rock en español legends La Maldita Vecindad at the first-ever \u003ca href=\"https://www.kqed.org/arts/13959079/photos-la-onda-festival-recap-napa\">Festival La Onda\u003c/a> held at the Napa Valley Expo.\u003c/p>\n\u003cp>Dressed head-to-toe in \u003ca href=\"https://www.bbc.com/travel/article/20230913-pachucos-the-latinx-subculture-that-defied-the-us\">old-school pachuco gear\u003c/a>, the band’s frontman Roco sang a verse from “Los Agachados,” an upbeat song dedicated to eating warm, delicious food while recovering from a hangover. On another stage, Yahritza y Su Esencia, a young group of Mexican American siblings from Washington state, dove into the chorus of “Soy el Único,” a soulful corrido of heartbreak.\u003c/p>\n\u003cp>[aside postID='arts_13955679']Meanwhile, fans ran back and forth, trying to hear both groups, underscoring a new reality about the exploding popularity of Latin music. Its listeners aren’t limited by one genre, be it regional mexicano, rock en español, reggaetón, Latin house or indie.\u003c/p>\n\u003cp>In other words, their musical taste is not a monolith — and neither are their politics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That hasn’t stopped both the Biden and Trump campaigns from \u003ca href=\"https://www.miamiherald.com/news/local/news-columns-blogs/fabiola-santiago/article287165135.html\">employing a one-size-fits-all strategy to court Latino voters\u003c/a>. Every four years, campaign managers and pundits talk about \u003ca href=\"https://www.kqed.org/news/11857451/deconstructing-the-latino-vote-myths-realities-and-missed-opportunities\">the “Latino vote,”\u003c/a> a mythical term meant to predict the political preferences of over 63 million people from a variety of nationalities, races, religions and lived experiences.\u003c/p>\n\u003cp>At La Onda, KQED spoke to dozens of music fans to better understand the variety of issues Latinos in California are balancing in this election year.\u003c/p>\n\u003cfigure id=\"attachment_13959185\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Arana poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When lifelong Napa resident Natalie Arana heard that a Latino music festival was coming to town, she immediately signed up for the ticket presale. “It made me very happy that they’re finally doing something for us. … We are honestly the ones that make this place run,” Arana said, referring to the wine industry’s largely Latino and Indigenous labor force, including many in her family.\u003c/p>\n\u003cp>Arana, who spoke to KQED while waiting with her husband and friends for Mexican pop star Danna Paola to begin her set, has been closely following the U.S. presidential election and said she already knows exactly how she will vote.\u003c/p>\n\u003cp>[aside postID='news_11977685']In 2017, her family was impacted when \u003ca href=\"https://www.nytimes.com/2020/06/19/us/politics/trump-daca.html\">Trump announced he would end the Deferred Action for Childhood Arrivals (DACA) program\u003c/a>, which provides temporary legal protections to certain undocumented immigrants who were brought to the U.S. while they were minors. “Not having DACA … that affects my husband,” she said, fearful of a Trump victory.\u003c/p>\n\u003cp>As president, Joe Biden has not threatened DACA but has also \u003ca href=\"https://www.politico.com/news/2023/09/13/judge-biden-version-of-daca-illegal-00115816\">failed to ensure permanent legal status for the 530,000 people still in the program\u003c/a>. Arana is now exploring other legal protections for her husband should Trump win in November. The stakes are too high not to take action, she said. “We have two babies.”\u003c/p>\n\u003cp>Arana finds it frustrating that other people choose not to vote. “People are not voting enough,” she said. “And that’s why people like him, who was \u003ca href=\"https://www.kqed.org/news/11988282/former-president-trump-is-found-guilty-in-historic-new-york-criminal-case\">found guilty for dozens of felonies\u003c/a>, are allowed to run for president.”\u003c/p>\n\u003cfigure id=\"attachment_13959181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959181\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Víctor García poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a DACA recipient, Víctor García can’t vote himself, but he’s making sure all his friends do.\u003c/p>\n\u003cp>“Right now, I’m just trying to vocalize what’s happening and tell people, ‘Hey, did you vote? Can you do something for us? We’re here as a community. We’re here to vibe with you guys. We’re here to do our life with you,’” García said.\u003c/p>\n\u003cp>García traveled all the way from the Central Valley for La Onda. For him, “having the Latino community come together this way, it’s amazing.” Standing next to him was his friend Erick Reyes, who said García has helped him better understand the different issues on the ballot this year.\u003c/p>\n\u003cfigure id=\"attachment_13959183\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Erick Reyes poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes said he’s often too busy working to follow every election issue but adds that his job in healthcare has taught him a lot about inequality. In the year and a half, since \u003ca href=\"https://calmatters.org/health/2023/01/hospital-closure/\">Madera County Hospital closed\u003c/a>, he’s witnessed the region’s farmworker families struggle to access basic necessary care.\u003c/p>\n\u003cp>Protecting healthcare services in rural communities matters as a political priority, Reyes said. And for people to get the healthcare they need, he added, “that depends on [what] is available to them.”\u003c/p>\n\u003cfigure id=\"attachment_13959196\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Alberto Ramirez poses for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a \u003ca href=\"https://www.npr.org/2023/12/06/1216150515/keffiyeh-hamas-palestinians-israel-gaza\">red keffiyeh draped over their shoulders\u003c/a>, Carlos Alberto Martínez — who came to La Onda from the East Bay with their partner and family — stands out from the crowd.\u003c/p>\n\u003cp>Martínez was a DACA recipient for several years until they became a citizen about a year ago. But now that they can vote, Martínez said, they’re not supporting any of the presidential candidates. “Biden’s trash … they’re all trash.”\u003c/p>\n\u003cp>“The Democrats haven’t done anything for us,” they said, adding that both the Biden and Obama administrations have deported hundreds of thousands of undocumented immigrants. Most recently, \u003ca href=\"https://apnews.com/article/biden-asylum-migration-immigration-mexico-border-dec5f83b468b5795479bf1f5e49799d5\">Biden announced significant restrictions on migrants seeking asylum\u003c/a> at the southern border.\u003c/p>\n\u003cp>“I have more against them than the Republicans because they’re the ones that failed us and actually had an opportunity,” Martínez said.\u003c/p>\n\u003cfigure id=\"attachment_13959180\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959180\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Cuellar (at right) dances with Yajaira Gonzalez at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vanessa Cuellar from San Francisco has a 10-year record of always voting in elections. But this year, the San Francisco resident said, she doesn’t feel the same passion.\u003c/p>\n\u003cp>“I haven’t been as engaged this year because of the genocide happening in Palestine,” Cuellar said, adding that daily news of \u003ca href=\"https://www.npr.org/2024/05/28/g-s1-1361/rafah-gaza-israel\">Palestinian civilians killed by Israeli forces in Gaza\u003c/a> and the \u003ca href=\"https://www.npr.org/2024/05/28/1197963575/podcast-does-biden-have-a-red-line-on-israels-actions-in-gaza\">Biden administration’s continued backing of Israel\u003c/a> has made it difficult to feel excited about politics.\u003c/p>\n\u003cp>The other side, she said, is no better: throughout his campaign, Trump has promised to double down his support for Israel despite the \u003ca href=\"https://www.npr.org/2024/05/04/1249153712/united-nations-northern-gaza-famine\">humanitarian crisis in Gaza\u003c/a>.\u003c/p>\n\u003cp>[aside postID='news_11983971']“It doesn’t feel fair that our country has the same two options, and we have to pick the lesser evil again,” Cuellar said. “This time around, it’s hard to distinguish the difference.”\u003c/p>\n\u003cp>Cuellar said that even at the festival, surrounded by so many happy fans, it was still hard not to think of the suffering in Gaza. Protecting Palestinian lives aligns with what she and her community stand for, she said.\u003c/p>\n\u003cp>“My friends don’t want to vote, and it’s hard to disagree with them, even when there are many big issues involved in this election like abortion and immigration,” she said. “But unfortunately, everything’s been overshadowed by the genocide.”\u003c/p>\n\u003cp>A \u003ca href=\"https://www.cnn.com/2024/04/29/politics/biden-young-voters-what-matters/index.html\">recent CNN poll\u003c/a> of over 1,200 potential voters found that Trump is leading Biden among voters aged 18-24 by 11 points. Younger voters reported being highly critical of the Biden administration, specifically of its role in Gaza; 81% disapprove of the White House’s handling of the conflict.\u003c/p>\n\u003cfigure id=\"attachment_13959190\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959190\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Isa Alcala poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The high cost of living is also a frustration for young voters. “Everything is just so much more expensive now,” Isa Alcalá said, waiting in line to get food after Chilean indie singer Mon Laferte’s performance. “Regular pay and cost of living — it doesn’t add up.”\u003c/p>\n\u003cp>Alcalá, who came to La Onda from Dixon, works in a Sacramento emergency department. She and her team have had to respond to more drug overdoses over the past few years, she said, and she’s critical of the over-the-counter cost of the opioid overdose-reversing drug Narcan.\u003c/p>\n\u003cp>“It should be free for everyone,” she said. “Why do you have to buy something that’s going to save your life?”\u003c/p>\n\u003cp>Many of the elderly Latino immigrants Alcalá sees in the ER hold off going to the doctor for treatable conditions because they can’t afford the copays, she said. “Our own people avoid it because of the costs,” she said. “If you want to do better for yourself, it takes more money.”\u003c/p>\n\u003cfigure id=\"attachment_13959195\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959195\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Paola Casillas poses for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During Maldita Vecindad’s set, Paola Casillas sat on a blanket with her mom, who first heard them growing up in Mexico and passed her love for the band onto her daughter.\u003c/p>\n\u003cp>They both live in Richmond, where Casillas is very involved in climate justice efforts, working at a nonprofit that provides organic produce to low-income families. She’s also protested the pollution caused by the nearby Chevron refinery, which has been \u003ca href=\"https://www.theguardian.com/environment/2019/oct/09/richmond-chevron-california-city-polluter-fossil-fuel\">linked to the city’s asthma and cancer rates, particularly among families of color\u003c/a>.\u003c/p>\n\u003cp>“It’s frustrating because it’s not just Richmond. It’s a lot of low-income communities that always face those adversities,” Casillas said.\u003c/p>\n\u003cfigure id=\"attachment_13959192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959192\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Paola Casillas (left) and her mother Eugenia Casillas pose for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the presidential candidates appeal to her, she said. In fact, Casillas no longer sees a presidential election as an effective path to change and has refocused on her local community. She advises others to “go to your city council meetings because there’s a lot of things that you can change if you just keep showing up.”\u003c/p>\n\u003cp>Her mom, Eugenia, said she sympathizes with the younger generation, especially regarding the higher cost of living and the consequences of climate change. Like many other immigrants, she said, she came to the United States to find peace, but “we need to almost break our backs to just have a little bit of something,” she said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We have to fight to have both,” she said. “To have peace and to have a good life.”\u003c/p>\n\n",
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"excerpt": "At La Onda, the Bay Area's biggest Latin music festival, KQED spoke to dozens of Latinos living in the Bay Area on what problems they're dealing with during an election year.",
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"title": "For These Young Latino Voters, It’s Neither Biden nor Trump | KQED",
"description": "At La Onda, the Bay Area's biggest Latin music festival, KQED spoke to dozens of Latinos living in the Bay Area on what problems they're dealing with during an election year.",
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"headline": "For These Young Latino Voters, It’s Neither Biden nor Trump",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n a recent Sunday in June, thousands of fans watched rock en español legends La Maldita Vecindad at the first-ever \u003ca href=\"https://www.kqed.org/arts/13959079/photos-la-onda-festival-recap-napa\">Festival La Onda\u003c/a> held at the Napa Valley Expo.\u003c/p>\n\u003cp>Dressed head-to-toe in \u003ca href=\"https://www.bbc.com/travel/article/20230913-pachucos-the-latinx-subculture-that-defied-the-us\">old-school pachuco gear\u003c/a>, the band’s frontman Roco sang a verse from “Los Agachados,” an upbeat song dedicated to eating warm, delicious food while recovering from a hangover. On another stage, Yahritza y Su Esencia, a young group of Mexican American siblings from Washington state, dove into the chorus of “Soy el Único,” a soulful corrido of heartbreak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, fans ran back and forth, trying to hear both groups, underscoring a new reality about the exploding popularity of Latin music. Its listeners aren’t limited by one genre, be it regional mexicano, rock en español, reggaetón, Latin house or indie.\u003c/p>\n\u003cp>In other words, their musical taste is not a monolith — and neither are their politics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That hasn’t stopped both the Biden and Trump campaigns from \u003ca href=\"https://www.miamiherald.com/news/local/news-columns-blogs/fabiola-santiago/article287165135.html\">employing a one-size-fits-all strategy to court Latino voters\u003c/a>. Every four years, campaign managers and pundits talk about \u003ca href=\"https://www.kqed.org/news/11857451/deconstructing-the-latino-vote-myths-realities-and-missed-opportunities\">the “Latino vote,”\u003c/a> a mythical term meant to predict the political preferences of over 63 million people from a variety of nationalities, races, religions and lived experiences.\u003c/p>\n\u003cp>At La Onda, KQED spoke to dozens of music fans to better understand the variety of issues Latinos in California are balancing in this election year.\u003c/p>\n\u003cfigure id=\"attachment_13959185\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_07-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Arana poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When lifelong Napa resident Natalie Arana heard that a Latino music festival was coming to town, she immediately signed up for the ticket presale. “It made me very happy that they’re finally doing something for us. … We are honestly the ones that make this place run,” Arana said, referring to the wine industry’s largely Latino and Indigenous labor force, including many in her family.\u003c/p>\n\u003cp>Arana, who spoke to KQED while waiting with her husband and friends for Mexican pop star Danna Paola to begin her set, has been closely following the U.S. presidential election and said she already knows exactly how she will vote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2017, her family was impacted when \u003ca href=\"https://www.nytimes.com/2020/06/19/us/politics/trump-daca.html\">Trump announced he would end the Deferred Action for Childhood Arrivals (DACA) program\u003c/a>, which provides temporary legal protections to certain undocumented immigrants who were brought to the U.S. while they were minors. “Not having DACA … that affects my husband,” she said, fearful of a Trump victory.\u003c/p>\n\u003cp>As president, Joe Biden has not threatened DACA but has also \u003ca href=\"https://www.politico.com/news/2023/09/13/judge-biden-version-of-daca-illegal-00115816\">failed to ensure permanent legal status for the 530,000 people still in the program\u003c/a>. Arana is now exploring other legal protections for her husband should Trump win in November. The stakes are too high not to take action, she said. “We have two babies.”\u003c/p>\n\u003cp>Arana finds it frustrating that other people choose not to vote. “People are not voting enough,” she said. “And that’s why people like him, who was \u003ca href=\"https://www.kqed.org/news/11988282/former-president-trump-is-found-guilty-in-historic-new-york-criminal-case\">found guilty for dozens of felonies\u003c/a>, are allowed to run for president.”\u003c/p>\n\u003cfigure id=\"attachment_13959181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959181\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_03-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Víctor García poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a DACA recipient, Víctor García can’t vote himself, but he’s making sure all his friends do.\u003c/p>\n\u003cp>“Right now, I’m just trying to vocalize what’s happening and tell people, ‘Hey, did you vote? Can you do something for us? We’re here as a community. We’re here to vibe with you guys. We’re here to do our life with you,’” García said.\u003c/p>\n\u003cp>García traveled all the way from the Central Valley for La Onda. For him, “having the Latino community come together this way, it’s amazing.” Standing next to him was his friend Erick Reyes, who said García has helped him better understand the different issues on the ballot this year.\u003c/p>\n\u003cfigure id=\"attachment_13959183\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Erick Reyes poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes said he’s often too busy working to follow every election issue but adds that his job in healthcare has taught him a lot about inequality. In the year and a half, since \u003ca href=\"https://calmatters.org/health/2023/01/hospital-closure/\">Madera County Hospital closed\u003c/a>, he’s witnessed the region’s farmworker families struggle to access basic necessary care.\u003c/p>\n\u003cp>Protecting healthcare services in rural communities matters as a political priority, Reyes said. And for people to get the healthcare they need, he added, “that depends on [what] is available to them.”\u003c/p>\n\u003cfigure id=\"attachment_13959196\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Alberto Ramirez poses for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a \u003ca href=\"https://www.npr.org/2023/12/06/1216150515/keffiyeh-hamas-palestinians-israel-gaza\">red keffiyeh draped over their shoulders\u003c/a>, Carlos Alberto Martínez — who came to La Onda from the East Bay with their partner and family — stands out from the crowd.\u003c/p>\n\u003cp>Martínez was a DACA recipient for several years until they became a citizen about a year ago. But now that they can vote, Martínez said, they’re not supporting any of the presidential candidates. “Biden’s trash … they’re all trash.”\u003c/p>\n\u003cp>“The Democrats haven’t done anything for us,” they said, adding that both the Biden and Obama administrations have deported hundreds of thousands of undocumented immigrants. Most recently, \u003ca href=\"https://apnews.com/article/biden-asylum-migration-immigration-mexico-border-dec5f83b468b5795479bf1f5e49799d5\">Biden announced significant restrictions on migrants seeking asylum\u003c/a> at the southern border.\u003c/p>\n\u003cp>“I have more against them than the Republicans because they’re the ones that failed us and actually had an opportunity,” Martínez said.\u003c/p>\n\u003cfigure id=\"attachment_13959180\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959180\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Cuellar (at right) dances with Yajaira Gonzalez at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vanessa Cuellar from San Francisco has a 10-year record of always voting in elections. But this year, the San Francisco resident said, she doesn’t feel the same passion.\u003c/p>\n\u003cp>“I haven’t been as engaged this year because of the genocide happening in Palestine,” Cuellar said, adding that daily news of \u003ca href=\"https://www.npr.org/2024/05/28/g-s1-1361/rafah-gaza-israel\">Palestinian civilians killed by Israeli forces in Gaza\u003c/a> and the \u003ca href=\"https://www.npr.org/2024/05/28/1197963575/podcast-does-biden-have-a-red-line-on-israels-actions-in-gaza\">Biden administration’s continued backing of Israel\u003c/a> has made it difficult to feel excited about politics.\u003c/p>\n\u003cp>The other side, she said, is no better: throughout his campaign, Trump has promised to double down his support for Israel despite the \u003ca href=\"https://www.npr.org/2024/05/04/1249153712/united-nations-northern-gaza-famine\">humanitarian crisis in Gaza\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It doesn’t feel fair that our country has the same two options, and we have to pick the lesser evil again,” Cuellar said. “This time around, it’s hard to distinguish the difference.”\u003c/p>\n\u003cp>Cuellar said that even at the festival, surrounded by so many happy fans, it was still hard not to think of the suffering in Gaza. Protecting Palestinian lives aligns with what she and her community stand for, she said.\u003c/p>\n\u003cp>“My friends don’t want to vote, and it’s hard to disagree with them, even when there are many big issues involved in this election like abortion and immigration,” she said. “But unfortunately, everything’s been overshadowed by the genocide.”\u003c/p>\n\u003cp>A \u003ca href=\"https://www.cnn.com/2024/04/29/politics/biden-young-voters-what-matters/index.html\">recent CNN poll\u003c/a> of over 1,200 potential voters found that Trump is leading Biden among voters aged 18-24 by 11 points. Younger voters reported being highly critical of the Biden administration, specifically of its role in Gaza; 81% disapprove of the White House’s handling of the conflict.\u003c/p>\n\u003cfigure id=\"attachment_13959190\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959190\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_12-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Isa Alcala poses for a portrait at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The high cost of living is also a frustration for young voters. “Everything is just so much more expensive now,” Isa Alcalá said, waiting in line to get food after Chilean indie singer Mon Laferte’s performance. “Regular pay and cost of living — it doesn’t add up.”\u003c/p>\n\u003cp>Alcalá, who came to La Onda from Dixon, works in a Sacramento emergency department. She and her team have had to respond to more drug overdoses over the past few years, she said, and she’s critical of the over-the-counter cost of the opioid overdose-reversing drug Narcan.\u003c/p>\n\u003cp>“It should be free for everyone,” she said. “Why do you have to buy something that’s going to save your life?”\u003c/p>\n\u003cp>Many of the elderly Latino immigrants Alcalá sees in the ER hold off going to the doctor for treatable conditions because they can’t afford the copays, she said. “Our own people avoid it because of the costs,” she said. “If you want to do better for yourself, it takes more money.”\u003c/p>\n\u003cfigure id=\"attachment_13959195\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959195\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Paola Casillas poses for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During Maldita Vecindad’s set, Paola Casillas sat on a blanket with her mom, who first heard them growing up in Mexico and passed her love for the band onto her daughter.\u003c/p>\n\u003cp>They both live in Richmond, where Casillas is very involved in climate justice efforts, working at a nonprofit that provides organic produce to low-income families. She’s also protested the pollution caused by the nearby Chevron refinery, which has been \u003ca href=\"https://www.theguardian.com/environment/2019/oct/09/richmond-chevron-california-city-polluter-fossil-fuel\">linked to the city’s asthma and cancer rates, particularly among families of color\u003c/a>.\u003c/p>\n\u003cp>“It’s frustrating because it’s not just Richmond. It’s a lot of low-income communities that always face those adversities,” Casillas said.\u003c/p>\n\u003cfigure id=\"attachment_13959192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959192\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOndaPOF_14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Paola Casillas (left) and her mother Eugenia Casillas pose for a portrait at La Onda festival on Sunday, June 2, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of the presidential candidates appeal to her, she said. In fact, Casillas no longer sees a presidential election as an effective path to change and has refocused on her local community. She advises others to “go to your city council meetings because there’s a lot of things that you can change if you just keep showing up.”\u003c/p>\n\u003cp>Her mom, Eugenia, said she sympathizes with the younger generation, especially regarding the higher cost of living and the consequences of climate change. Like many other immigrants, she said, she came to the United States to find peace, but “we need to almost break our backs to just have a little bit of something,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have to fight to have both,” she said. “To have peace and to have a good life.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jazz-meets-hip-hop-in-bassist-giulio-xavier-cettos-world",
"title": "Jazz Meets Hip-Hop in Bassist Giulio Xavier Cetto’s World",
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"headTitle": "Jazz Meets Hip-Hop in Bassist Giulio Xavier Cetto’s World | KQED",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Jazz and hip-hop are technically different genres of music, but for bassist and composer \u003ca href=\"https://www.giulioxaviercetto.com/\">Giulio Xavier Cetto\u003c/a>, the connection between the two is indivisible.\u003c/p>\n\u003cp>Both genres seamlessly compliment each other as they show up in the music Cetto listens to as, as well as the music he makes. When he performed at \u003ca href=\"https://www.youtube.com/watch?v=0kKct_AKz8s\">NPR’s Tiny Desk\u003c/a> with \u003ca href=\"https://www.kassaoverall.com/\">Kassa Overall\u003c/a>, that connection was loud and clear. And it’s even more pronounced when he does shows at San Francisco’s \u003ca href=\"https://blackcatsf.com/\">Black Cat Jazz Supper Club\u003c/a>.\u003c/p>\n\u003cp>“My main goal is to support as a bass player,” says Cetto, who plays both the upright bass and the electric bass. “I want to be like the floor for someone to stand on. I want to be the rock. So I’m going to just listen as best as I can, and be super honest with what I think the music needs best. Sometimes I need to go into a situation and kind of try to be a blank slate. Not think too much. Just kind of be a vessel.”\u003c/p>\n\u003cfigure id=\"attachment_13931053\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1.jpg\" alt=\"In a black and white photo, Giulio Xavier Cetto holds his upright bass. The lighting casts a shadow over his face and arms. \" width=\"769\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1-160x213.jpg 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">Giulio Xavier Cetto curates weekly jazz shows at the Stow Lake Boathouse in Golden Gate Park. \u003ccite>(Donovan Washington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On this week’s Rightnowish, San Francisco’s own Cetto discusses the story behind his \u003ca href=\"https://www.instagram.com/thejazzthug\">Instagram handle\u003c/a>, his favorite Bay Area music venues, and what it’s like to lead \u003ca href=\"https://www.instagram.com/bigtrippin__/\">Big Trippin\u003c/a>, a band that features drummer Thomas Pridgen, saxophonist John Palowitch and pianist Javier Santiago.\u003c/p>\n\u003cp>\u003cem>This story was originally published June 30, 2023 as part of \u003ci>“Liner Notes” a\u003c/i>\u003ca href=\"https://www.kqed.org/arts/13930249/rightnowish-presents-liner-notes\">\u003cspan class=\"s1\">\u003ci> five-part series\u003c/i>\u003c/span>\u003c/a>\u003ci> about jazz in Bay Area.\u003c/i>\u003c/em>\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=KQINC4362298628\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\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>\u003cb>PENDARVIS HARSHAW, HOST:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hello hello, welcome to Rightnowish. I’m your host, Pendarvis Harshaw, coming to you with a special announcement ahead of today’s show. As you may know, the Rightnowish podcast series is coming to an end. Our final episode is July 18th. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In celebration of all that we’ve done over the course of our five-year run, we’re hosting one final event, an evening filled with live jazz, community convos and beverages to toast. \u003c/span>\u003cspan style=\"font-weight: 400\">The event is called \u003c/span>\u003ca href=\"https://www.kqed.org/event/4170\">\u003cspan style=\"font-weight: 400\">Liner Notes Live: A Rightnowish Jazz Production\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and it’s going down Thursday, June 20, at KQED headquarters. For more information, tickets or details about how to live stream the event, visit \u003c/span>\u003ca href=\"http://kqed.org/events\">\u003cspan style=\"font-weight: 400\">kqed.org/events\u003c/span>.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The theme of our upcoming event is inspired by a series of Rightnowish interviews we dropped about a year ago, where we talked to some well-known Bay Area based jazz artists and practitioners about their art and the current state of jazz in this region. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Given the announcement of our upcoming jazz event, I think it’s a good time to revisit that Liner Notes series. So we’re going to toss it to Rightnowish producer Marisol Medina-Cadena for her 2023 conversation with jazz bassist Giulio Xavier Cetto. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I first saw you two years ago perform. And I remember going up to and being like, “How can I keep up with you?” And you were like, “I’m on the Instagram, I’m @thejazzthug.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO, GUEST: \u003c/b>\u003cspan style=\"font-weight: 400\">The jazz thug that’s my, my alias. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. What’s the story behind the alias? \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> It kind of just speaks on my love for hip hop and jazz music. My friend actually made it up one time, he said it and I was like, I like that. I want to go with it. It stuck. And people like it more than I do now. I get called that.I’ll see a flyer and they won’t even put my name. They put the jazz thug. And I’m like, well, I still want my name on there. But yeah, I thought about changing it recently and a bunch of people were like, No, don’t change it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Well, I mean, you said it’s your love of jazz and hip hop, so I’d love to hear how you hear the two genres like intersecting. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Definitely. I mean, when I listen to Ahmad Jamal, I hear hip hop and when I listen to Duke Ellington. I hear hip hop and when I listen to NAS or when I listen to, you know, J Dilla, I hear jazz. \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">All my favorite hip hop is like jazz samples, and I just love to play jazz music or improvised music really, and I mean I put on jazz and I put on hip hop all day long, and then when I go out to play, I want to hear them both at the same time. So that’s kind of what happens. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> That really resonates because for me, growing up, my parents played a lot of jazz in the household, but I don’t think I appreciated it until I started getting into hip hop as a teenager and I was like, Oh, they’re like sampling that jazz riff! And then I was like, Whoa, I really like jazz now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, It kind of brings it back. Right? I love also following that, like hearing the history, like, oh, I know where this is from. I know where the samples came from. That’s like, that always brings me joy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mhmm. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ll be that guy. Like, do you know what this is from? And everyone is like No. And then I like, try to explain it. They are like, okay. And I do that when I play because we’ll play a song and I’ll introduce this song…My band, Big Trippin does this song by Gary Bartz, who lives out here in the Bay Area, actually, and it’s called “Gentle Smiles.”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> And I say that and then I’m like, a lot of people don’t, you know, recognize it right away, But I’m like, you know, Tribe Called Quest sampled this song,\u003c/span>\u003cspan style=\"font-weight: 400\"> and then everyone’s like, Oh, and then they hear that part, and then it’s like this full circle moment of realization, which is really fun to see and witness. You see people light up when they hear that part they recognize, you know, it’s cool. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b> How did you get put on to jazz, as a young person?\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> So my parents played it too. In the house my dad would put on Coltrane, Miles Davis, Pat Metheny, all these people that he loved to listen to. But I wanted to listen to heavy music and I had a whole punk rock phase .\u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">And then I worked my way kind of back around and found jazz again, maybe in high school. And that’s when I had realized I’d already heard so much. And I think that made it all the easier to. Just jump right into it and listen to it and it hit so much harder, I think, too, because it had that familiarity and it wasn’t so foreign because my dad always had it in the house playing, and my mom was always listening to her, her music…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> ..all this salsa and Latin music and folkloric music from Venezuela and all that kind of melding together to just make my ears more well-rounded.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> You play with a lot of trios, you play with a lot of heavy hitters too, and everybody has their own sound. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Totally. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> How are you able to adapt to each band? \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> My main goal is to support as a bass player. I want to be like the the floor for someone to stand on. I want to be, you know, the rock. So. I’m going to just listen as best as I can and be super honest with what I think the music needs best. Sometimes I need to go into a situation and kind of try to be a blank slate. You know, not think too much. Just kind of be a vessel. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Saying you are a vessel kind of makes me think about the videos I’ve seen of you performing, it looks like you are tapping into some other vibration, you know, your shoulders are into it, your head is rocking.\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> The bass face is going, yeah.. .\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> What are you thinking about inside, internally? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> If I’m really in there like that, I’m thinking about nothing. Nothing is going through my mind but the music and I’m really focused. When the music has taken me over and I’m really having fun, you know, I’m not thinking about anything.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have my eyes closed, the whole whole hour set sometimes and open them up. And it’s like waking up in front of people like, Oh, woah, I forgot you were all there, ‘cause when I am really doing it right and really inside the music. Yeah, I’m letting go. the heart is on the sleeve, you know, and the emotions are coming out. And I love to play music that way. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> A reoccurring show you sometimes lead at The Black Cat is called Sunday Slap. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s described as Dilla meets Coltrane. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s a good chance we’re going to play some Dilla and a good chance we might do some Coltrane. But yeah, I’m constantly featuring different emcees, rappers, singers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll play, you know, a jazz song, make it hip hop, we’ll do a a hip hop song and make it jazz, you know, we’ll do all that stuff and we’ll we’ll cover a lot of ground in Sunday Slap. It’s usually with my band Big Trippin, and we can do anything. Okay, we’re going to take the feel from this song, the bass line from this other song, and we get to play this jazz standard over it and till it’s unrecognizable. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Or one of our favorite things to play is this song “Nardis” that’s by Bill Evans but Miles Davis claimed it, and then Kendrick Lamar did a version where he didn’t even play the melody. \u003c/span>\u003cspan style=\"font-weight: 400\">But then I take his version and then we put the melody back over it and suddenly we’ve got this, you know, really cool intersection of jazz and hip hop that a lot of people can get down because people love Miles Davis, people love Kendrick Lamar. Put them together, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Another really cool gig you had recently was you went to NPR’s Tiny Desk. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah! \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> And you played with Kasa Overall…\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> yes.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Talk to me about how that was.\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO: \u003c/b>\u003cspan style=\"font-weight: 400\"> It was amazing. I was stressed out a little bit. It felt like this like really important recording session that a lot of people are going to listen to. You know, I go into recording sessions all the time and think, oh, I hope a lot of people listen to this, or I hope people listen to this. Then you go to Tiny Desk and you’re like, I know a lot of people are going to listen to this. So I think the pressure was on. But it was really special \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> And Kasa, I love his music and talking to all this hip hop jazz stuff. I mean, he’s like the perfect person to play with that really speaks to me. I love what he’s doing when it comes to, like, the style of beats he’s making in the music he’s making. But then I know we could just swing out and really play some real type of improvised music and jazz. And so to me, his music calls to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I could see your music and his music in conversation because he has that synthesis of jazz and hip hop and that’s what you do. And so it kind of totally makes sense why you guys just click. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">I told him I was like, I’m feel like I’m supposed to be in this band man, like. Got to get me in there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mmmm\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">He had been touring without a bass player for a while, so he got me to play with him for the Tiny Desk because it’s acoustic. So there’s not much amplification; it’s got to be kind of this stripped version. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Cuz you play the upright bass and the bass guitar. So like when folks approach you, how do you make that judgment call? Like, Oh, I think upright would do better or… \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yeah, I’ll get asked just to play a gig and it won’t be, they won’t say which one they want. They are just like, “Can you do this?” And I’ll show up with both basses and then see where the music, what the music tells me to do, you know, because it’s usually clear to me like, Ooo, this is this is an upright song or oooh this is electric, ya know. because they’re very different, you know? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Upright bass notes]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">Yeah. Super different energies to both. And one is just the sound of wood and has all that percussion behind it to the upright, you know?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Electric bass notes]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">But then electric bass, like I hit one note that lasts for 30 seconds and just kind of the big, powerful guitar player kind of energy. So, yeah, they both have their their things. It’s such an important part of the music that is easily looked over. And I get people telling me all the time that, Oh, I didn’t even think about the bass until I saw you play. And then I realize how much I like the bass, you know, and how important that is to the music. I’m like Yeah!!! Like it’s the it is the heart of the music. It’s, it’s the it’s the dance floor, you know, it’s that it’s important, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Your band is called Big Trippin \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> And you’re leading this band \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Im leading this band. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s different from a lot of your other gigs where you are just plugging into another group’s style and here you’re leading it. So talk to me about what that’s like.. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah it’s four powerful players. We’ve got a guy named John Palowitch, John, our saxophone player. John Palowitch. Javier Santiago plays piano, and this guy, Thomas Pridgen, plays drums and they’re all heavy hitters. And they are all great and they all lead and do their own music. But when I get them all together, I get to choose what we do. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> You know, quarterback the ideas and where’s the where the song is going to go. Like, okay, let’s do this and repeat that and I, and I’m just calling out plays like the whole time, but they’re all leaders in their own way. So I feel like it’s a collective. They trust my musical intuition and I trust theirs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m trying to lead a band from the bass chair, which is also interesting ‘cause we have a saxophone player who is playing melodies and and if you saw us, you’d probably think he was the leader or assume ‘cause he’s, when you play the melody, you kind of lead where it goes. But I’m often right there in his ear like, okay, we’re going to play this one now. Take us to the bridge, you know, whatever. that kind of thing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> I’m constantly shouting at everybody. –\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> It’s fun. I really like to lead like that instead of just like, you know, we could just play the song over and over and end it. But usually in the middle, I’m like, Stay on this part. Or like,” okay, now, you know “just you just piano.” Suddenly you’re just changing it up, keeping it interesting the whole time, I really like to lead that way. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Talk to me about the new self-titled album, Big Trippin, that you guys have been working on for a long time. That will be out later this year… \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> It’s been about two years in the making. A lot has happened in between us recording it and now. So there’s been some pretty serious delays. But I am really excited to put this music out and I’ve never released music under my name, So this is a big step for me and a big learning process but i just want to share. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We really bring a lot of energy. So sometimes I feel like we’re knocking wigs off. We’re making everybody a little like, whoa. And we can hit people over the head a little bit musically.\u003c/span> \u003cspan style=\"font-weight: 400\">We are like the extreme sports version of music. It’s intense. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, you have this cover arrangement of a Ahmad Jamal song and it has like a bunch of 808 beats on it. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yep It’s got 808s. It’s it’s a it’s like a trap beat. Like in a trap style, but it’s a Ahmad still, like I said in the beginning of this interview, when I hear Ahmad Jamal, I hear hip hop and it’s this beautiful song of his called Arabesque and. When I heard it right away, I knew I knew what to do with it, that what I wanted to do with it anyway. Not to say that his version isn’t perfect. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This article actually came out not that long ago of, you know, someone saying like, you don’t have to change the jazz songs like it’s already this masterful work. You don’t have to make your own arrangement all the time. But for me, when I heard this, it spoke to me right away Like I hear it in the style. I couldn’t deny that I wanted to play it in that way. And I think it works beautifully.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Here in the Bay, we have a lot of sweet jazz venues. Some more intimate than others. You told me in an earlier conversation we had that you really like the lake house? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Which is like this unconventional spot. So I’m wondering for folks who haven’t been there or know about that place, can you tell us why it’s a cool place to play? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Lake House Jazz is at Golden Gate Park at Stow Lake. Inside the boathouse. It’s really unassuming, you know, It’s this little. It’s kind of like a shack. No, it’s not. It’s more than a shack. It’s a boathouse! And in the daytime, it’s like little gift shop. It’s got sweaters and a little snack bar. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">But then at night, through a group I work with called S.F. Mellow Sessions, we transform it into a concert venue, and we put out these chairs, seats about like 75, 80 people max. We do the lighting right, and then suddenly it’s this beautiful special space that’s right on Stow Lake, where you can hear music.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I love it so much because you can hear a pin drop in there while we’re performing because it’s so small and intimate that everyone is just drawn right in. And I play a lot of places where that’s not the case \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ya know. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then you step out of the doors and you’re just looking at the Lake and Golden Gate Park, and it’s it’s really special. Yeah, I really like playing there. And I curate that every Friday. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> What do you think as a bass player like your role is in the larger Bay Area jazz scene? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GUILIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> When I think of my role in the band and on the scene, supporting everyone as best as I can. I also feel like a connector in the scene. I love bringing artists that don’t know each other together. I’m constantly trying to bridge gaps between people and things. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> I really like that I get called to play with a lot of people coming from out of town. That’s been something really special to me. It lets me be on like multiple scenes. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s months that go by where I get to play with so many people coming from New York or anywhere, and then I’m always like, Oh, let’s go here. Like, I’m going to bring these guys to this session and or like, I want to connect all these worlds all the time. So that brings me joy. That’s my role. \u003c/span>\u003c/p>\n\u003cp>\u003cb>PENDARVIS HARSHAW, HOST: \u003c/b>\u003cspan style=\"font-weight: 400\">That was Marisol Medina-Cadena speaking with the extremely talented Giulio Xavier Cetto, thank you both for that convo.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Giulio is active! You can catch up with him on IG, at @thejazzthug and you can find his band under @bigtrippin_ That’s b-i-g-t-r-i-p-p-i-n underscore\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And once again, in honor of all that Rightnowish has accomplished, we’ll be enjoying live jazz and partying at KQED’s headquarters as we say goodbye to this podcast on June 20th. More info can be found at\u003c/span>\u003ca href=\"http://kqed.org/\">\u003cspan style=\"font-weight: 400\"> KQED.Org/ Events\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was produced by Marisol Medina-Cadena. Chris Hambrick is our editor. Christopher Beale is our engineer and sound designer. The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jazz lives on, as does Rightnowish. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\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\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>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Jazz and hip-hop are technically different genres of music, but for bassist and composer \u003ca href=\"https://www.giulioxaviercetto.com/\">Giulio Xavier Cetto\u003c/a>, the connection between the two is indivisible.\u003c/p>\n\u003cp>Both genres seamlessly compliment each other as they show up in the music Cetto listens to as, as well as the music he makes. When he performed at \u003ca href=\"https://www.youtube.com/watch?v=0kKct_AKz8s\">NPR’s Tiny Desk\u003c/a> with \u003ca href=\"https://www.kassaoverall.com/\">Kassa Overall\u003c/a>, that connection was loud and clear. And it’s even more pronounced when he does shows at San Francisco’s \u003ca href=\"https://blackcatsf.com/\">Black Cat Jazz Supper Club\u003c/a>.\u003c/p>\n\u003cp>“My main goal is to support as a bass player,” says Cetto, who plays both the upright bass and the electric bass. “I want to be like the floor for someone to stand on. I want to be the rock. So I’m going to just listen as best as I can, and be super honest with what I think the music needs best. Sometimes I need to go into a situation and kind of try to be a blank slate. Not think too much. Just kind of be a vessel.”\u003c/p>\n\u003cfigure id=\"attachment_13931053\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1.jpg\" alt=\"In a black and white photo, Giulio Xavier Cetto holds his upright bass. The lighting casts a shadow over his face and arms. \" width=\"769\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1-160x213.jpg 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">Giulio Xavier Cetto curates weekly jazz shows at the Stow Lake Boathouse in Golden Gate Park. \u003ccite>(Donovan Washington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On this week’s Rightnowish, San Francisco’s own Cetto discusses the story behind his \u003ca href=\"https://www.instagram.com/thejazzthug\">Instagram handle\u003c/a>, his favorite Bay Area music venues, and what it’s like to lead \u003ca href=\"https://www.instagram.com/bigtrippin__/\">Big Trippin\u003c/a>, a band that features drummer Thomas Pridgen, saxophonist John Palowitch and pianist Javier Santiago.\u003c/p>\n\u003cp>\u003cem>This story was originally published June 30, 2023 as part of \u003ci>“Liner Notes” a\u003c/i>\u003ca href=\"https://www.kqed.org/arts/13930249/rightnowish-presents-liner-notes\">\u003cspan class=\"s1\">\u003ci> five-part series\u003c/i>\u003c/span>\u003c/a>\u003ci> about jazz in Bay Area.\u003c/i>\u003c/em>\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=KQINC4362298628\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\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>\u003cb>PENDARVIS HARSHAW, HOST:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hello hello, welcome to Rightnowish. I’m your host, Pendarvis Harshaw, coming to you with a special announcement ahead of today’s show. As you may know, the Rightnowish podcast series is coming to an end. Our final episode is July 18th. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In celebration of all that we’ve done over the course of our five-year run, we’re hosting one final event, an evening filled with live jazz, community convos and beverages to toast. \u003c/span>\u003cspan style=\"font-weight: 400\">The event is called \u003c/span>\u003ca href=\"https://www.kqed.org/event/4170\">\u003cspan style=\"font-weight: 400\">Liner Notes Live: A Rightnowish Jazz Production\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and it’s going down Thursday, June 20, at KQED headquarters. For more information, tickets or details about how to live stream the event, visit \u003c/span>\u003ca href=\"http://kqed.org/events\">\u003cspan style=\"font-weight: 400\">kqed.org/events\u003c/span>.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The theme of our upcoming event is inspired by a series of Rightnowish interviews we dropped about a year ago, where we talked to some well-known Bay Area based jazz artists and practitioners about their art and the current state of jazz in this region. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Given the announcement of our upcoming jazz event, I think it’s a good time to revisit that Liner Notes series. So we’re going to toss it to Rightnowish producer Marisol Medina-Cadena for her 2023 conversation with jazz bassist Giulio Xavier Cetto. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I first saw you two years ago perform. And I remember going up to and being like, “How can I keep up with you?” And you were like, “I’m on the Instagram, I’m @thejazzthug.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO, GUEST: \u003c/b>\u003cspan style=\"font-weight: 400\">The jazz thug that’s my, my alias. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. What’s the story behind the alias? \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> It kind of just speaks on my love for hip hop and jazz music. My friend actually made it up one time, he said it and I was like, I like that. I want to go with it. It stuck. And people like it more than I do now. I get called that.I’ll see a flyer and they won’t even put my name. They put the jazz thug. And I’m like, well, I still want my name on there. But yeah, I thought about changing it recently and a bunch of people were like, No, don’t change it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Well, I mean, you said it’s your love of jazz and hip hop, so I’d love to hear how you hear the two genres like intersecting. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Definitely. I mean, when I listen to Ahmad Jamal, I hear hip hop and when I listen to Duke Ellington. I hear hip hop and when I listen to NAS or when I listen to, you know, J Dilla, I hear jazz. \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">All my favorite hip hop is like jazz samples, and I just love to play jazz music or improvised music really, and I mean I put on jazz and I put on hip hop all day long, and then when I go out to play, I want to hear them both at the same time. So that’s kind of what happens. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> That really resonates because for me, growing up, my parents played a lot of jazz in the household, but I don’t think I appreciated it until I started getting into hip hop as a teenager and I was like, Oh, they’re like sampling that jazz riff! And then I was like, Whoa, I really like jazz now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, It kind of brings it back. Right? I love also following that, like hearing the history, like, oh, I know where this is from. I know where the samples came from. That’s like, that always brings me joy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mhmm. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ll be that guy. Like, do you know what this is from? And everyone is like No. And then I like, try to explain it. They are like, okay. And I do that when I play because we’ll play a song and I’ll introduce this song…My band, Big Trippin does this song by Gary Bartz, who lives out here in the Bay Area, actually, and it’s called “Gentle Smiles.”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> And I say that and then I’m like, a lot of people don’t, you know, recognize it right away, But I’m like, you know, Tribe Called Quest sampled this song,\u003c/span>\u003cspan style=\"font-weight: 400\"> and then everyone’s like, Oh, and then they hear that part, and then it’s like this full circle moment of realization, which is really fun to see and witness. You see people light up when they hear that part they recognize, you know, it’s cool. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b> How did you get put on to jazz, as a young person?\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> So my parents played it too. In the house my dad would put on Coltrane, Miles Davis, Pat Metheny, all these people that he loved to listen to. But I wanted to listen to heavy music and I had a whole punk rock phase .\u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">And then I worked my way kind of back around and found jazz again, maybe in high school. And that’s when I had realized I’d already heard so much. And I think that made it all the easier to. Just jump right into it and listen to it and it hit so much harder, I think, too, because it had that familiarity and it wasn’t so foreign because my dad always had it in the house playing, and my mom was always listening to her, her music…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> ..all this salsa and Latin music and folkloric music from Venezuela and all that kind of melding together to just make my ears more well-rounded.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> You play with a lot of trios, you play with a lot of heavy hitters too, and everybody has their own sound. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Totally. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> How are you able to adapt to each band? \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> My main goal is to support as a bass player. I want to be like the the floor for someone to stand on. I want to be, you know, the rock. So. I’m going to just listen as best as I can and be super honest with what I think the music needs best. Sometimes I need to go into a situation and kind of try to be a blank slate. You know, not think too much. Just kind of be a vessel. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Saying you are a vessel kind of makes me think about the videos I’ve seen of you performing, it looks like you are tapping into some other vibration, you know, your shoulders are into it, your head is rocking.\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> The bass face is going, yeah.. .\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> What are you thinking about inside, internally? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> If I’m really in there like that, I’m thinking about nothing. Nothing is going through my mind but the music and I’m really focused. When the music has taken me over and I’m really having fun, you know, I’m not thinking about anything.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have my eyes closed, the whole whole hour set sometimes and open them up. And it’s like waking up in front of people like, Oh, woah, I forgot you were all there, ‘cause when I am really doing it right and really inside the music. Yeah, I’m letting go. the heart is on the sleeve, you know, and the emotions are coming out. And I love to play music that way. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> A reoccurring show you sometimes lead at The Black Cat is called Sunday Slap. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s described as Dilla meets Coltrane. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s a good chance we’re going to play some Dilla and a good chance we might do some Coltrane. But yeah, I’m constantly featuring different emcees, rappers, singers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll play, you know, a jazz song, make it hip hop, we’ll do a a hip hop song and make it jazz, you know, we’ll do all that stuff and we’ll we’ll cover a lot of ground in Sunday Slap. It’s usually with my band Big Trippin, and we can do anything. Okay, we’re going to take the feel from this song, the bass line from this other song, and we get to play this jazz standard over it and till it’s unrecognizable. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Or one of our favorite things to play is this song “Nardis” that’s by Bill Evans but Miles Davis claimed it, and then Kendrick Lamar did a version where he didn’t even play the melody. \u003c/span>\u003cspan style=\"font-weight: 400\">But then I take his version and then we put the melody back over it and suddenly we’ve got this, you know, really cool intersection of jazz and hip hop that a lot of people can get down because people love Miles Davis, people love Kendrick Lamar. Put them together, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Another really cool gig you had recently was you went to NPR’s Tiny Desk. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah! \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> And you played with Kasa Overall…\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> yes.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Talk to me about how that was.\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO: \u003c/b>\u003cspan style=\"font-weight: 400\"> It was amazing. I was stressed out a little bit. It felt like this like really important recording session that a lot of people are going to listen to. You know, I go into recording sessions all the time and think, oh, I hope a lot of people listen to this, or I hope people listen to this. Then you go to Tiny Desk and you’re like, I know a lot of people are going to listen to this. So I think the pressure was on. But it was really special \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> And Kasa, I love his music and talking to all this hip hop jazz stuff. I mean, he’s like the perfect person to play with that really speaks to me. I love what he’s doing when it comes to, like, the style of beats he’s making in the music he’s making. But then I know we could just swing out and really play some real type of improvised music and jazz. And so to me, his music calls to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I could see your music and his music in conversation because he has that synthesis of jazz and hip hop and that’s what you do. And so it kind of totally makes sense why you guys just click. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">I told him I was like, I’m feel like I’m supposed to be in this band man, like. Got to get me in there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mmmm\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">He had been touring without a bass player for a while, so he got me to play with him for the Tiny Desk because it’s acoustic. So there’s not much amplification; it’s got to be kind of this stripped version. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Cuz you play the upright bass and the bass guitar. So like when folks approach you, how do you make that judgment call? Like, Oh, I think upright would do better or… \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yeah, I’ll get asked just to play a gig and it won’t be, they won’t say which one they want. They are just like, “Can you do this?” And I’ll show up with both basses and then see where the music, what the music tells me to do, you know, because it’s usually clear to me like, Ooo, this is this is an upright song or oooh this is electric, ya know. because they’re very different, you know? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Upright bass notes]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">Yeah. Super different energies to both. And one is just the sound of wood and has all that percussion behind it to the upright, you know?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Electric bass notes]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">But then electric bass, like I hit one note that lasts for 30 seconds and just kind of the big, powerful guitar player kind of energy. So, yeah, they both have their their things. It’s such an important part of the music that is easily looked over. And I get people telling me all the time that, Oh, I didn’t even think about the bass until I saw you play. And then I realize how much I like the bass, you know, and how important that is to the music. I’m like Yeah!!! Like it’s the it is the heart of the music. It’s, it’s the it’s the dance floor, you know, it’s that it’s important, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Your band is called Big Trippin \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> And you’re leading this band \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Im leading this band. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s different from a lot of your other gigs where you are just plugging into another group’s style and here you’re leading it. So talk to me about what that’s like.. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah it’s four powerful players. We’ve got a guy named John Palowitch, John, our saxophone player. John Palowitch. Javier Santiago plays piano, and this guy, Thomas Pridgen, plays drums and they’re all heavy hitters. And they are all great and they all lead and do their own music. But when I get them all together, I get to choose what we do. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> You know, quarterback the ideas and where’s the where the song is going to go. Like, okay, let’s do this and repeat that and I, and I’m just calling out plays like the whole time, but they’re all leaders in their own way. So I feel like it’s a collective. They trust my musical intuition and I trust theirs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m trying to lead a band from the bass chair, which is also interesting ‘cause we have a saxophone player who is playing melodies and and if you saw us, you’d probably think he was the leader or assume ‘cause he’s, when you play the melody, you kind of lead where it goes. But I’m often right there in his ear like, okay, we’re going to play this one now. Take us to the bridge, you know, whatever. that kind of thing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> I’m constantly shouting at everybody. –\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> It’s fun. I really like to lead like that instead of just like, you know, we could just play the song over and over and end it. But usually in the middle, I’m like, Stay on this part. Or like,” okay, now, you know “just you just piano.” Suddenly you’re just changing it up, keeping it interesting the whole time, I really like to lead that way. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Talk to me about the new self-titled album, Big Trippin, that you guys have been working on for a long time. That will be out later this year… \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> It’s been about two years in the making. A lot has happened in between us recording it and now. So there’s been some pretty serious delays. But I am really excited to put this music out and I’ve never released music under my name, So this is a big step for me and a big learning process but i just want to share. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We really bring a lot of energy. So sometimes I feel like we’re knocking wigs off. We’re making everybody a little like, whoa. And we can hit people over the head a little bit musically.\u003c/span> \u003cspan style=\"font-weight: 400\">We are like the extreme sports version of music. It’s intense. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, you have this cover arrangement of a Ahmad Jamal song and it has like a bunch of 808 beats on it. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yep It’s got 808s. It’s it’s a it’s like a trap beat. Like in a trap style, but it’s a Ahmad still, like I said in the beginning of this interview, when I hear Ahmad Jamal, I hear hip hop and it’s this beautiful song of his called Arabesque and. When I heard it right away, I knew I knew what to do with it, that what I wanted to do with it anyway. Not to say that his version isn’t perfect. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This article actually came out not that long ago of, you know, someone saying like, you don’t have to change the jazz songs like it’s already this masterful work. You don’t have to make your own arrangement all the time. But for me, when I heard this, it spoke to me right away Like I hear it in the style. I couldn’t deny that I wanted to play it in that way. And I think it works beautifully.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Here in the Bay, we have a lot of sweet jazz venues. Some more intimate than others. You told me in an earlier conversation we had that you really like the lake house? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Which is like this unconventional spot. So I’m wondering for folks who haven’t been there or know about that place, can you tell us why it’s a cool place to play? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Lake House Jazz is at Golden Gate Park at Stow Lake. Inside the boathouse. It’s really unassuming, you know, It’s this little. It’s kind of like a shack. No, it’s not. It’s more than a shack. It’s a boathouse! And in the daytime, it’s like little gift shop. It’s got sweaters and a little snack bar. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">But then at night, through a group I work with called S.F. Mellow Sessions, we transform it into a concert venue, and we put out these chairs, seats about like 75, 80 people max. We do the lighting right, and then suddenly it’s this beautiful special space that’s right on Stow Lake, where you can hear music.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I love it so much because you can hear a pin drop in there while we’re performing because it’s so small and intimate that everyone is just drawn right in. And I play a lot of places where that’s not the case \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ya know. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then you step out of the doors and you’re just looking at the Lake and Golden Gate Park, and it’s it’s really special. Yeah, I really like playing there. And I curate that every Friday. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> What do you think as a bass player like your role is in the larger Bay Area jazz scene? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GUILIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> When I think of my role in the band and on the scene, supporting everyone as best as I can. I also feel like a connector in the scene. I love bringing artists that don’t know each other together. I’m constantly trying to bridge gaps between people and things. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> I really like that I get called to play with a lot of people coming from out of town. That’s been something really special to me. It lets me be on like multiple scenes. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s months that go by where I get to play with so many people coming from New York or anywhere, and then I’m always like, Oh, let’s go here. Like, I’m going to bring these guys to this session and or like, I want to connect all these worlds all the time. So that brings me joy. That’s my role. \u003c/span>\u003c/p>\n\u003cp>\u003cb>PENDARVIS HARSHAW, HOST: \u003c/b>\u003cspan style=\"font-weight: 400\">That was Marisol Medina-Cadena speaking with the extremely talented Giulio Xavier Cetto, thank you both for that convo.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Giulio is active! You can catch up with him on IG, at @thejazzthug and you can find his band under @bigtrippin_ That’s b-i-g-t-r-i-p-p-i-n underscore\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And once again, in honor of all that Rightnowish has accomplished, we’ll be enjoying live jazz and partying at KQED’s headquarters as we say goodbye to this podcast on June 20th. More info can be found at\u003c/span>\u003ca href=\"http://kqed.org/\">\u003cspan style=\"font-weight: 400\"> KQED.Org/ Events\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was produced by Marisol Medina-Cadena. Chris Hambrick is our editor. Christopher Beale is our engineer and sound designer. The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jazz lives on, as does Rightnowish. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\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\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"content": "\u003cp>When San Francisco hosted its first official city-supported Juneteenth parade down Market Street last year, Dr. Sheryl Davis witnessed its significance firsthand.\u003c/p>\n\u003cp>Davis is the executive director of the city’s Human Rights Commission, which puts on the parade, and she knew what it meant to those in San Francisco’s African-American community who’ve organized independent community Juneteenth celebrations for years.\u003c/p>\n\u003cp>“For them it was huge,” said Davis. “The parade was legitimizing. They felt like all of the sudden they were welcome — even with everything that was happening and all of the different challenges, now that Black people could have a parade down Market Street, it’s a symbol of freedom.”\u003c/p>\n\u003cp>This year, the celebration of Black culture is back — and the lineup is stacked.\u003c/p>\n\u003cp>This weekend’s parade kicks off from Market and Spear Streets at 11 a.m. on Saturday, June 8, ending at the Civic Center Plaza at noon for a festival headlined by Larry June, Rapsody and Goapele. The lineup also includes the Fillmore Jazz Ambassadors, San Francisco’s poet laureate Tongo Eisen-Martin, Frisco’s own DJ Red Corvette, Martin Luther and more.\u003c/p>\n\u003cfigure id=\"attachment_13959246\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1.jpg\" alt=\"African American woman in black attire standing behind a microphone at a podium during an indoor event in San Francisco.\" width=\"1280\" height=\"1093\" class=\"size-full wp-image-13959246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-768x656.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Sheryl Davis speaking at a convening in San Francisco, discussing Historically Black Colleges and Universities in February of 2024. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>We Still Here\u003c/h2>\n\u003cp>Davis says the event’s goal is to both bring people back to San Francisco and celebrate the folks who still call the city home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrating Black culture in a city where the \u003ca href=\"https://www.sfexaminer.com/news/the-city/how-black-san-francisco-has-dwindled-since-harlem-west-days/article_42b6f538-d5a4-11ee-85ea-df19cc90bd0d.html\" target=\"_blank\" rel=\"noopener\">African-American population\u003c/a> has dropped 50% in the past 50 years presents a conflict, Davis says.\u003c/p>\n\u003cp>“When you have a diminishing population of people and you hold an event to celebrate that culture, if people don’t turn out like they do for a Warriors parade, does the city then say it’s not worth it?” asks Davis. “What is our end goal for holding this parade?”\u003c/p>\n\u003cp>To some, Davis says, that answer might be financial. To others, the answer might be a matter of “enough” people showing up. Davis doesn’t see it that way.\u003c/p>\n\u003cp>“The people in the parade are grateful to be seen, whether it’s by one person or one thousand. And to know the streets were shut down to celebrate their culture — in a town where people often talk about how many Black folks have left the city, but they don’t mention the people who still live here.”\u003c/p>\n\u003cfigure id=\"attachment_13958715\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960.jpg\" alt=\"\" width=\"960\" height=\"640\" class=\"size-full wp-image-13958715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">People hop aboard a cable car during last year’s San Francisco Juneteenth parade. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How It’s Really Done’\u003c/h2>\n\u003cp>Juneteenth became a federal holiday three years ago, but the history of its celebration in San Francisco goes back to the 1940s.\u003c/p>\n\u003cp>In June of 1945, Wesley Johnson, Sr. wore a white cowboy hat as he rode through the Fillmore on a white horse. It was his way of bringing the celebration of Juneteenth — a day commemorating the delayed notification to western states that enslaved Africans in America had become legally free — to the city.\u003c/p>\n\u003cp>Like many African Americans involved in the Great Migration, Johnson Sr. was born in Texas and moved to San Francisco in the early 1900s for work. Along with his labor, he brought culture.\u003c/p>\n\u003cp>“I want to bring my corner of Texas to San Francisco and show them how it’s really done,” reads a quote from Johnson Sr. on the city’s \u003ca href=\"https://www.sfcjuneteenth.org/\" target=\"_blank\" rel=\"noopener\">Juneteenth page\u003c/a>.\u003c/p>\n\u003ch2>Juneteenth Events Around the Bay\u003c/h2>\n\u003cp>The San Francisco Human Rights Commission is backing a handful of events to commemorate Juneteenth. The list includes \u003ca href=\"https://www.sfcjuneteenth.org/events/mayor-london-breeds-official-juneteenth-kickoff\" target=\"_blank\" rel=\"noopener\">Mayor London Breed’s Official Juneteenth Kickoff\u003c/a> event on June 14, the SF Black Wall Street Gala on June 14 and the Juneteenth Festival in the Bayview on June 16.\u003c/p>\n\u003cp>In addition to the City of San Francisco’s Juneteenth events there will be a number of happenings around town, including the Juneteenth celebration on \u003ca href=\"https://www.onetreasureisland.org/events/juneteenth-celebration\">Treasure Island\u003c/a> on June 15 and SF \u003ca href=\"https://www.sfjazz.org/juneteenth/?gad_source=1&gclid=CjwKCAjwgdayBhBQEiwAXhMxtqbGxzmhjodiAjAt29DeAGMxB7BzNghfnh7LNCll-mnj--2Xbs2hjxoCdp0QAvD_BwE\">Jazz’s Juneteenth event \u003c/a>on June 19.\u003c/p>\n\u003cfigure id=\"attachment_13958721\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038.jpg\" alt=\"Man on stage with a microphone and sunglasses, rapping to a full crowd of smiling faces on a sunny day at a festival.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13958721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 will be big steppin’ at San Francisco’s 2024 Juneteenth parade and festival. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.moadsf.org/event/free-admission-day-kp-thrive-moad-celebrate-juneteenth\" target=\"_blank\" rel=\"noopener\">The MoAd will host a free admission day\u003c/a> and a series of events during the month of June, including Drag Story Hour with \u003ca href=\"https://www.kqed.org/news/1765/the-california-report-magazine\">Black Benetar\u003c/a>, a film screening of \u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-city-of-a-million-dreams-parading-for-the-dead-in-new-orleans\">City of a Million Dreams: Parading for the Dead in New Orleans\u003c/a> and a tour of oil pastel landscapes by the artist Rachel Jones. Free admission day is Saturday, June 8.\u003c/p>\n\u003cp>\u003ca href=\"https://www.oigc.org/cal/2nd-freight-juneteenth\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir\u003c/a> will celebrate Juneteenth for the second year in a row with a special performance. Founded in 1986 to honor Black gospel tradition, the choir brings together over 300 singers whose ages range from five to 100. The performance will take place Saturday, June 15 at \u003ca href=\"https://thefreight.org/\">Freight and Salvage\u003c/a> in Berkeley.\u003c/p>\n\u003cp>Eight blocks of the Fillmore District will feature music, carnival games, a hair and fashion show and more for the annual \u003ca href=\"https://juneteenth-sf.org/\" target=\"_blank\" rel=\"noopener\">Juneteenth SF Freedom Celebration\u003c/a>. On Saturday, June 15, over 50 food and retail vendors, classic cars and the L.A. R&B group The Whispers will come together for the holiday.\u003c/p>\n\u003cp>\u003ca href=\"https://vallejojuneteenth.com/\" target=\"_blank\" rel=\"noopener\">The 34th annual Juneteenth celebration in Vallejo\u003c/a> will include a parade, a youth art contest and a paint party. The festival and parade is on June 15 at the Barbara Kondylis Waterfront Green.\u003c/p>\n\u003cp>The \u003ca href=\"https://healdsburgjazz.org/festival-schedule/june-15/\" target=\"_blank\" rel=\"noopener\">Healdsburg Jazz Festival\u003c/a> is honoring Juneteenth on June 15 with a quintet, a sextet, drum workshops and drinks from the Nubian Cafe Collective at Healdsburg Plaza. Performers include Houston Person and Steve Turre.\u003c/p>\n\u003cp>On June 15 renowned vocalist Marsha Ambrosius is set to headline \u003ca href=\"https://www.sjaacsa.org/juneteenth/home\" target=\"_blank\" rel=\"noopener\">the 43rd annual Juneteenth Festival in downtown San Jose\u003c/a>, as the event will also feature the marching bands of Florida A&M University and Alabama State University.\u003c/p>\n\u003cfigure id=\"attachment_13959247\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download.jpg\" alt='A set of balloons reads \"JUNETEENTH\" in golden lettering overhead, as two event attendees pose for a photo in the foreground.' width=\"1280\" height=\"854\" class=\"size-full wp-image-13959247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-768x512.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Sheryl Davis and Shakirah Simley, executive director of Booker T. Washington Community Service Center in San Francisco, pose for a photo at Juneteenth on the Waterfront at the Ferry Plaza Farmers Market in 2021. \u003ccite>(Photo by Foodwise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://berkeleyjuneteenth.org/\" target=\"_blank\" rel=\"noopener\">The Berkeley Juneteenth Festival\u003c/a> on June 16 at Adeline St. and Alcatraz Ave is bringing live music on two stages, a zone for kids to do STEM activities and face painting and food vendors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.antiochca.gov/juneteenth/\" target=\"_blank\" rel=\"noopener\">During the Antioch Juneteenth\u003c/a> event there will be carnival games, live performances by Nzuri Soul and the Ariel Marin Band and a rock climbing wall at Williamson Ranch Park on Sunday, June 16.\u003c/p>\n\u003cp>The Oakland Museum of California is hosting a \u003ca href=\"https://museumca.org/event/hella-juneteenth-the-cookout/\" target=\"_blank\" rel=\"noopener\">Hella Juneteenth “The Cookout,”\u003c/a> which will feature sets from DJs \u003ca href=\"https://www.instagram.com/fattonyrap/\">Fat Tony\u003c/a>, \u003ca href=\"https://www.instagram.com/djdarlingcool/\">Darling Cool\u003c/a> and \u003ca href=\"https://www.instagram.com/djken_z_o/\">DJ Kenzo\u003c/a>. Cookout goers will enjoy music in the OMCA garden and food from chef Michele McQueen of the museum’s cafe Town Fare. Tickets for the event on June 19 will include access to all of OMCA’s galleries.\u003c/p>\n\u003cp>\u003ca href=\"https://juneteenthcommunityfestival.info/about\" target=\"_blank\" rel=\"noopener\">The family-friendly Marin City Juneteenth Festival\u003c/a> will host an African Marketplace featuring apparel, jewelry and art from small businesses, will crown a community kind and queen and will provide supervised childcare for the kiddos at Rocky Graham Park on Saturday, June 22.\u003c/p>\n\u003cp>In Richmond, community members are holding a \u003ca href=\"https://www.ci.richmond.ca.us/4665/Richmond-Juneteenth-Festival\" target=\"_blank\" rel=\"noopener\">Juneteenth Family Day Parade and Festival\u003c/a> to uplift peace and unity in their neighborhoods on Saturday, June 22 at Nicholl Park.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Juneteenth events compiled by Olivia Cruz Mayeda.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When San Francisco hosted its first official city-supported Juneteenth parade down Market Street last year, Dr. Sheryl Davis witnessed its significance firsthand.\u003c/p>\n\u003cp>Davis is the executive director of the city’s Human Rights Commission, which puts on the parade, and she knew what it meant to those in San Francisco’s African-American community who’ve organized independent community Juneteenth celebrations for years.\u003c/p>\n\u003cp>“For them it was huge,” said Davis. “The parade was legitimizing. They felt like all of the sudden they were welcome — even with everything that was happening and all of the different challenges, now that Black people could have a parade down Market Street, it’s a symbol of freedom.”\u003c/p>\n\u003cp>This year, the celebration of Black culture is back — and the lineup is stacked.\u003c/p>\n\u003cp>This weekend’s parade kicks off from Market and Spear Streets at 11 a.m. on Saturday, June 8, ending at the Civic Center Plaza at noon for a festival headlined by Larry June, Rapsody and Goapele. The lineup also includes the Fillmore Jazz Ambassadors, San Francisco’s poet laureate Tongo Eisen-Martin, Frisco’s own DJ Red Corvette, Martin Luther and more.\u003c/p>\n\u003cfigure id=\"attachment_13959246\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1.jpg\" alt=\"African American woman in black attire standing behind a microphone at a podium during an indoor event in San Francisco.\" width=\"1280\" height=\"1093\" class=\"size-full wp-image-13959246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-768x656.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Sheryl Davis speaking at a convening in San Francisco, discussing Historically Black Colleges and Universities in February of 2024. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>We Still Here\u003c/h2>\n\u003cp>Davis says the event’s goal is to both bring people back to San Francisco and celebrate the folks who still call the city home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrating Black culture in a city where the \u003ca href=\"https://www.sfexaminer.com/news/the-city/how-black-san-francisco-has-dwindled-since-harlem-west-days/article_42b6f538-d5a4-11ee-85ea-df19cc90bd0d.html\" target=\"_blank\" rel=\"noopener\">African-American population\u003c/a> has dropped 50% in the past 50 years presents a conflict, Davis says.\u003c/p>\n\u003cp>“When you have a diminishing population of people and you hold an event to celebrate that culture, if people don’t turn out like they do for a Warriors parade, does the city then say it’s not worth it?” asks Davis. “What is our end goal for holding this parade?”\u003c/p>\n\u003cp>To some, Davis says, that answer might be financial. To others, the answer might be a matter of “enough” people showing up. Davis doesn’t see it that way.\u003c/p>\n\u003cp>“The people in the parade are grateful to be seen, whether it’s by one person or one thousand. And to know the streets were shut down to celebrate their culture — in a town where people often talk about how many Black folks have left the city, but they don’t mention the people who still live here.”\u003c/p>\n\u003cfigure id=\"attachment_13958715\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960.jpg\" alt=\"\" width=\"960\" height=\"640\" class=\"size-full wp-image-13958715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">People hop aboard a cable car during last year’s San Francisco Juneteenth parade. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How It’s Really Done’\u003c/h2>\n\u003cp>Juneteenth became a federal holiday three years ago, but the history of its celebration in San Francisco goes back to the 1940s.\u003c/p>\n\u003cp>In June of 1945, Wesley Johnson, Sr. wore a white cowboy hat as he rode through the Fillmore on a white horse. It was his way of bringing the celebration of Juneteenth — a day commemorating the delayed notification to western states that enslaved Africans in America had become legally free — to the city.\u003c/p>\n\u003cp>Like many African Americans involved in the Great Migration, Johnson Sr. was born in Texas and moved to San Francisco in the early 1900s for work. Along with his labor, he brought culture.\u003c/p>\n\u003cp>“I want to bring my corner of Texas to San Francisco and show them how it’s really done,” reads a quote from Johnson Sr. on the city’s \u003ca href=\"https://www.sfcjuneteenth.org/\" target=\"_blank\" rel=\"noopener\">Juneteenth page\u003c/a>.\u003c/p>\n\u003ch2>Juneteenth Events Around the Bay\u003c/h2>\n\u003cp>The San Francisco Human Rights Commission is backing a handful of events to commemorate Juneteenth. The list includes \u003ca href=\"https://www.sfcjuneteenth.org/events/mayor-london-breeds-official-juneteenth-kickoff\" target=\"_blank\" rel=\"noopener\">Mayor London Breed’s Official Juneteenth Kickoff\u003c/a> event on June 14, the SF Black Wall Street Gala on June 14 and the Juneteenth Festival in the Bayview on June 16.\u003c/p>\n\u003cp>In addition to the City of San Francisco’s Juneteenth events there will be a number of happenings around town, including the Juneteenth celebration on \u003ca href=\"https://www.onetreasureisland.org/events/juneteenth-celebration\">Treasure Island\u003c/a> on June 15 and SF \u003ca href=\"https://www.sfjazz.org/juneteenth/?gad_source=1&gclid=CjwKCAjwgdayBhBQEiwAXhMxtqbGxzmhjodiAjAt29DeAGMxB7BzNghfnh7LNCll-mnj--2Xbs2hjxoCdp0QAvD_BwE\">Jazz’s Juneteenth event \u003c/a>on June 19.\u003c/p>\n\u003cfigure id=\"attachment_13958721\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038.jpg\" alt=\"Man on stage with a microphone and sunglasses, rapping to a full crowd of smiling faces on a sunny day at a festival.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13958721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 will be big steppin’ at San Francisco’s 2024 Juneteenth parade and festival. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.moadsf.org/event/free-admission-day-kp-thrive-moad-celebrate-juneteenth\" target=\"_blank\" rel=\"noopener\">The MoAd will host a free admission day\u003c/a> and a series of events during the month of June, including Drag Story Hour with \u003ca href=\"https://www.kqed.org/news/1765/the-california-report-magazine\">Black Benetar\u003c/a>, a film screening of \u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-city-of-a-million-dreams-parading-for-the-dead-in-new-orleans\">City of a Million Dreams: Parading for the Dead in New Orleans\u003c/a> and a tour of oil pastel landscapes by the artist Rachel Jones. Free admission day is Saturday, June 8.\u003c/p>\n\u003cp>\u003ca href=\"https://www.oigc.org/cal/2nd-freight-juneteenth\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir\u003c/a> will celebrate Juneteenth for the second year in a row with a special performance. Founded in 1986 to honor Black gospel tradition, the choir brings together over 300 singers whose ages range from five to 100. The performance will take place Saturday, June 15 at \u003ca href=\"https://thefreight.org/\">Freight and Salvage\u003c/a> in Berkeley.\u003c/p>\n\u003cp>Eight blocks of the Fillmore District will feature music, carnival games, a hair and fashion show and more for the annual \u003ca href=\"https://juneteenth-sf.org/\" target=\"_blank\" rel=\"noopener\">Juneteenth SF Freedom Celebration\u003c/a>. On Saturday, June 15, over 50 food and retail vendors, classic cars and the L.A. R&B group The Whispers will come together for the holiday.\u003c/p>\n\u003cp>\u003ca href=\"https://vallejojuneteenth.com/\" target=\"_blank\" rel=\"noopener\">The 34th annual Juneteenth celebration in Vallejo\u003c/a> will include a parade, a youth art contest and a paint party. The festival and parade is on June 15 at the Barbara Kondylis Waterfront Green.\u003c/p>\n\u003cp>The \u003ca href=\"https://healdsburgjazz.org/festival-schedule/june-15/\" target=\"_blank\" rel=\"noopener\">Healdsburg Jazz Festival\u003c/a> is honoring Juneteenth on June 15 with a quintet, a sextet, drum workshops and drinks from the Nubian Cafe Collective at Healdsburg Plaza. Performers include Houston Person and Steve Turre.\u003c/p>\n\u003cp>On June 15 renowned vocalist Marsha Ambrosius is set to headline \u003ca href=\"https://www.sjaacsa.org/juneteenth/home\" target=\"_blank\" rel=\"noopener\">the 43rd annual Juneteenth Festival in downtown San Jose\u003c/a>, as the event will also feature the marching bands of Florida A&M University and Alabama State University.\u003c/p>\n\u003cfigure id=\"attachment_13959247\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download.jpg\" alt='A set of balloons reads \"JUNETEENTH\" in golden lettering overhead, as two event attendees pose for a photo in the foreground.' width=\"1280\" height=\"854\" class=\"size-full wp-image-13959247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-768x512.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Sheryl Davis and Shakirah Simley, executive director of Booker T. Washington Community Service Center in San Francisco, pose for a photo at Juneteenth on the Waterfront at the Ferry Plaza Farmers Market in 2021. \u003ccite>(Photo by Foodwise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://berkeleyjuneteenth.org/\" target=\"_blank\" rel=\"noopener\">The Berkeley Juneteenth Festival\u003c/a> on June 16 at Adeline St. and Alcatraz Ave is bringing live music on two stages, a zone for kids to do STEM activities and face painting and food vendors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.antiochca.gov/juneteenth/\" target=\"_blank\" rel=\"noopener\">During the Antioch Juneteenth\u003c/a> event there will be carnival games, live performances by Nzuri Soul and the Ariel Marin Band and a rock climbing wall at Williamson Ranch Park on Sunday, June 16.\u003c/p>\n\u003cp>The Oakland Museum of California is hosting a \u003ca href=\"https://museumca.org/event/hella-juneteenth-the-cookout/\" target=\"_blank\" rel=\"noopener\">Hella Juneteenth “The Cookout,”\u003c/a> which will feature sets from DJs \u003ca href=\"https://www.instagram.com/fattonyrap/\">Fat Tony\u003c/a>, \u003ca href=\"https://www.instagram.com/djdarlingcool/\">Darling Cool\u003c/a> and \u003ca href=\"https://www.instagram.com/djken_z_o/\">DJ Kenzo\u003c/a>. Cookout goers will enjoy music in the OMCA garden and food from chef Michele McQueen of the museum’s cafe Town Fare. Tickets for the event on June 19 will include access to all of OMCA’s galleries.\u003c/p>\n\u003cp>\u003ca href=\"https://juneteenthcommunityfestival.info/about\" target=\"_blank\" rel=\"noopener\">The family-friendly Marin City Juneteenth Festival\u003c/a> will host an African Marketplace featuring apparel, jewelry and art from small businesses, will crown a community kind and queen and will provide supervised childcare for the kiddos at Rocky Graham Park on Saturday, June 22.\u003c/p>\n\u003cp>In Richmond, community members are holding a \u003ca href=\"https://www.ci.richmond.ca.us/4665/Richmond-Juneteenth-Festival\" target=\"_blank\" rel=\"noopener\">Juneteenth Family Day Parade and Festival\u003c/a> to uplift peace and unity in their neighborhoods on Saturday, June 22 at Nicholl Park.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Juneteenth events compiled by Olivia Cruz Mayeda.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-jose-foos-chris-villa-tacos-music-festival",
"title": "This Wildly Popular IG Account Is Throwing a Huge Latin Music Festival in San Jose",
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"headTitle": "This Wildly Popular IG Account Is Throwing a Huge Latin Music Festival in San Jose | KQED",
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"content": "\u003cp>\u003cstrong>\u003ci>\u003ca href=\"https://www.kqed.org/hellahungry\">¡Hella Hungry!\u003c/a> is a series of interviews with Bay Area foodmakers exploring the region’s culinary innovations through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>South Almaden Avenue is a long stretch of pavement that runs through a scrappy, historic neighborhood on the southern edge of San Jose’s downtown. It’s the kind of barrio you can visit at any hour to find some of the Bay Area’s most homey tacos while vatos circle the block on bicycles and inside minivans. It’s also where you’ll find\u003ca href=\"https://www.instagram.com/rosarios_tacos/?hl=en\"> Rosario’s Tacos\u003c/a>, a no-frills taqueria that started inside a garage before moving to its current brick-and-mortar location in 2022.\u003c/p>\n\u003cp>The gregarious owner, Joe, is an embodiment of San Jose’s low-riding Chicano spirit — a proud father with a full-bellied laugh and cynical sense of humor who refuses to give up on his community. The restaurant is named after his late mother, Rosario, whose recipes Joe has adapted to create the restaurant’s beloved quesabirria — a red-drenched behemoth of a taco, dripping with consomme, birria, cheese and (if desired) plump, succulent shrimp.\u003c/p>\n\u003cp>Rosario’s generous portion sizes and undiluted hometown pride are what attract one of Shark City’s biggest foodies:\u003ca href=\"https://www.instagram.com/chrisillmatic/?hl=en\"> Chris Villa\u003c/a>. As the face of\u003ca href=\"https://www.instagram.com/sanjosefoos/?hl=en\"> San Jose Foos\u003c/a> — the 408’s most culturally influential social media empire, with over 226,000 followers on Instagram — Villa has been going to Rosario’s for years and chose it as our rendezvous point on a sunny South Bay afternoon.\u003c/p>\n\u003cfigure id=\"attachment_13958803\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-scaled.jpg\" alt=\"a table of tacos and flyers for a music festival\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Jose Foos is helping to coordinate the city’s first-ever Latin house music festival at Discovery Meadow Park on June 15. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though not food-specific, the page — which Villa co-facilitates with \u003ca href=\"https://www.metrosiliconvalley.com/san-jose-foos-become-a-much-needed-voice-for-san-jose-culture/\">San Jose Foos founder, Jorge Anthony Gomez\u003c/a> — uplifts a variety of San Jose-owned businesses like Rosario’s. Their popular, insider-y memes and videos highlight small, family-run, genuinely under-appreciated and off-the-radar locales that otherwise go unnoticed by the Bay Area mainstream. Villa has been involved with the account for four years and recently left his job at Apple to pursue his creativity full-time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In their biggest effort to continue building the city’s cultural profile, San Jose Foos are launching a new music festival: \u003ca href=\"https://www.instagram.com/p/C7AhHO0Pucw/?hl=en\">Taraka\u003c/a>. Headlined by\u003ca href=\"https://www.instagram.com/gordoszn/?hl=en\"> Nicaraguan super producer and DJ, Gordo\u003c/a>, and featuring a cast of eleven Latin American house music DJs, the festival will be the only one of its kind in the region (\u003ca href=\"https://www.kqed.org/arts/13865311/how-sonido-clash-music-fest-became-a-hub-for-forward-thinking-latinx-sounds\">Sonido Clash, the alternative Latinx music festival\u003c/a> that was once held in San Jose, has been discontinued since the pandemic).\u003c/p>\n\u003cp>After ordering close to 20 tacos — which we divvied up, each taking home leftovers — Villa and I ate ourselves into a peaceful state of higher consciousness while chatting about Silicon Valley’s joys, complexities and upcoming food and music takeover.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13958806\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958806\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-scaled.jpg\" alt=\"birria tacos on a grill at a taqueria\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The quesabirria tacos are a main attraction at Rosario’s. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Alan Chazaro: You chose this spot as our meeting point. What does Rosario’s Tacos mean to you? [mariachi music blares in the background]\u003c/b>\u003c/p>\n\u003cp>\u003cb>Chris Villa: \u003c/b>I’ve known about this spot for the longest. It’s a San Jose staple. It’s one of those spots that everyone in San Jose goes to. I’ve built a rapport with Joe [the owner] because of what he does and what he has contributed to the community. He has a presence here. And the food is delicious. This isn’t a gentrified spot, but you’ll still see every culture here. A group of Indian foodies recently made a video. That’s really cool to see. And Joe doesn’t want to go anywhere. He wants to stay right here in San Jose. That gives people a sense of pride. You can’t hate on that, you know?\u003c/p>\n\u003cp>\u003cb>I feel that. Have you eaten the Godzilla Taco here? The menu says it’s a 14-inch quesabirria taco. It crossed my mind.\u003c/b>\u003c/p>\n\u003cp>Yeah, I have. I can’t finish it [laughs].\u003c/p>\n\u003cfigure id=\"attachment_13958804\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-scaled.jpg\" alt=\"a kitchen cook prepares meat for birria tacos\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Rosario’s Tacos uses family recipes from the owner’s late mother, Rosario, to make some of the best quesabirria in San Jose. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>There are a lot of solid taquerias in this area. I remember eating around here when I was a teenager, and a group of gang members got out of their car and approached the people I was with because of some of the colors they were wearing. But the tacos were so damn good that I kept coming back. Did you grow up in this part of the city?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13958336,arts_13958466,arts_13920483']\u003c/span>I grew up on the south side of San Jose. We used to stay away from this area growing up because of what it is, you know [laughs]. Where I lived was like the opposite gang, but I wasn’t affiliated or anything like that. Before all the Instagram stuff, I’ve always been cool with everyone. Just going out and saying what’s up to all the homies. That’s just the Bay.\u003c/p>\n\u003cp>\u003cb>How did you start working with San Jose Foos, and what’s your involvement?\u003c/b>\u003c/p>\n\u003cp>I partnered with my homie, Anthony [Gomez]. He’s the one who started it; I’m considered the face of it, and I’m in some of the videos. I also help with scheduling, shooting, editing and stuff like that as much as needed. I started a few years ago right after COVID [emerged] in 2020. After all that was going on, that’s when I jumped on board, and I was like, hey, you know, it’s a lot of fighting hate with hate. We wanted to make it a love thing. Support our community. Support local businesses however we can. We were at maybe 10,000 followers at the time, and it still made a difference. And from then it blew up from just telling people to check out this spot, go look at this artist, sharing San Jose staples that you got to know. It became more about that. Local history, culture.\u003c/p>\n\u003cfigure id=\"attachment_13958805\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-scaled.jpg\" alt=\"a mural that reads "Rosario's Tacos San Jose" inside a taqueria\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A mural inside the taqueria reflects the owner’s hometown Chicano pride. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Is that cultural representation something you think San Jose was lacking at the time — or is maybe still lacking?\u003c/b>\u003c/p>\n\u003cp>It was missing for the longest. San Jose hasn’t always been shown the same love as San Francisco and Oakland. We wanted to pivot and put San Jose on the map in different ways. That was the goal. We want to make people laugh, too [laughs]. This is my favorite horchata in San Jose, by the way [sips horchata].\u003c/p>\n\u003cp>\u003cb>You’re helping launch a new festival in San Jose. That’s a big deal. How’s that going?\u003c/b>\u003c/p>\n\u003cp>It’s huge. The first of its kind here in San Jose. They’re going to start building the stage. We’ve always wanted to do something big, festival wise. We’ve been mapping things out. Gordo is a dope artist. I’ve always been a fan of his, so when I heard we’re bringing him out I was like yo, that’s crazy.\u003c/p>\n\u003cfigure id=\"attachment_13958808\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958808\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-scaled.jpg\" alt=\"a journalist eating a taco\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">KQED food journalist Alan Chazaro listens in as Chris Villa talks about San Jose’s cultural riches. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your role in the festival?\u003c/b>\u003c/p>\n\u003cp>I’m helping facilitate, mainly with the vendors. Making sure everyone’s good. I’ve been running around, wearing a few hats. It’ll all be at Discovery Meadows [the park outside the Children’s Discovery Museum of San Jose]. We have a friend who organizes events, and they’re really good at putting things together and getting the permits and things like that, so they took care of all that. We’ve done events before, but not this size. It’s gonna be good. It’s a large event being held in San Jose at a venue that not many people know about. The last big event that happened there was with Logic. He held a free event there. Hella random.\u003c/p>\n\u003cp>\u003cb>Who’s going to be there?\u003c/b>\u003c/p>\n\u003cp>Live DJs will be going on from 2 to 9 on one stage. Gordo, Lee Foss, Malóne, Maneki. Nico Crespo from San Jose. He’s actually my best friend’s cousin and he’s been doing it big in the house and techno scene. It’s 11 Latin American house music DJs in total.\u003ca href=\"https://www.instagram.com/brownnproudla/?hl=en\"> Brown N Proud\u003c/a> LA is doing an SJ collab. He’s a clothing guy; [the clothing brand] Foos Gone Wild has partnered up with him before. But it’s mostly San Jose people:\u003ca href=\"https://www.instagram.com/shrimpn_aint_eazy/?hl=en\"> Shrimpin Ain’t Eazy\u003c/a>, \u003ca href=\"https://www.instagram.com/popupsj/?hl=en\">Pop Up SJ\u003c/a>, \u003ca href=\"https://www.instagram.com/mrshrimpsj/\">Mr. Shrimp\u003c/a>. Food trucks, thrifters, clothing brands. Our own stuff.\u003c/p>\n\u003cfigure id=\"attachment_13958809\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958809\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-scaled.jpg\" alt=\"three people sit in front of a taqueria during lunch\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Chris Vilal (left), Alan Chazaro (center) and Rosario’s Tacos owner, Joe (right), discuss San Jose’s artistic community. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your philosophy on what San Jose could be doing better moving forward?\u003c/b>\u003c/p>\n\u003cp>The biggest thing I see in San Jose is people fighting against each other, making everything a competition. [San Jose Foos] never saw it that way. We want to partner up with whoever wants to make a difference, big or small. Artists, photographers, any of that. One of the organizations we help out is\u003ca href=\"https://www.instagram.com/adopt_my_block/?hl=en\"> Adopt My Block\u003c/a>. They’re about adopting dogs, sheltering dogs. We reached out to them. It’s run by\u003ca href=\"https://www.kqed.org/arts/13839650/on-3rtys-veteran-san-jose-battle-rapper-dirtbag-dan-reveals-his-introspective-side\"> Dirtbag Dan\u003c/a>, one of [San Jose’s] old school battle rappers. We want to show that love to our city.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Taraka with Gordo’ will take place at Discovery Meadow Park (180 Woz Way, San Jose) on Sat., June 15 from 2 to 9 p.m. Tickets available \u003ca href=\"https://www.eventbrite.com/e/taraka-san-jose-w-gordo-more-tba-tickets-891379388747?aff=aff0bandsintown&comeFrom=2500&artist_event_id=1031776474&bit_userid=%24%7Buser_id%7D&appId=onaqfvagbja_jro\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "San Jose Foos Is Throwing a Huge New Latin Music Festival | KQED",
"description": "San Jose Foos’ Chris Villa breaks down Silicon Valley’s upcoming Latin American electronic music festival and where he goes to get his favorite tacos.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ci>\u003ca href=\"https://www.kqed.org/hellahungry\">¡Hella Hungry!\u003c/a> is a series of interviews with Bay Area foodmakers exploring the region’s culinary innovations through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>South Almaden Avenue is a long stretch of pavement that runs through a scrappy, historic neighborhood on the southern edge of San Jose’s downtown. It’s the kind of barrio you can visit at any hour to find some of the Bay Area’s most homey tacos while vatos circle the block on bicycles and inside minivans. It’s also where you’ll find\u003ca href=\"https://www.instagram.com/rosarios_tacos/?hl=en\"> Rosario’s Tacos\u003c/a>, a no-frills taqueria that started inside a garage before moving to its current brick-and-mortar location in 2022.\u003c/p>\n\u003cp>The gregarious owner, Joe, is an embodiment of San Jose’s low-riding Chicano spirit — a proud father with a full-bellied laugh and cynical sense of humor who refuses to give up on his community. The restaurant is named after his late mother, Rosario, whose recipes Joe has adapted to create the restaurant’s beloved quesabirria — a red-drenched behemoth of a taco, dripping with consomme, birria, cheese and (if desired) plump, succulent shrimp.\u003c/p>\n\u003cp>Rosario’s generous portion sizes and undiluted hometown pride are what attract one of Shark City’s biggest foodies:\u003ca href=\"https://www.instagram.com/chrisillmatic/?hl=en\"> Chris Villa\u003c/a>. As the face of\u003ca href=\"https://www.instagram.com/sanjosefoos/?hl=en\"> San Jose Foos\u003c/a> — the 408’s most culturally influential social media empire, with over 226,000 followers on Instagram — Villa has been going to Rosario’s for years and chose it as our rendezvous point on a sunny South Bay afternoon.\u003c/p>\n\u003cfigure id=\"attachment_13958803\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-scaled.jpg\" alt=\"a table of tacos and flyers for a music festival\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-35-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Jose Foos is helping to coordinate the city’s first-ever Latin house music festival at Discovery Meadow Park on June 15. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though not food-specific, the page — which Villa co-facilitates with \u003ca href=\"https://www.metrosiliconvalley.com/san-jose-foos-become-a-much-needed-voice-for-san-jose-culture/\">San Jose Foos founder, Jorge Anthony Gomez\u003c/a> — uplifts a variety of San Jose-owned businesses like Rosario’s. Their popular, insider-y memes and videos highlight small, family-run, genuinely under-appreciated and off-the-radar locales that otherwise go unnoticed by the Bay Area mainstream. Villa has been involved with the account for four years and recently left his job at Apple to pursue his creativity full-time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In their biggest effort to continue building the city’s cultural profile, San Jose Foos are launching a new music festival: \u003ca href=\"https://www.instagram.com/p/C7AhHO0Pucw/?hl=en\">Taraka\u003c/a>. Headlined by\u003ca href=\"https://www.instagram.com/gordoszn/?hl=en\"> Nicaraguan super producer and DJ, Gordo\u003c/a>, and featuring a cast of eleven Latin American house music DJs, the festival will be the only one of its kind in the region (\u003ca href=\"https://www.kqed.org/arts/13865311/how-sonido-clash-music-fest-became-a-hub-for-forward-thinking-latinx-sounds\">Sonido Clash, the alternative Latinx music festival\u003c/a> that was once held in San Jose, has been discontinued since the pandemic).\u003c/p>\n\u003cp>After ordering close to 20 tacos — which we divvied up, each taking home leftovers — Villa and I ate ourselves into a peaceful state of higher consciousness while chatting about Silicon Valley’s joys, complexities and upcoming food and music takeover.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13958806\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958806\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-scaled.jpg\" alt=\"birria tacos on a grill at a taqueria\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-14-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The quesabirria tacos are a main attraction at Rosario’s. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Alan Chazaro: You chose this spot as our meeting point. What does Rosario’s Tacos mean to you? [mariachi music blares in the background]\u003c/b>\u003c/p>\n\u003cp>\u003cb>Chris Villa: \u003c/b>I’ve known about this spot for the longest. It’s a San Jose staple. It’s one of those spots that everyone in San Jose goes to. I’ve built a rapport with Joe [the owner] because of what he does and what he has contributed to the community. He has a presence here. And the food is delicious. This isn’t a gentrified spot, but you’ll still see every culture here. A group of Indian foodies recently made a video. That’s really cool to see. And Joe doesn’t want to go anywhere. He wants to stay right here in San Jose. That gives people a sense of pride. You can’t hate on that, you know?\u003c/p>\n\u003cp>\u003cb>I feel that. Have you eaten the Godzilla Taco here? The menu says it’s a 14-inch quesabirria taco. It crossed my mind.\u003c/b>\u003c/p>\n\u003cp>Yeah, I have. I can’t finish it [laughs].\u003c/p>\n\u003cfigure id=\"attachment_13958804\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-scaled.jpg\" alt=\"a kitchen cook prepares meat for birria tacos\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-4-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Rosario’s Tacos uses family recipes from the owner’s late mother, Rosario, to make some of the best quesabirria in San Jose. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>There are a lot of solid taquerias in this area. I remember eating around here when I was a teenager, and a group of gang members got out of their car and approached the people I was with because of some of the colors they were wearing. But the tacos were so damn good that I kept coming back. Did you grow up in this part of the city?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>I grew up on the south side of San Jose. We used to stay away from this area growing up because of what it is, you know [laughs]. Where I lived was like the opposite gang, but I wasn’t affiliated or anything like that. Before all the Instagram stuff, I’ve always been cool with everyone. Just going out and saying what’s up to all the homies. That’s just the Bay.\u003c/p>\n\u003cp>\u003cb>How did you start working with San Jose Foos, and what’s your involvement?\u003c/b>\u003c/p>\n\u003cp>I partnered with my homie, Anthony [Gomez]. He’s the one who started it; I’m considered the face of it, and I’m in some of the videos. I also help with scheduling, shooting, editing and stuff like that as much as needed. I started a few years ago right after COVID [emerged] in 2020. After all that was going on, that’s when I jumped on board, and I was like, hey, you know, it’s a lot of fighting hate with hate. We wanted to make it a love thing. Support our community. Support local businesses however we can. We were at maybe 10,000 followers at the time, and it still made a difference. And from then it blew up from just telling people to check out this spot, go look at this artist, sharing San Jose staples that you got to know. It became more about that. Local history, culture.\u003c/p>\n\u003cfigure id=\"attachment_13958805\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958805\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-scaled.jpg\" alt=\"a mural that reads "Rosario's Tacos San Jose" inside a taqueria\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A mural inside the taqueria reflects the owner’s hometown Chicano pride. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Is that cultural representation something you think San Jose was lacking at the time — or is maybe still lacking?\u003c/b>\u003c/p>\n\u003cp>It was missing for the longest. San Jose hasn’t always been shown the same love as San Francisco and Oakland. We wanted to pivot and put San Jose on the map in different ways. That was the goal. We want to make people laugh, too [laughs]. This is my favorite horchata in San Jose, by the way [sips horchata].\u003c/p>\n\u003cp>\u003cb>You’re helping launch a new festival in San Jose. That’s a big deal. How’s that going?\u003c/b>\u003c/p>\n\u003cp>It’s huge. The first of its kind here in San Jose. They’re going to start building the stage. We’ve always wanted to do something big, festival wise. We’ve been mapping things out. Gordo is a dope artist. I’ve always been a fan of his, so when I heard we’re bringing him out I was like yo, that’s crazy.\u003c/p>\n\u003cfigure id=\"attachment_13958808\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958808\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-scaled.jpg\" alt=\"a journalist eating a taco\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-26-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">KQED food journalist Alan Chazaro listens in as Chris Villa talks about San Jose’s cultural riches. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your role in the festival?\u003c/b>\u003c/p>\n\u003cp>I’m helping facilitate, mainly with the vendors. Making sure everyone’s good. I’ve been running around, wearing a few hats. It’ll all be at Discovery Meadows [the park outside the Children’s Discovery Museum of San Jose]. We have a friend who organizes events, and they’re really good at putting things together and getting the permits and things like that, so they took care of all that. We’ve done events before, but not this size. It’s gonna be good. It’s a large event being held in San Jose at a venue that not many people know about. The last big event that happened there was with Logic. He held a free event there. Hella random.\u003c/p>\n\u003cp>\u003cb>Who’s going to be there?\u003c/b>\u003c/p>\n\u003cp>Live DJs will be going on from 2 to 9 on one stage. Gordo, Lee Foss, Malóne, Maneki. Nico Crespo from San Jose. He’s actually my best friend’s cousin and he’s been doing it big in the house and techno scene. It’s 11 Latin American house music DJs in total.\u003ca href=\"https://www.instagram.com/brownnproudla/?hl=en\"> Brown N Proud\u003c/a> LA is doing an SJ collab. He’s a clothing guy; [the clothing brand] Foos Gone Wild has partnered up with him before. But it’s mostly San Jose people:\u003ca href=\"https://www.instagram.com/shrimpn_aint_eazy/?hl=en\"> Shrimpin Ain’t Eazy\u003c/a>, \u003ca href=\"https://www.instagram.com/popupsj/?hl=en\">Pop Up SJ\u003c/a>, \u003ca href=\"https://www.instagram.com/mrshrimpsj/\">Mr. Shrimp\u003c/a>. Food trucks, thrifters, clothing brands. Our own stuff.\u003c/p>\n\u003cfigure id=\"attachment_13958809\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958809\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-scaled.jpg\" alt=\"three people sit in front of a taqueria during lunch\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/TacoTalkWAlanChris-37-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Chris Vilal (left), Alan Chazaro (center) and Rosario’s Tacos owner, Joe (right), discuss San Jose’s artistic community. \u003ccite>(@alexknowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your philosophy on what San Jose could be doing better moving forward?\u003c/b>\u003c/p>\n\u003cp>The biggest thing I see in San Jose is people fighting against each other, making everything a competition. [San Jose Foos] never saw it that way. We want to partner up with whoever wants to make a difference, big or small. Artists, photographers, any of that. One of the organizations we help out is\u003ca href=\"https://www.instagram.com/adopt_my_block/?hl=en\"> Adopt My Block\u003c/a>. They’re about adopting dogs, sheltering dogs. We reached out to them. It’s run by\u003ca href=\"https://www.kqed.org/arts/13839650/on-3rtys-veteran-san-jose-battle-rapper-dirtbag-dan-reveals-his-introspective-side\"> Dirtbag Dan\u003c/a>, one of [San Jose’s] old school battle rappers. We want to show that love to our city.\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>‘Taraka with Gordo’ will take place at Discovery Meadow Park (180 Woz Way, San Jose) on Sat., June 15 from 2 to 9 p.m. Tickets available \u003ca href=\"https://www.eventbrite.com/e/taraka-san-jose-w-gordo-more-tba-tickets-891379388747?aff=aff0bandsintown&comeFrom=2500&artist_event_id=1031776474&bit_userid=%24%7Buser_id%7D&appId=onaqfvagbja_jro\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"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",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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