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"title": "10 Free Concerts Not to Miss in the Bay Area This Summer",
"headTitle": "10 Free Concerts Not to Miss in the Bay Area This Summer | KQED",
"content": "\u003cp>According to economist Thorstein Veblen, conspicuous consumption results in a counter-intuitive dynamic: Increasing a luxury item’s cost can actually lead to higher demand. But no social scientist has explained why the satisfaction of experiencing live music seems to rise as the price of admission approaches zero. My theory is that Veblen goods acquire cache due to the perception of exclusivity, while free concerts often foster a sense of welcoming solidarity, as newbie passersby mingle with devoted fans.\u003c/p>\n\u003cp>The Bay Area’s multifarious free concert options may not provide an antidote to the region’s Veblen epidemic, but these sounds of summer are a celebration, and everyone’s invited.\u003c/p>\n\u003cfigure id=\"attachment_13951313\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg\" alt=\"A Black man in a cap and patterned blue shirt stands with a saxophone, with moving boxes and an organ in the background\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley in his Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/howardwiley-june1\">Howard Wiley’s SF Love: Playing For the People\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park Bandshell, San Francisco\u003cbr>\nJune 1, 2-6 p.m.\u003c/em>\u003c/p>\n\u003cp>Oakland saxophone great Howard Wiley presented his soul-powered love letter to California at the SFJAZZ Center last March, and he’s bringing the party to the Golden Gate Bandshell as part of the recently launched SF Live concert series. Wiley’s band shares the afternoon program with DJ Knowpa Slaps, MC Radioactive and Bayonics vocalist Jairo Vargas’s side project, Rojai and the Pocket. Drawing on hip-hop, funk, gospel, blues and bebop, Wiley has been devising outrageously creative mash-ups (think “Hotel California” meets “Californication”). Produced in partnership with Illuminate and Madrone Art Bar, where Wiley’s band Extra Nappy held down a weekly residency for years before the pandemic, the concert is part of \u003ca href=\"https://sflivefest.com/\">SF Live’s six-month series of free concerts.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13957946\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg\" alt=\"\" width=\"1200\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-1020x536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-768x403.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">South African musicians Steve and Bokani Dyer (right to left). \u003ccite>(Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/dyertribe/\">Dyertribe: Steve & Bokani Dyer + Izithunywa featuring Nbado Zulu & Linda Sikhakhane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nJune 8, 1-3 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>South African jazz musicians were in the forefront of the struggle against apartheid, and this double bill is part of a 30th-anniversary celebration of the country’s first free, multiracial election. One of South Africa’s leading improvisers, saxophonist Steve Dyer, came of age in the crucible of the anti-apartheid movement. He performs with Dyertribe, his duo with his son, pianist/composer Bokani Dyer. Offering another view of South Africa’s creative ferment, the group Izithunywa, featuring trumpeter Ndabo Zulu and saxophonist Linda Sikhakhane, draw deeply on traditional music from Botswana and the Zulu people. Co-presented with the Museum of the African Diaspora, the Bay Area residency includes a free talk and musical demonstration at MoAD on Friday, June 7, 6:30-8 p.m., “\u003ca href=\"https://www.moadsf.org/event/discussion-demonstration-south-african-jazz-a-musical-journey-through-traditions-and-time\">South African Jazz: A Musical Journey Through Traditions and Time\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13957949\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957949\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg\" alt=\"\" width=\"1024\" height=\"819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-768x614.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">American jazz duo Tuck and Patti, William Charles “Tuck” Andress and singer Patricia “Patti” Cathcart Andress perform during the Newport Folk Festival 2018 at Fort Adams State Park on July 27, 2018 in Newport, Rhode Island. \u003ccite>(Photo by Douglas Mason/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Childrens-Theatre/Twilight-Concert-Series\">Tuck & Patti\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Rinconada Park, Palo Alto\u003cbr>\nJune 8, 6:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Palo Alto’s long-running Twilight Concert Series opens with hometown heroes Tuck & Patti, a.k.a. guitar wizard Tuck Andress and bewitching vocalist Patti Cathcart. The couple has been performing as a self-contained duo for close to four decades, honing an expansive repertoire of gracefully reharmonized jazz, soul, R&B and pop tunes. Cathcart has also written emotionally bountiful originals that celebrate love and forgiveness. While they haven’t released a new album since 2007, a new generation of listeners have discovered Tuck & Patti via Andress’ niece St. Vincent, who traveled with the duo as a roadie and tour manager.\u003c/p>\n\u003cfigure id=\"attachment_10678353\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10678353\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg\" alt=\"\" width=\"1600\" height=\"2257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-400x564.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-837x1180.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-1180x1665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-960x1354.jpg 960w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/festival-schedule/june-15/\">Healdsburg Jazz’s Juneteenth Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Downtown Healdsburg\u003cbr>\nJune 15, 2-8:30 p.m.\u003c/i>\u003c/p>\n\u003cp>The Healdsburg Jazz Festival (June 15-23), which has continued to punch well above its weight under the direction of San Francisco bass maestro Marcus Shelby, kicks off with a free, all-day Juneteenth celebration in the town’s picturesque plaza. It’s a musical triple bill headlined by the sextet of trombone star Steve Turre, the festival’s artist in residence. Saxophones are well represented by Person2Person, the quintet co-led by 89-year-old tenor great Houston Person and his younger colleague, fiery altoist Eric Person. And pianist Darrell Grant performs with his Modern Jazz Quartet-inspired chamber jazz band Darrell Grant and MJ New.\u003c/p>\n\u003cfigure id=\"attachment_13957952\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png\" alt=\"\" width=\"970\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-800x663.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-768x637.png 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Pacific Mambo Orchestra. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/pacificmambo-june20\">Pacific Mambo Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fulton Plaza, San Francisco\u003cbr>\nJune 20, 4-7 p.m.\u003c/i>\u003c/p>\n\u003cp>The Pacific Mambo Orchestra shocked the Latin music world with an upset victory at the 2014 Grammys, when the group’s eponymous crowd-funded release won Best Tropical Latin Album. Ever since, the East Bay big band has been a mainstay at festivals and nightclubs. Co-led by trumpeter Steffen Kuehn and pianist Christian Tumalan, the band is packed with top players and arrangers, like trombonist Mike Rinta and baritone saxophonist Aaron Lington. With Armando Cordoba, Christelle Durandy and Braulio Barrera providing an array of lead vocals, the PMO is designed to keep dance floors crowded.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vQ26Z-vJftM\u003c/p>\n\u003ch2>\u003ca href=\"https://www.cortemaderacommunityfoundation.org/corte-madera-summer-concerts\">Anthony Paule Soul Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Piccolo Pavilion in Menke Park, Corte Madera\u003c/em>\u003cbr>\n\u003cem>June 23, 5-6:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Guitarist Anthony Paule’s Soul Orchestra is a horn-powered combo devoted to swaggering, 1960s and ’70s blues and soul emanating from Detroit, Muscle Shoals and Los Angeles. The group has earned a devoted following through regular appearances at European music festivals, showcasing powerhouse vocalists like Terrie Odabi and Wee Willie Walker. For this concert, part of the Corte Madera Summer Concert series, the APSO is joined by Willy Jordan, a versatile singer (and drummer) who’s toured and recorded with John Lee Hooker, Elvin Bishop, Charlie Musselwhite and Gator Beat.\u003c/p>\n\u003cfigure id=\"attachment_13957954\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg\" alt=\"\" width=\"1500\" height=\"1102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-768x564.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Le Jazz Hot. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jazzontheplazz.com/2024-concerts/\">Le Jazz Hot Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Los Gatos Town Plaza\u003cbr>\nJune 26, 6:30-8:30 p.m.\u003c/em>\u003c/p>\n\u003cp>A long-running mid-week concert series in Los Gatos, Jazz on the Plazz kicks off this year with the timeless swing of Le Jazz Hot Quartet. A distilled version of guitarist Paul Mehling’s Hot Club of San Francisco (the ensemble that spearheaded a North American revival of Django Reinhardt’s and Stéphane Grappelli’s ebullient 1930s sound), the quartet explores Reinhardt standards, Beatles tunes and numerous originals with the requisite rhythmic authority.\u003c/p>\n\u003cfigure id=\"attachment_13957955\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg\" alt=\"\" width=\"1024\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-768x506.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux performs on stage during Day 3 of the Womad Festival at Charlton Park on July 29, 2023 in Malmesbury, England. \u003ccite>(C Brandon/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/ana-tijoux-j-noa/\">Ana Tijoux & J Noa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 3, 1–3 p.m.\u003c/em>\u003c/p>\n\u003cp>After her hit 2010 solo debut, \u003cem>1977\u003c/em>, French-born Chilean MC Ana Tijoux was dubbed “South America’s answer to Lauryn Hill: equally skillful at singing and rapping” by \u003cem>The New York Times\u003c/em>. In truth, she’s forged a highly personal sound, combining old-school hip-hop production with Latin American instrumentation. Her recent album, \u003cem>Vengo\u003c/em>, features some of her most appealing work, and she brings a full band to the Yerba Buena Gardens Festival. With teenage Dominican rap sensation J Noa playing an opening set, this double bill is the city’s premier global hip-hop summer showcase.\u003c/p>\n\u003cfigure id=\"attachment_13957957\" class=\"wp-caption aligncenter\" style=\"max-width: 672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg\" alt=\"\" width=\"672\" height=\"897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015-160x214.jpg 160w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003cfigcaption class=\"wp-caption-text\">Monica Salmaso. \u003ccite>(Roberto Filho/Divulgacão)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/brazil-in-the-gardens-2024/\">Brazil in the Gardens: Monica Salmaso, Guinga and Teca Cardoso\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 15, 12:30-1:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Monica Salmaso made her mark with \u003cem>Afro-Sambas\u003c/em>, the classic 1997 album with guitarist Paulo Bellinati interpreting Baden Powell’s and Vinícius de Moraes’ incantatory song cycle. The São Paulo vocalist doesn’t make it to the Bay Area often, and this concert stems from California Brazil Camp, which sends a contingent of faculty every summer from the redwoods of Cazadero to San Francisco’s Yerba Buena Gardens. She’s joined by Guinga, a master guitarist, vocalist and composer whose songs have been recorded by Brazilian legends such as Elis Regina, Clara Nunes and Miúcha; and multi-instrumentalist Teco Cardoso, a brilliant improviser on saxophones and flutes known for his work with Edu Lobo, Joyce, João Donato, Rosa Passos and Baden Powell himself.\u003c/p>\n\u003cfigure id=\"attachment_13858024\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg\" alt=\"Meklit Hadero.\" width=\"900\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-768x768.jpeg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Meklit Hadero. \u003ccite>(Ronald Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/movement-immigrant-orchestra/\">Meklit’s Movement Immigrant Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 31, 1-2:30 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco-based Ethiopian American singer, songwriter and expert story wrangler Meklit manifests her multi-platform \u003ca href=\"https://www.meklitmusic.com/movement\">Movement\u003c/a> initiative at the Gardens with a dozen musicians hailing from 10 countries. Focusing on the experience of border-crossing artists, the production draws on her podcast, nationally syndicated public radio broadcast and stage production. Performers include Mexican singer-songwriter Diana Gameros, Iranian composer Sahba Aminikia, Italian percussionist extraordinaire Marco Peris, Malian virtuoso Mamadou Sidibé, Carnatic percussionist Rohan Krishnamurthy, Barrio Manouche guitarist Javi Jimenez, Iranian American bassist/composer Safa Shokrai and Meklit herself.\u003c/p>\n\n",
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"excerpt": "Free jazz, salsa and hip-hop shows abound in all corners of the Bay. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to economist Thorstein Veblen, conspicuous consumption results in a counter-intuitive dynamic: Increasing a luxury item’s cost can actually lead to higher demand. But no social scientist has explained why the satisfaction of experiencing live music seems to rise as the price of admission approaches zero. My theory is that Veblen goods acquire cache due to the perception of exclusivity, while free concerts often foster a sense of welcoming solidarity, as newbie passersby mingle with devoted fans.\u003c/p>\n\u003cp>The Bay Area’s multifarious free concert options may not provide an antidote to the region’s Veblen epidemic, but these sounds of summer are a celebration, and everyone’s invited.\u003c/p>\n\u003cfigure id=\"attachment_13951313\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg\" alt=\"A Black man in a cap and patterned blue shirt stands with a saxophone, with moving boxes and an organ in the background\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley in his Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/howardwiley-june1\">Howard Wiley’s SF Love: Playing For the People\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park Bandshell, San Francisco\u003cbr>\nJune 1, 2-6 p.m.\u003c/em>\u003c/p>\n\u003cp>Oakland saxophone great Howard Wiley presented his soul-powered love letter to California at the SFJAZZ Center last March, and he’s bringing the party to the Golden Gate Bandshell as part of the recently launched SF Live concert series. Wiley’s band shares the afternoon program with DJ Knowpa Slaps, MC Radioactive and Bayonics vocalist Jairo Vargas’s side project, Rojai and the Pocket. Drawing on hip-hop, funk, gospel, blues and bebop, Wiley has been devising outrageously creative mash-ups (think “Hotel California” meets “Californication”). Produced in partnership with Illuminate and Madrone Art Bar, where Wiley’s band Extra Nappy held down a weekly residency for years before the pandemic, the concert is part of \u003ca href=\"https://sflivefest.com/\">SF Live’s six-month series of free concerts.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13957946\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg\" alt=\"\" width=\"1200\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-1020x536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-768x403.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">South African musicians Steve and Bokani Dyer (right to left). \u003ccite>(Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/dyertribe/\">Dyertribe: Steve & Bokani Dyer + Izithunywa featuring Nbado Zulu & Linda Sikhakhane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nJune 8, 1-3 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>South African jazz musicians were in the forefront of the struggle against apartheid, and this double bill is part of a 30th-anniversary celebration of the country’s first free, multiracial election. One of South Africa’s leading improvisers, saxophonist Steve Dyer, came of age in the crucible of the anti-apartheid movement. He performs with Dyertribe, his duo with his son, pianist/composer Bokani Dyer. Offering another view of South Africa’s creative ferment, the group Izithunywa, featuring trumpeter Ndabo Zulu and saxophonist Linda Sikhakhane, draw deeply on traditional music from Botswana and the Zulu people. Co-presented with the Museum of the African Diaspora, the Bay Area residency includes a free talk and musical demonstration at MoAD on Friday, June 7, 6:30-8 p.m., “\u003ca href=\"https://www.moadsf.org/event/discussion-demonstration-south-african-jazz-a-musical-journey-through-traditions-and-time\">South African Jazz: A Musical Journey Through Traditions and Time\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13957949\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957949\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg\" alt=\"\" width=\"1024\" height=\"819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-768x614.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">American jazz duo Tuck and Patti, William Charles “Tuck” Andress and singer Patricia “Patti” Cathcart Andress perform during the Newport Folk Festival 2018 at Fort Adams State Park on July 27, 2018 in Newport, Rhode Island. \u003ccite>(Photo by Douglas Mason/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Childrens-Theatre/Twilight-Concert-Series\">Tuck & Patti\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Rinconada Park, Palo Alto\u003cbr>\nJune 8, 6:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Palo Alto’s long-running Twilight Concert Series opens with hometown heroes Tuck & Patti, a.k.a. guitar wizard Tuck Andress and bewitching vocalist Patti Cathcart. The couple has been performing as a self-contained duo for close to four decades, honing an expansive repertoire of gracefully reharmonized jazz, soul, R&B and pop tunes. Cathcart has also written emotionally bountiful originals that celebrate love and forgiveness. While they haven’t released a new album since 2007, a new generation of listeners have discovered Tuck & Patti via Andress’ niece St. Vincent, who traveled with the duo as a roadie and tour manager.\u003c/p>\n\u003cfigure id=\"attachment_10678353\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10678353\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg\" alt=\"\" width=\"1600\" height=\"2257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-400x564.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-837x1180.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-1180x1665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-960x1354.jpg 960w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/festival-schedule/june-15/\">Healdsburg Jazz’s Juneteenth Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Downtown Healdsburg\u003cbr>\nJune 15, 2-8:30 p.m.\u003c/i>\u003c/p>\n\u003cp>The Healdsburg Jazz Festival (June 15-23), which has continued to punch well above its weight under the direction of San Francisco bass maestro Marcus Shelby, kicks off with a free, all-day Juneteenth celebration in the town’s picturesque plaza. It’s a musical triple bill headlined by the sextet of trombone star Steve Turre, the festival’s artist in residence. Saxophones are well represented by Person2Person, the quintet co-led by 89-year-old tenor great Houston Person and his younger colleague, fiery altoist Eric Person. And pianist Darrell Grant performs with his Modern Jazz Quartet-inspired chamber jazz band Darrell Grant and MJ New.\u003c/p>\n\u003cfigure id=\"attachment_13957952\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png\" alt=\"\" width=\"970\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-800x663.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-768x637.png 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Pacific Mambo Orchestra. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/pacificmambo-june20\">Pacific Mambo Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fulton Plaza, San Francisco\u003cbr>\nJune 20, 4-7 p.m.\u003c/i>\u003c/p>\n\u003cp>The Pacific Mambo Orchestra shocked the Latin music world with an upset victory at the 2014 Grammys, when the group’s eponymous crowd-funded release won Best Tropical Latin Album. Ever since, the East Bay big band has been a mainstay at festivals and nightclubs. Co-led by trumpeter Steffen Kuehn and pianist Christian Tumalan, the band is packed with top players and arrangers, like trombonist Mike Rinta and baritone saxophonist Aaron Lington. With Armando Cordoba, Christelle Durandy and Braulio Barrera providing an array of lead vocals, the PMO is designed to keep dance floors crowded.\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/vQ26Z-vJftM'\n title='//www.youtube.com/embed/vQ26Z-vJftM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.cortemaderacommunityfoundation.org/corte-madera-summer-concerts\">Anthony Paule Soul Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Piccolo Pavilion in Menke Park, Corte Madera\u003c/em>\u003cbr>\n\u003cem>June 23, 5-6:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Guitarist Anthony Paule’s Soul Orchestra is a horn-powered combo devoted to swaggering, 1960s and ’70s blues and soul emanating from Detroit, Muscle Shoals and Los Angeles. The group has earned a devoted following through regular appearances at European music festivals, showcasing powerhouse vocalists like Terrie Odabi and Wee Willie Walker. For this concert, part of the Corte Madera Summer Concert series, the APSO is joined by Willy Jordan, a versatile singer (and drummer) who’s toured and recorded with John Lee Hooker, Elvin Bishop, Charlie Musselwhite and Gator Beat.\u003c/p>\n\u003cfigure id=\"attachment_13957954\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg\" alt=\"\" width=\"1500\" height=\"1102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-768x564.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Le Jazz Hot. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jazzontheplazz.com/2024-concerts/\">Le Jazz Hot Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Los Gatos Town Plaza\u003cbr>\nJune 26, 6:30-8:30 p.m.\u003c/em>\u003c/p>\n\u003cp>A long-running mid-week concert series in Los Gatos, Jazz on the Plazz kicks off this year with the timeless swing of Le Jazz Hot Quartet. A distilled version of guitarist Paul Mehling’s Hot Club of San Francisco (the ensemble that spearheaded a North American revival of Django Reinhardt’s and Stéphane Grappelli’s ebullient 1930s sound), the quartet explores Reinhardt standards, Beatles tunes and numerous originals with the requisite rhythmic authority.\u003c/p>\n\u003cfigure id=\"attachment_13957955\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg\" alt=\"\" width=\"1024\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-768x506.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux performs on stage during Day 3 of the Womad Festival at Charlton Park on July 29, 2023 in Malmesbury, England. \u003ccite>(C Brandon/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/ana-tijoux-j-noa/\">Ana Tijoux & J Noa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 3, 1–3 p.m.\u003c/em>\u003c/p>\n\u003cp>After her hit 2010 solo debut, \u003cem>1977\u003c/em>, French-born Chilean MC Ana Tijoux was dubbed “South America’s answer to Lauryn Hill: equally skillful at singing and rapping” by \u003cem>The New York Times\u003c/em>. In truth, she’s forged a highly personal sound, combining old-school hip-hop production with Latin American instrumentation. Her recent album, \u003cem>Vengo\u003c/em>, features some of her most appealing work, and she brings a full band to the Yerba Buena Gardens Festival. With teenage Dominican rap sensation J Noa playing an opening set, this double bill is the city’s premier global hip-hop summer showcase.\u003c/p>\n\u003cfigure id=\"attachment_13957957\" class=\"wp-caption aligncenter\" style=\"max-width: 672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg\" alt=\"\" width=\"672\" height=\"897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015-160x214.jpg 160w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003cfigcaption class=\"wp-caption-text\">Monica Salmaso. \u003ccite>(Roberto Filho/Divulgacão)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/brazil-in-the-gardens-2024/\">Brazil in the Gardens: Monica Salmaso, Guinga and Teca Cardoso\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 15, 12:30-1:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Monica Salmaso made her mark with \u003cem>Afro-Sambas\u003c/em>, the classic 1997 album with guitarist Paulo Bellinati interpreting Baden Powell’s and Vinícius de Moraes’ incantatory song cycle. The São Paulo vocalist doesn’t make it to the Bay Area often, and this concert stems from California Brazil Camp, which sends a contingent of faculty every summer from the redwoods of Cazadero to San Francisco’s Yerba Buena Gardens. She’s joined by Guinga, a master guitarist, vocalist and composer whose songs have been recorded by Brazilian legends such as Elis Regina, Clara Nunes and Miúcha; and multi-instrumentalist Teco Cardoso, a brilliant improviser on saxophones and flutes known for his work with Edu Lobo, Joyce, João Donato, Rosa Passos and Baden Powell himself.\u003c/p>\n\u003cfigure id=\"attachment_13858024\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg\" alt=\"Meklit Hadero.\" width=\"900\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-768x768.jpeg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Meklit Hadero. \u003ccite>(Ronald Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/movement-immigrant-orchestra/\">Meklit’s Movement Immigrant Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 31, 1-2:30 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco-based Ethiopian American singer, songwriter and expert story wrangler Meklit manifests her multi-platform \u003ca href=\"https://www.meklitmusic.com/movement\">Movement\u003c/a> initiative at the Gardens with a dozen musicians hailing from 10 countries. Focusing on the experience of border-crossing artists, the production draws on her podcast, nationally syndicated public radio broadcast and stage production. Performers include Mexican singer-songwriter Diana Gameros, Iranian composer Sahba Aminikia, Italian percussionist extraordinaire Marco Peris, Malian virtuoso Mamadou Sidibé, Carnatic percussionist Rohan Krishnamurthy, Barrio Manouche guitarist Javi Jimenez, Iranian American bassist/composer Safa Shokrai and Meklit herself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet the 2024 Tiny Desk Contest Winner",
"headTitle": "Meet the 2024 Tiny Desk Contest Winner | KQED",
"content": "\u003cp>https://www.youtube.com/watch?v=crgaJEmFPBI\u003c/p>\n\u003cp>Nearly 7,000 independent artists entered this year’s Tiny Desk Contest, NPR Music’s annual search for the next great undiscovered artist. Earlier today, \u003ca href=\"https://www.npr.org/2024/05/15/1251378746/tiny-desk-contest-2024-winner-announcement\">\u003cem>Morning Edition revealed the winner\u003c/em>\u003c/a>: a Sacramento producer, singer, rapper and multi-instrumentalist who performs as The Philharmonik. As he soaks in his big win and prepares to travel to NPR’s headquarters in Washington, D.C., to perform a Tiny Desk concert, songwriter Christian Gates joins Juana Summers to share the story behind his winning entry.\u003c/p>\n\u003cp>One of the requirements when submitting to the Tiny Desk Contest is that each video must feature a desk. (It shows the judges that artists are prepared to play behind the real Tiny Desk; plus, it’s fun.) Gates says that desks usually make him feel as if he’s deviating from his own path by working for someone else. Eventually, he decided he needed to work at his \u003cem>own\u003c/em> desk. \u003c/p>\n\u003cp>In a YouTube comment on his video, Gates shouts out the Sacramento community, which helped him see this vision through when he said he didn’t have a single penny to his name.\u003c/p>\n\u003cp>Gates expands on this comment in his \u003cem>All Things Considered\u003c/em> interview, sharing with Summers that he went through a dark and humbling time last year. While driving for Uber in order to make ends meet, he got into a bad car accident and could no longer work. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was really scrounging up money for change, to even do shows,” he says. “I had these big visions for shows where I wanted nine people playing with me — but I couldn’t afford it. And as the months went by it got progressively worse. And my other bills started to fall behind, too.”\u003c/p>\n\u003cp>Then, when the Tiny Desk Contest opened, he asked his community for a favor. \u003c/p>\n\u003cp>“I said, hey, I think we could do good in this Contest if we execute this vision — but I really need your guys’ help with this,” Gates explains. “And everybody, absolutely everybody, came through to help me with no hesitation.” \u003c/p>\n\u003cp>Gates says that since winning the Contest, it feels like his life has changed overnight. \u003c/p>\n\u003cp>“I’m glad that I went through the struggle, because [now] this win feels so honest to me, to what I believe in. It’s a reflection of what I’ve worked for,” he shares. “So I’m eternally grateful for everything that I’ve gone through, good and bad.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This summer, Gates and his eight-piece band will headline the 10-city Tiny Desk Contest On The Road tour, including \u003ca href=\"https://www.eventbrite.com/e/npr-music-presents-tiny-desk-contest-on-the-road-lagunitas-petaluma-tickets-884534605817\">a Bay Area stop at Lagunitas Brewing Co. in Petaluma on June 13, with openers Combo Tezeta\u003c/a>. You can get tickets to see The Philharmonik, plus other local Contest entrants, at \u003ca href=\"http://npr.org/tinydeskcontest\">npr.org/tinydeskcontest\u003c/a>. \u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003cp>\u003cstrong>Transcript:\u003c/strong>\u003c/p>\n\u003cp>JUANA SUMMERS, HOST: \u003c/p>\n\u003cp>\u003c/p>\u003cp> We have a winner.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF MUSIC)\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Every year, thousands of musicians enter NPR’s Tiny Desk Contest, and this year’s winner was announced today, an artist called The Philharmonik with a song called “What’s It All Mean?”\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) I was told I could be anything that I wanted to be. Work hard so you can make money and fulfill your dreams.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: And here with me now is Christian Gates, the artist behind The Philharmonik. Welcome to ALL THINGS CONSIDERED, and congratulations.\u003c/p>\n\u003cp>\u003c/p>\u003cp>CHRISTIAN GATES: Thank you so much for having me on the show.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Thanks for being here. OK. This is a pretty big day for you, I imagine. How are you feeling?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: I am elated. I’m overwhelmed with joy, just soaking it all in.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Any big plans to celebrate?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Yeah. Just making sure the team is ready for us to go to Washington, D.C., and of course, we’re all taking it in. We’re all giving each other high-fives and jumping up in the air. We’re doing a lot. So, you know, we’re just, you know, appreciating the feeling overall.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: First of all, I should say that all of us here in D.C. at NPR are very excited to get to see you all perform. And I just want to say, I love the song. I’ve listened to it about a dozen times at this point, but I want to ask you something about the video that you submitted because it’s also pretty amazing. You and the other musicians are in shirts and ties. You’re in what looks like an office-like setting, and you’re sitting at desks like you’re at work. Talk us through the idea behind the video.\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: So originally, it came to me back when I released my album in July of 2023, called “Kironic.” “What’s It All Mean?” was the opening track. And my team and I were discussing a lot of ideas about this character, and this office idea came through, and I realized that was it. This character who’s in the suit, which is me, it’s really just a symbolism for, the work always continues, no matter what you’re doing in life.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) Get up. Go to work. Go to sleep, then repeat. You can’t seem to meet needs working hard like machines. Broken hearts torn apart, making sure you’re closed off and avoid getting hurt to preserve your self-worth. What’s it all mean? What’s it all mean? What’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: The desk was also, like, a huge symbolism. It’s the place of innovation. It’s the place of reflection. It’s also the place of monotony, but either way, the symbolism has a big role in our lives, no matter where we put its significance.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: You know, I’ve got to ask you, was there a time at work when you were sitting there at a desk or doing something else and just asking yourself, what’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Yeah. So I think that’s the nicer way of putting it. I think – (laughter) – there were most times I was sitting at a desk where I felt like I was deviating from my path, where I just said, I don’t think I should be here. This is not the right desk. I need my own desk.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: You wrote a comment that shouts out the Sacramento community, and you say that that’s a community that literally lifted you up to see this vision through when, as you put it, you had not a single penny to your name. Can you say more about that?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Oh, yeah. During (laughter) that time, yes, it was a very humbling experience. It was a very dark moment. I was recently, last year, in a total loss car accident, and I was doing Uber and, you know, doing OK to make my ends meet. But once I got into that crash, I could no longer do Uber. So I was really scrounging up money for change and to even do the shows. I had these big visions for shows where I wanted to put nine people playing for me, but I couldn’t afford it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>So as the months went by, it got progressively worse and worse and worse and worse. And my other bills started to fall behind, too. And so I asked for a very, very big favor and said, hey, I think we could do good in this contest if we execute this vision, but I really need your guys’ help for this. And everybody, absolutely everybody, was no hesitation, came through to help me. And I’m eternally grateful for it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: I mean, that’s such an incredible story. You came from having this car accident to trying to figure out how to put this together. And now you’ve won the Tiny Desk Contest, and you’re coming here to NPR to play at the actual Tiny Desk. How does that feel?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: It feels like it’s overnight, like how my life has changed, but I also know there was a lot of things that I had to go through to get to this point. And I hold it deeply, and I hold it with reverence. And I’m glad that I went through the struggle because this win feels – it feels so honest to me. It feels so honest to what I believe in. It’s a reflection of everything I’ve worked for. And so I’m just eternally grateful for everything that I’ve gone through, good and bad.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: That’s Christian Gates, aka The Philharmonik, the winner of this year’s NPR Tiny Desk Contest. And if you are looking up his music, that is Philharmonik, spelled with a K. You can see the winning video for his song, “What’s It All Mean?” at npr.org. Christian, thank you, and congratulations again.\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Thank you for having me on. It’s a pleasure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) What goes up must come down. What goes around comes around. Around the sun…\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/crgaJEmFPBI'\n title='//www.youtube.com/embed/crgaJEmFPBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nearly 7,000 independent artists entered this year’s Tiny Desk Contest, NPR Music’s annual search for the next great undiscovered artist. Earlier today, \u003ca href=\"https://www.npr.org/2024/05/15/1251378746/tiny-desk-contest-2024-winner-announcement\">\u003cem>Morning Edition revealed the winner\u003c/em>\u003c/a>: a Sacramento producer, singer, rapper and multi-instrumentalist who performs as The Philharmonik. As he soaks in his big win and prepares to travel to NPR’s headquarters in Washington, D.C., to perform a Tiny Desk concert, songwriter Christian Gates joins Juana Summers to share the story behind his winning entry.\u003c/p>\n\u003cp>One of the requirements when submitting to the Tiny Desk Contest is that each video must feature a desk. (It shows the judges that artists are prepared to play behind the real Tiny Desk; plus, it’s fun.) Gates says that desks usually make him feel as if he’s deviating from his own path by working for someone else. Eventually, he decided he needed to work at his \u003cem>own\u003c/em> desk. \u003c/p>\n\u003cp>In a YouTube comment on his video, Gates shouts out the Sacramento community, which helped him see this vision through when he said he didn’t have a single penny to his name.\u003c/p>\n\u003cp>Gates expands on this comment in his \u003cem>All Things Considered\u003c/em> interview, sharing with Summers that he went through a dark and humbling time last year. While driving for Uber in order to make ends meet, he got into a bad car accident and could no longer work. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was really scrounging up money for change, to even do shows,” he says. “I had these big visions for shows where I wanted nine people playing with me — but I couldn’t afford it. And as the months went by it got progressively worse. And my other bills started to fall behind, too.”\u003c/p>\n\u003cp>Then, when the Tiny Desk Contest opened, he asked his community for a favor. \u003c/p>\n\u003cp>“I said, hey, I think we could do good in this Contest if we execute this vision — but I really need your guys’ help with this,” Gates explains. “And everybody, absolutely everybody, came through to help me with no hesitation.” \u003c/p>\n\u003cp>Gates says that since winning the Contest, it feels like his life has changed overnight. \u003c/p>\n\u003cp>“I’m glad that I went through the struggle, because [now] this win feels so honest to me, to what I believe in. It’s a reflection of what I’ve worked for,” he shares. “So I’m eternally grateful for everything that I’ve gone through, good and bad.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This summer, Gates and his eight-piece band will headline the 10-city Tiny Desk Contest On The Road tour, including \u003ca href=\"https://www.eventbrite.com/e/npr-music-presents-tiny-desk-contest-on-the-road-lagunitas-petaluma-tickets-884534605817\">a Bay Area stop at Lagunitas Brewing Co. in Petaluma on June 13, with openers Combo Tezeta\u003c/a>. You can get tickets to see The Philharmonik, plus other local Contest entrants, at \u003ca href=\"http://npr.org/tinydeskcontest\">npr.org/tinydeskcontest\u003c/a>. \u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003cp>\u003cstrong>Transcript:\u003c/strong>\u003c/p>\n\u003cp>JUANA SUMMERS, HOST: \u003c/p>\n\u003cp>\u003c/p>\u003cp> We have a winner.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF MUSIC)\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Every year, thousands of musicians enter NPR’s Tiny Desk Contest, and this year’s winner was announced today, an artist called The Philharmonik with a song called “What’s It All Mean?”\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) I was told I could be anything that I wanted to be. Work hard so you can make money and fulfill your dreams.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: And here with me now is Christian Gates, the artist behind The Philharmonik. Welcome to ALL THINGS CONSIDERED, and congratulations.\u003c/p>\n\u003cp>\u003c/p>\u003cp>CHRISTIAN GATES: Thank you so much for having me on the show.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Thanks for being here. OK. This is a pretty big day for you, I imagine. How are you feeling?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: I am elated. I’m overwhelmed with joy, just soaking it all in.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Any big plans to celebrate?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Yeah. Just making sure the team is ready for us to go to Washington, D.C., and of course, we’re all taking it in. We’re all giving each other high-fives and jumping up in the air. We’re doing a lot. So, you know, we’re just, you know, appreciating the feeling overall.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: First of all, I should say that all of us here in D.C. at NPR are very excited to get to see you all perform. And I just want to say, I love the song. I’ve listened to it about a dozen times at this point, but I want to ask you something about the video that you submitted because it’s also pretty amazing. You and the other musicians are in shirts and ties. You’re in what looks like an office-like setting, and you’re sitting at desks like you’re at work. Talk us through the idea behind the video.\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: So originally, it came to me back when I released my album in July of 2023, called “Kironic.” “What’s It All Mean?” was the opening track. And my team and I were discussing a lot of ideas about this character, and this office idea came through, and I realized that was it. This character who’s in the suit, which is me, it’s really just a symbolism for, the work always continues, no matter what you’re doing in life.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) Get up. Go to work. Go to sleep, then repeat. You can’t seem to meet needs working hard like machines. Broken hearts torn apart, making sure you’re closed off and avoid getting hurt to preserve your self-worth. What’s it all mean? What’s it all mean? What’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: The desk was also, like, a huge symbolism. It’s the place of innovation. It’s the place of reflection. It’s also the place of monotony, but either way, the symbolism has a big role in our lives, no matter where we put its significance.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: You know, I’ve got to ask you, was there a time at work when you were sitting there at a desk or doing something else and just asking yourself, what’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Yeah. So I think that’s the nicer way of putting it. I think – (laughter) – there were most times I was sitting at a desk where I felt like I was deviating from my path, where I just said, I don’t think I should be here. This is not the right desk. I need my own desk.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: You wrote a comment that shouts out the Sacramento community, and you say that that’s a community that literally lifted you up to see this vision through when, as you put it, you had not a single penny to your name. Can you say more about that?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Oh, yeah. During (laughter) that time, yes, it was a very humbling experience. It was a very dark moment. I was recently, last year, in a total loss car accident, and I was doing Uber and, you know, doing OK to make my ends meet. But once I got into that crash, I could no longer do Uber. So I was really scrounging up money for change and to even do the shows. I had these big visions for shows where I wanted to put nine people playing for me, but I couldn’t afford it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>So as the months went by, it got progressively worse and worse and worse and worse. And my other bills started to fall behind, too. And so I asked for a very, very big favor and said, hey, I think we could do good in this contest if we execute this vision, but I really need your guys’ help for this. And everybody, absolutely everybody, was no hesitation, came through to help me. And I’m eternally grateful for it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: I mean, that’s such an incredible story. You came from having this car accident to trying to figure out how to put this together. And now you’ve won the Tiny Desk Contest, and you’re coming here to NPR to play at the actual Tiny Desk. How does that feel?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: It feels like it’s overnight, like how my life has changed, but I also know there was a lot of things that I had to go through to get to this point. And I hold it deeply, and I hold it with reverence. And I’m glad that I went through the struggle because this win feels – it feels so honest to me. It feels so honest to what I believe in. It’s a reflection of everything I’ve worked for. And so I’m just eternally grateful for everything that I’ve gone through, good and bad.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: That’s Christian Gates, aka The Philharmonik, the winner of this year’s NPR Tiny Desk Contest. And if you are looking up his music, that is Philharmonik, spelled with a K. You can see the winning video for his song, “What’s It All Mean?” at npr.org. Christian, thank you, and congratulations again.\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Thank you for having me on. It’s a pleasure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) What goes up must come down. What goes around comes around. Around the sun…\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Throughout the 1990s, there was a slightly bonkers British television show on which members of the public would dress up like famous singers and perform songs as them. \u003ca href=\"https://www.youtube.com/watch?v=O2Xc7nlNYRs\">\u003cem>Stars in Their Eyes\u003c/em>\u003c/a> — essentially, elevated karaoke for a national audience — was full of talented people, performing in full costume, doing impressive impressions.\u003c/p>\n\u003cp>Watching \u003cem>Back to Black\u003c/em> made me think of \u003cem>Stars in Their Eyes \u003c/em>repeatedly.\u003c/p>\n\u003cp>[aside postid='pop_17172']The \u003ca href=\"https://www.kqed.org/arts/13940429/back-to-black-amy-winehouse-biopic-commentary\">new Amy Winehouse biopic\u003c/a> is — like that weird TV show — full of excellent impersonations and on-point recreations of iconic outfits and performances. But it never actually looks beneath the surface. Charting the charismatic songwriter’s rise from scrappy working-class London beginnings to international superstardom, the film is rarely anything more than a thinly drawn approximation of her life.\u003c/p>\n\u003cp>We’ve got Amy Winehouse (Marisa Abela) aggressively yelling about how much she loves jazz and breaking into song at family gatherings. We’ve got her lover, Blake Fielder-Civil (Jack O’Connell), being a cheeky chappy, betting on horses and drinking pints in the pub. Then of course there’s Amy’s dad, Mitch Winehouse (Eddie Marsan), being a salt-of-the-earth supporter of his daughter who occasionally drops some Cockney rhyming slang into a sentence, lest we forget where he’s from.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rYzIOBwyhIU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The actors do the absolute most with the material at hand — kudos to the entire cast — but a self-conscious script holds them back at every turn. There’s just not enough meat to work with.\u003c/p>\n\u003cp>Part of the problem is that the Amy and Blake we see here are ripped almost entirely from the tabloids of the mid-to-late-aughts. Opportunities are missed at every turn. For example, the movie focuses repeatedly on how plagued by paparazzi photographers Amy was at home in London. Rather than use this as a chance to talk about the psychological toll that attention took on the vulnerable young woman — or even how famous women of this era were treated by those armies of photographers — paparazzi scenes are instead used to recreate some of the worst exploitation those cameras ever captured.\u003c/p>\n\u003cp>[aside postid='pop_112753']Also problematic: the version of Mitch we get in \u003cem>Back to Black\u003c/em> is the most placid, supportive, big-softy version of Amy’s father possible. The Winehouse estate approved this movie\u003cem> \u003c/em>and — despite director Sam Taylor-Johnson’s assertions that the family did not dictate the content of the movie — you can’t help but wonder if its endorsement had an impact. Anyone who has watched Oscar-winning 2015 documentary \u003cem>Amy\u003c/em> knows that the father-daughter dynamics in the Winehouse family were complicated and at times very uncomfortable. The version we get in \u003cem>Back to Black\u003c/em> sometimes feels like little more than a Mitch Winehouse PR campaign.\u003c/p>\n\u003cp>The film does offer a few redeeming elements, starting with the relationship between Amy and her beloved grandmother Cynthia (Lesley Manville). The chemistry between Manville and Abela, while a little forced in their earliest scenes, winds up being the most arresting of the movie, and their pairing ultimately produces the most realistically heart-wrenching moments in\u003cem> Back to Black\u003c/em>. If only the filmmakers had leaned further into this relationship, the viewer might actually have learned something new about Amy’s inner life, motivations and anxieties. (Even her lifelong struggle with bulimia is treated as an afterthought here.)\u003c/p>\n\u003cp>In the end, \u003cem>Back to Black\u003c/em> feels like a movie for people who don’t actually care about Amy Winehouse. It frequently comes off like an animated rendition of the public perception of the singer that existed before the release of the \u003cem>Amy\u003c/em> documentary.\u003c/p>\n\u003cp>That documentary gave her a multitude of layers beneath the exaggerated beehive and eyeliner. \u003cem>Back to Black\u003c/em> seems to want to take us back to a simpler time, drawing only a brief overview of Amy’s key life events and recorded output, and offering existing fans little more than a bleak little trip down (far too recent) memory lane.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to Black’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also problematic: the version of Mitch we get in \u003cem>Back to Black\u003c/em> is the most placid, supportive, big-softy version of Amy’s father possible. The Winehouse estate approved this movie\u003cem> \u003c/em>and — despite director Sam Taylor-Johnson’s assertions that the family did not dictate the content of the movie — you can’t help but wonder if its endorsement had an impact. Anyone who has watched Oscar-winning 2015 documentary \u003cem>Amy\u003c/em> knows that the father-daughter dynamics in the Winehouse family were complicated and at times very uncomfortable. The version we get in \u003cem>Back to Black\u003c/em> sometimes feels like little more than a Mitch Winehouse PR campaign.\u003c/p>\n\u003cp>The film does offer a few redeeming elements, starting with the relationship between Amy and her beloved grandmother Cynthia (Lesley Manville). The chemistry between Manville and Abela, while a little forced in their earliest scenes, winds up being the most arresting of the movie, and their pairing ultimately produces the most realistically heart-wrenching moments in\u003cem> Back to Black\u003c/em>. If only the filmmakers had leaned further into this relationship, the viewer might actually have learned something new about Amy’s inner life, motivations and anxieties. (Even her lifelong struggle with bulimia is treated as an afterthought here.)\u003c/p>\n\u003cp>In the end, \u003cem>Back to Black\u003c/em> feels like a movie for people who don’t actually care about Amy Winehouse. It frequently comes off like an animated rendition of the public perception of the singer that existed before the release of the \u003cem>Amy\u003c/em> documentary.\u003c/p>\n\u003cp>That documentary gave her a multitude of layers beneath the exaggerated beehive and eyeliner. \u003cem>Back to Black\u003c/em> seems to want to take us back to a simpler time, drawing only a brief overview of Amy’s key life events and recorded output, and offering existing fans little more than a bleak little trip down (far too recent) memory lane.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to Black’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Music Festivals and Outdoor Concerts for Summer 2024",
"headTitle": "Bay Area Music Festivals and Outdoor Concerts for Summer 2024 | KQED",
"content": "\u003cp>There’s something magical about Bay Area summers, with our famously not-too-hot, not-too-cold weather, plus ample access to natural wonders and, of course, too many concerts to choose from.\u003c/p>\n\u003cp>Of these dozen outdoor concerts and festivals, some are in public transit-accessible parks; others require a drive up to wine country. Some are worth the splurge; others are free. The Bay Area is full of curious listeners with eclectic taste, and there’s something for everybody here.\u003c/p>\n\u003cfigure id=\"attachment_13957398\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg\" alt=\"Blxst performs on stage wearing head-to-toe denim, in front of a backdrop with an image of an urban warehouse. \" width=\"1024\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-768x527.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blxst performs at the Outdoor Theatre during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 20, 2024 in Indio, California. \u003ccite>(Arturo Holmes/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/538974/frost-music-arts-festival-with-blxst-tickets\">Blxst\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 18, 2024\u003cbr>\nFrost Amphitheater, Stanford\u003cbr>\n$25-$55\u003c/em>\u003c/p>\n\u003cp>Blxst is the velvety-voiced R&B accompaniment to the big players in LA’s rap scene. On his recent Tupac-sampling single with Tyga and YG, “\u003ca href=\"https://youtu.be/BNUi6botHmw?si=KOEIb233f9ohL_yn\">West Coast Weekend\u003c/a>,” he comes off as a modern-day Nate Dogg with a nostalgic, G-funk feel. He also regularly collaborates with Northern California artists, including Kehlani and Mozzy. Blxst headlines this year’s student-organized Frost Music & Arts Festival at Stanford’s Frost Amphitheater. Joining him is singer-songwriter UMI, who often invites audiences to take a meditative pause in her uplifting live shows, and Alameda, whose eclectic sound blends R&B with indie rock and drum’n’bass.\u003c/p>\n\u003cfigure id=\"attachment_13931358\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg\" alt=\"The facial profile of a young Oakland rapper as he looks away from the camera\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in Oakland on June 9, 2023. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-880542274647\">Town Up Tuesday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 21, 2024\u003cbr>\nLake Merritt Bandstand, Oakland\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Town Up Tuesday is a party with a purpose put on by Urban Peace Movement, a local nonprofit that fights mass incarceration. It seeks to uplift Oakland culture at a time when negative media narratives about the Town abound, and operates under the idea that music and culture can unite neighbors and make communities safer.\u003c/p>\n\u003cp>This year’s intergenerational lineup is full of heavy hitters, not least Too Short, \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a> (Oakland’s premier ’90s female rap group) and a legendary surprise guest. Trunk Boiz (of “\u003ca href=\"https://youtu.be/KCNlDgSQuLg?si=pQlkEdeR5Bpi9Ivq\">Cupcake No Fillin\u003c/a>” fame!) and dance crew Animaniakz will serve up hyphy movement nostalgia. Other artists on the bill represent the diverse sounds of today’s generation, notably the quirky, experimental and soulful Michael Sneed and the darker and more streetwise ALLBLACK and \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a>, among others.\u003c/p>\n\u003cfigure id=\"attachment_13872413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg\" alt=\"Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com\">BottleRock\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24–26, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: $243; three-day GA: sold out\u003c/em>\u003c/p>\n\u003cp>Set in beautiful wine country, BottleRock is a festival with broad appeal. Not only does its lineup feature all-time musical greats like Oakland funk band Tower of Power and Stevie Nicks (who’s enjoying a Gen Z-fueled career resurgence), but it’s also a place to experience pop’s vanguard. That includes Kali Uchis, the bilingual singer-songwriter whose dreamy, Spanish-language 2024 album \u003ci>Orquídeas\u003c/i> envelops listeners in a romantic exaltation of love and beauty. Megan Thee Stallion — who has the hip-hop world watching her every move following her explosive track “Hiss,” dissing basically the entire industry — will also grace the stage amid her highly anticipated Hot Girl Summer tour.\u003c/p>\n\u003cfigure id=\"attachment_13957397\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg\" alt=\"A band performs on a brightly lit studio stage. \" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado band members Brian Tovar, Pedro Tovar, Damian Pacheco and Ulises González perform at “Despierta America” at Univision Studios on May 02, 2023 in Doral, Florida. \u003ccite>(John Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.laondafest.com\">La Onda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–2, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: sold out; two-day GA: $358\u003c/em>\u003c/p>\n\u003cp>If you miss Maná’s set at BottleRock, the good news is that they’ll be back at the same Napa Valley fairgrounds one weekend later, this time headlining new Latin music festival La Onda. On its diverse lineup, you’ll find old-school rock en español acts like Mexican band \u003ca href=\"https://www.kqed.org/arts/13840289/mexican-rockers-cafe-tacvba-stand-in-solidarity-with-stateside-latinx-fans\">Cafe Tacvba\u003c/a>; Farruko, one of today’s hottest reggaetoneros; and rising young regional Mexican music stars Junior H, Fuerza Regida and Eslabón Armado, who combine styles as wide-ranging as trap and corridos.\u003c/p>\n\u003cfigure id=\"attachment_13937341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg\" alt=\"two young boys dance on a deck beneath a pergola while a 29-year-old rapper eggs them on\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs beneath the pergola in his backyard, with two young guests, on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/Goodcompenny\">LaRussell’s Backyard Residency\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 2, July 7 and Aug. 4, 2024\u003cbr>\nThe Pergola, Vallejo\u003cbr>\nPay what you want\u003c/em>\u003c/p>\n\u003cp>LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">done it his way\u003c/a> at every step of his career — notably, building a pergola and stage in his parents’ Vallejo backyard, which has allowed him to essentially bypass the corporate venue ecosystem that can be very \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">disadvantageous to emerging artists\u003c/a>. These intimate shows truly feel like a family affair. When I checked one out last year, the audience was full of LaRussell diehards — even small children — rapping along enthusiastically to every bar. LaRussell’s team passed out ice packs and water bottles to protect fans from the heat. It really felt like a community. To get into one of these shows, you have to name your price for a ticket — and entry is not guaranteed. But that doesn’t mean tickets only go to the highest bidders, as LaRussell has said that he likes to keep his offerings accessible to fans of all income levels.\u003c/p>\n\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zarah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-juneteenth-parade-tickets-895705117117?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">Larry June and Goapele at San Francisco Juneteenth\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 8, 2024\u003cbr>\nFulton Street Plaza, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The day of San Francisco’s Juneteenth Parade, there’s a free concert celebrating Black music and culture at Fulton Plaza. It stars Larry June, whose laidback, luxurious rhymes about real-estate deals and gourmet meals have put a spotlight back on San Francisco rap. He’ll be joined by angel-voiced R&B hitmaker \u003ca href=\"https://www.kqed.org/arts/13932465/goapele-closer-to-hip-hop\">Goapele\u003c/a>, whose classic song “Closer” continues to resonate with a new generation of Bay Area music lovers. \u003ca href=\"https://youtu.be/oJ8oXKYOYGE?si=tR5tLVb3_-96oWiZ\">Stunnaman02\u003c/a>, who’s currently on a major salad kick; Ronski, creator of the Fillmore anthem “\u003ca href=\"https://youtu.be/g2J_xGPGHjI?si=sCyP82bsmo8-MRB9\">That Filthy\u003c/a>”; Zion I collaborator Dustin Sharpe; and DJs Big Von, \u003ca href=\"https://www.kqed.org/arts/13956839/dj-d-sharp\">D Sharp\u003c/a>, Red Corvette, Daghe and World Famous Rick and Russ Show will represent the Bay’s wide-ranging, active hip-hop scene. Hosted by KMEL’s Shay Diddy, the concert also offers much in the way of jazz, soul and gospel, including Martin Luther’s Rebel Soul House Party, The Glide Choir and Fillmore Jazz Ambassadors. SF Poet Laureate Tongo Eisen-Martin will read, and the young Feline Finesse Dance Group will show off their moves.\u003c/p>\n\u003cfigure id=\"attachment_13840060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg\" alt=\"George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City. \u003ccite>(Theo Wargo/Getty Images for SESAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/534076/parliament-funkadelic-feat-george-clinton-tickets?skin=mountainwinery\">Parliament-Funkadelic featuring George Clinton\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jun 12, 2024\u003c/em>\u003cbr>\n\u003cem>Mountain Winery, Saratoga\u003c/em>\u003cbr>\n\u003cem>$49.50–$89.50\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a> is a national treasure. In the ’70s, the funk father and his bands, Parliament and Funkadelic, made hits that altered the course of American popular music. They influenced monumental stars like Prince, and became some of the most sampled acts in hip-hop history, paving the way for ’90s groups like The Coup and Digital Underground as well as more recent artists like Childish Gambino. Clinton pushed Afrofuturism forward — so much so that P-Funk’s spaceship stage prop has been immortalized in the Smithsonian. Though Clinton, now 82 years old, talked about retiring years ago — he said he funked too hard for his pacemaker — he’s continued touring with a new lineup of younger musicians.\u003c/p>\n\u003cfigure id=\"attachment_13916884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916884\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chaka Khan performs at Blue Note Jazz Festival in St. Helena on Friday, July 29, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays June 23-Aug. 25, 2024\u003cbr>\nSigmund Stern Recreation Grove, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Every Sunday this summer, there’s a free concert in the park at \u003ca href=\"https://www.kqed.org/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts\">Stern Grove\u003c/a>. The series’ 87th season opens with a performance from queer indie rock duo Tegan and Sara on June 23. Other lineup highlights include psychedelic pop band Chicano Batman on June 30; R&B singer and saxophonist Masego on July 21; jazz-funk legend Herbie Hancock on Aug. 11 and a Big Picnic closer with queen of funk Chaka Khan on Aug. 25. But before you round up your friends and pack your cooler, make plans: RSVPs open a month before each concert date, and spots are limited.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10820718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">The Mummies perform in Mosswood Park in 2015. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2024/558489?afflky=MosswoodMeltdown\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 6–7, 2024\u003c/em>\u003cbr>\n\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Single day: $99+; two-day: $159+\u003c/em>\u003c/p>\n\u003cp>Punk festival Mosswood Meltdown is truly a family affair: In addition to teenage, 20-something and 30-something-year-old punks, you might see punk grandparents holding punk babies. And that vibe is reflected in its intergenerational lineup of alternative acts. Day one of the festival features ’80s art pop mainstays the B-52’s, and celebrates queer culture with a drag contest hosted by Peaches Christ and sets from Pansy Division and Hunx and His Punx. Day two, with OG garage punks The Mummies headlining, leans into hip-hop culture with a DJ set from 808 mastermind Egyptian Lover and the queen of New Orleans bounce, Big Freedia.\u003c/p>\n\u003cfigure id=\"attachment_13957500\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg\" alt=\"\" width=\"1024\" height=\"779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-768x584.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs during the Times Square New Year’s Eve 2024 Celebration on December 31, 2023 in New York City. \u003ccite>(Noam Galai/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11, 2024\u003c/em>\u003cbr>\n\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Single-day GA: $199+, three-day pass: $449+\u003c/em>\u003c/p>\n\u003cp>You can thank Beyoncé for the fact that Outside Lands is more country than ever this year: Post Malone and Shaboozey, both featured on Beyoncé’s \u003ci>Cowboy Carter\u003c/i>, are performing, and country hitmaker Sturgill Simpson is a headliner alongside Tyler, the Creator and the Killers. On the lineup you’ll also find buzzworthy breakout pop acts like Tyla, Renée Rapp and Victoria Monét. Outside Lands, which attracts tens of thousands of fans each day, prides itself on its wide appeal. In addition to its four main music stages, it features a queer performance zone called Dolores’, the open-air electronic music club SOMA and even a \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">new wedding venue\u003c/a> — and that’s on top of its many culinary and cannabis offerings.\u003c/p>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/khruangbin-240814\">Khruangbin\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 14–16, 2024\u003c/em>\u003cbr>\n\u003cem>Greek Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>$69–$120\u003c/em>\u003c/p>\n\u003cp>No band better represents today’s psychedelic rock revival than Texan trio Khruangbin. Their vintage sound, recorded with warm fuzz as if on a reel-to-reel from the ’70s, combines global influences of Jamaican dub, Southeast Asian funk, surf rock and a country twang from their home state. The result is a soothing mélange that goes down slow — a perfect soundtrack for swaying under the night sky while slightly stoned, if that’s your persuasion. Celebrating their new, bilingual Spanish-English album \u003ci>A La Sala\u003c/i>, Khruangbin performs three nights in a row at Berkeley’s Greek Theatre. The second two are sold out, but Aug. 14 still has tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert Glasper performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/black-radio-experience/\">The Black Radio Experience\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 30–Sept. 1, 2024\u003cbr>\nMeritage Resort & Spa, Napa\u003cbr>\nThree-day passes: $499+\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For jazz, grown-and-sexy R&B, lyrical hip-hop and general musical excellence, the Black Radio Experience is a new, more intimate event from the producers of the Blue Note Jazz Festival in Napa, which is on hiatus until 2025. Jazz pianist and prolific hip-hop collaborator Robert Glasper curated the lineup, which includes John Legend, Jill Scott and Andre 3000 (with his \u003ca href=\"https://www.rollingstone.com/music/music-news/why-andre-3000-stopped-rapping-1234880754/\">wooden flute\u003c/a>) as headliners. Also performing are Nile Rogers & Chic, Ledisi, Madlib, Andra Day, Christian McBride, Common and more, with Oakland-raised Sway Calloway as host.\u003c/p>\n\n",
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"excerpt": "With big-ticket festivals and free events alike, there’s no shortage of live music options this summer. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s something magical about Bay Area summers, with our famously not-too-hot, not-too-cold weather, plus ample access to natural wonders and, of course, too many concerts to choose from.\u003c/p>\n\u003cp>Of these dozen outdoor concerts and festivals, some are in public transit-accessible parks; others require a drive up to wine country. Some are worth the splurge; others are free. The Bay Area is full of curious listeners with eclectic taste, and there’s something for everybody here.\u003c/p>\n\u003cfigure id=\"attachment_13957398\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg\" alt=\"Blxst performs on stage wearing head-to-toe denim, in front of a backdrop with an image of an urban warehouse. \" width=\"1024\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-768x527.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blxst performs at the Outdoor Theatre during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 20, 2024 in Indio, California. \u003ccite>(Arturo Holmes/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/538974/frost-music-arts-festival-with-blxst-tickets\">Blxst\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 18, 2024\u003cbr>\nFrost Amphitheater, Stanford\u003cbr>\n$25-$55\u003c/em>\u003c/p>\n\u003cp>Blxst is the velvety-voiced R&B accompaniment to the big players in LA’s rap scene. On his recent Tupac-sampling single with Tyga and YG, “\u003ca href=\"https://youtu.be/BNUi6botHmw?si=KOEIb233f9ohL_yn\">West Coast Weekend\u003c/a>,” he comes off as a modern-day Nate Dogg with a nostalgic, G-funk feel. He also regularly collaborates with Northern California artists, including Kehlani and Mozzy. Blxst headlines this year’s student-organized Frost Music & Arts Festival at Stanford’s Frost Amphitheater. Joining him is singer-songwriter UMI, who often invites audiences to take a meditative pause in her uplifting live shows, and Alameda, whose eclectic sound blends R&B with indie rock and drum’n’bass.\u003c/p>\n\u003cfigure id=\"attachment_13931358\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg\" alt=\"The facial profile of a young Oakland rapper as he looks away from the camera\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in Oakland on June 9, 2023. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-880542274647\">Town Up Tuesday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 21, 2024\u003cbr>\nLake Merritt Bandstand, Oakland\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Town Up Tuesday is a party with a purpose put on by Urban Peace Movement, a local nonprofit that fights mass incarceration. It seeks to uplift Oakland culture at a time when negative media narratives about the Town abound, and operates under the idea that music and culture can unite neighbors and make communities safer.\u003c/p>\n\u003cp>This year’s intergenerational lineup is full of heavy hitters, not least Too Short, \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a> (Oakland’s premier ’90s female rap group) and a legendary surprise guest. Trunk Boiz (of “\u003ca href=\"https://youtu.be/KCNlDgSQuLg?si=pQlkEdeR5Bpi9Ivq\">Cupcake No Fillin\u003c/a>” fame!) and dance crew Animaniakz will serve up hyphy movement nostalgia. Other artists on the bill represent the diverse sounds of today’s generation, notably the quirky, experimental and soulful Michael Sneed and the darker and more streetwise ALLBLACK and \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a>, among others.\u003c/p>\n\u003cfigure id=\"attachment_13872413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg\" alt=\"Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com\">BottleRock\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24–26, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: $243; three-day GA: sold out\u003c/em>\u003c/p>\n\u003cp>Set in beautiful wine country, BottleRock is a festival with broad appeal. Not only does its lineup feature all-time musical greats like Oakland funk band Tower of Power and Stevie Nicks (who’s enjoying a Gen Z-fueled career resurgence), but it’s also a place to experience pop’s vanguard. That includes Kali Uchis, the bilingual singer-songwriter whose dreamy, Spanish-language 2024 album \u003ci>Orquídeas\u003c/i> envelops listeners in a romantic exaltation of love and beauty. Megan Thee Stallion — who has the hip-hop world watching her every move following her explosive track “Hiss,” dissing basically the entire industry — will also grace the stage amid her highly anticipated Hot Girl Summer tour.\u003c/p>\n\u003cfigure id=\"attachment_13957397\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg\" alt=\"A band performs on a brightly lit studio stage. \" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado band members Brian Tovar, Pedro Tovar, Damian Pacheco and Ulises González perform at “Despierta America” at Univision Studios on May 02, 2023 in Doral, Florida. \u003ccite>(John Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.laondafest.com\">La Onda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–2, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: sold out; two-day GA: $358\u003c/em>\u003c/p>\n\u003cp>If you miss Maná’s set at BottleRock, the good news is that they’ll be back at the same Napa Valley fairgrounds one weekend later, this time headlining new Latin music festival La Onda. On its diverse lineup, you’ll find old-school rock en español acts like Mexican band \u003ca href=\"https://www.kqed.org/arts/13840289/mexican-rockers-cafe-tacvba-stand-in-solidarity-with-stateside-latinx-fans\">Cafe Tacvba\u003c/a>; Farruko, one of today’s hottest reggaetoneros; and rising young regional Mexican music stars Junior H, Fuerza Regida and Eslabón Armado, who combine styles as wide-ranging as trap and corridos.\u003c/p>\n\u003cfigure id=\"attachment_13937341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg\" alt=\"two young boys dance on a deck beneath a pergola while a 29-year-old rapper eggs them on\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs beneath the pergola in his backyard, with two young guests, on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/Goodcompenny\">LaRussell’s Backyard Residency\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 2, July 7 and Aug. 4, 2024\u003cbr>\nThe Pergola, Vallejo\u003cbr>\nPay what you want\u003c/em>\u003c/p>\n\u003cp>LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">done it his way\u003c/a> at every step of his career — notably, building a pergola and stage in his parents’ Vallejo backyard, which has allowed him to essentially bypass the corporate venue ecosystem that can be very \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">disadvantageous to emerging artists\u003c/a>. These intimate shows truly feel like a family affair. When I checked one out last year, the audience was full of LaRussell diehards — even small children — rapping along enthusiastically to every bar. LaRussell’s team passed out ice packs and water bottles to protect fans from the heat. It really felt like a community. To get into one of these shows, you have to name your price for a ticket — and entry is not guaranteed. But that doesn’t mean tickets only go to the highest bidders, as LaRussell has said that he likes to keep his offerings accessible to fans of all income levels.\u003c/p>\n\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zarah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-juneteenth-parade-tickets-895705117117?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">Larry June and Goapele at San Francisco Juneteenth\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 8, 2024\u003cbr>\nFulton Street Plaza, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The day of San Francisco’s Juneteenth Parade, there’s a free concert celebrating Black music and culture at Fulton Plaza. It stars Larry June, whose laidback, luxurious rhymes about real-estate deals and gourmet meals have put a spotlight back on San Francisco rap. He’ll be joined by angel-voiced R&B hitmaker \u003ca href=\"https://www.kqed.org/arts/13932465/goapele-closer-to-hip-hop\">Goapele\u003c/a>, whose classic song “Closer” continues to resonate with a new generation of Bay Area music lovers. \u003ca href=\"https://youtu.be/oJ8oXKYOYGE?si=tR5tLVb3_-96oWiZ\">Stunnaman02\u003c/a>, who’s currently on a major salad kick; Ronski, creator of the Fillmore anthem “\u003ca href=\"https://youtu.be/g2J_xGPGHjI?si=sCyP82bsmo8-MRB9\">That Filthy\u003c/a>”; Zion I collaborator Dustin Sharpe; and DJs Big Von, \u003ca href=\"https://www.kqed.org/arts/13956839/dj-d-sharp\">D Sharp\u003c/a>, Red Corvette, Daghe and World Famous Rick and Russ Show will represent the Bay’s wide-ranging, active hip-hop scene. Hosted by KMEL’s Shay Diddy, the concert also offers much in the way of jazz, soul and gospel, including Martin Luther’s Rebel Soul House Party, The Glide Choir and Fillmore Jazz Ambassadors. SF Poet Laureate Tongo Eisen-Martin will read, and the young Feline Finesse Dance Group will show off their moves.\u003c/p>\n\u003cfigure id=\"attachment_13840060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg\" alt=\"George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City. \u003ccite>(Theo Wargo/Getty Images for SESAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/534076/parliament-funkadelic-feat-george-clinton-tickets?skin=mountainwinery\">Parliament-Funkadelic featuring George Clinton\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jun 12, 2024\u003c/em>\u003cbr>\n\u003cem>Mountain Winery, Saratoga\u003c/em>\u003cbr>\n\u003cem>$49.50–$89.50\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a> is a national treasure. In the ’70s, the funk father and his bands, Parliament and Funkadelic, made hits that altered the course of American popular music. They influenced monumental stars like Prince, and became some of the most sampled acts in hip-hop history, paving the way for ’90s groups like The Coup and Digital Underground as well as more recent artists like Childish Gambino. Clinton pushed Afrofuturism forward — so much so that P-Funk’s spaceship stage prop has been immortalized in the Smithsonian. Though Clinton, now 82 years old, talked about retiring years ago — he said he funked too hard for his pacemaker — he’s continued touring with a new lineup of younger musicians.\u003c/p>\n\u003cfigure id=\"attachment_13916884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916884\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chaka Khan performs at Blue Note Jazz Festival in St. Helena on Friday, July 29, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays June 23-Aug. 25, 2024\u003cbr>\nSigmund Stern Recreation Grove, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Every Sunday this summer, there’s a free concert in the park at \u003ca href=\"https://www.kqed.org/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts\">Stern Grove\u003c/a>. The series’ 87th season opens with a performance from queer indie rock duo Tegan and Sara on June 23. Other lineup highlights include psychedelic pop band Chicano Batman on June 30; R&B singer and saxophonist Masego on July 21; jazz-funk legend Herbie Hancock on Aug. 11 and a Big Picnic closer with queen of funk Chaka Khan on Aug. 25. But before you round up your friends and pack your cooler, make plans: RSVPs open a month before each concert date, and spots are limited.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10820718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">The Mummies perform in Mosswood Park in 2015. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2024/558489?afflky=MosswoodMeltdown\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 6–7, 2024\u003c/em>\u003cbr>\n\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Single day: $99+; two-day: $159+\u003c/em>\u003c/p>\n\u003cp>Punk festival Mosswood Meltdown is truly a family affair: In addition to teenage, 20-something and 30-something-year-old punks, you might see punk grandparents holding punk babies. And that vibe is reflected in its intergenerational lineup of alternative acts. Day one of the festival features ’80s art pop mainstays the B-52’s, and celebrates queer culture with a drag contest hosted by Peaches Christ and sets from Pansy Division and Hunx and His Punx. Day two, with OG garage punks The Mummies headlining, leans into hip-hop culture with a DJ set from 808 mastermind Egyptian Lover and the queen of New Orleans bounce, Big Freedia.\u003c/p>\n\u003cfigure id=\"attachment_13957500\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg\" alt=\"\" width=\"1024\" height=\"779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-768x584.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs during the Times Square New Year’s Eve 2024 Celebration on December 31, 2023 in New York City. \u003ccite>(Noam Galai/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11, 2024\u003c/em>\u003cbr>\n\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Single-day GA: $199+, three-day pass: $449+\u003c/em>\u003c/p>\n\u003cp>You can thank Beyoncé for the fact that Outside Lands is more country than ever this year: Post Malone and Shaboozey, both featured on Beyoncé’s \u003ci>Cowboy Carter\u003c/i>, are performing, and country hitmaker Sturgill Simpson is a headliner alongside Tyler, the Creator and the Killers. On the lineup you’ll also find buzzworthy breakout pop acts like Tyla, Renée Rapp and Victoria Monét. Outside Lands, which attracts tens of thousands of fans each day, prides itself on its wide appeal. In addition to its four main music stages, it features a queer performance zone called Dolores’, the open-air electronic music club SOMA and even a \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">new wedding venue\u003c/a> — and that’s on top of its many culinary and cannabis offerings.\u003c/p>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/khruangbin-240814\">Khruangbin\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 14–16, 2024\u003c/em>\u003cbr>\n\u003cem>Greek Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>$69–$120\u003c/em>\u003c/p>\n\u003cp>No band better represents today’s psychedelic rock revival than Texan trio Khruangbin. Their vintage sound, recorded with warm fuzz as if on a reel-to-reel from the ’70s, combines global influences of Jamaican dub, Southeast Asian funk, surf rock and a country twang from their home state. The result is a soothing mélange that goes down slow — a perfect soundtrack for swaying under the night sky while slightly stoned, if that’s your persuasion. Celebrating their new, bilingual Spanish-English album \u003ci>A La Sala\u003c/i>, Khruangbin performs three nights in a row at Berkeley’s Greek Theatre. The second two are sold out, but Aug. 14 still has tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert Glasper performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/black-radio-experience/\">The Black Radio Experience\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 30–Sept. 1, 2024\u003cbr>\nMeritage Resort & Spa, Napa\u003cbr>\nThree-day passes: $499+\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For jazz, grown-and-sexy R&B, lyrical hip-hop and general musical excellence, the Black Radio Experience is a new, more intimate event from the producers of the Blue Note Jazz Festival in Napa, which is on hiatus until 2025. Jazz pianist and prolific hip-hop collaborator Robert Glasper curated the lineup, which includes John Legend, Jill Scott and Andre 3000 (with his \u003ca href=\"https://www.rollingstone.com/music/music-news/why-andre-3000-stopped-rapping-1234880754/\">wooden flute\u003c/a>) as headliners. Also performing are Nile Rogers & Chic, Ledisi, Madlib, Andra Day, Christian McBride, Common and more, with Oakland-raised Sway Calloway as host.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790376816840146993\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790360287725674855\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Hip-hop celebrated its 50th anniversary last year, and the culture has now fully entered a stage of historical preservation and studious documentation worthy of museums and national libraries. \u003c/span>\u003cspan style=\"font-weight: 400\"> [aside postid='arts_13929183']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Bay Area has an encyclopedia’s worth of archival materials and important figures in its decades-long legacy. That’s where Jahi comes into the mix. An MC, curator and founder of the \u003c/span>\u003ca href=\"https://www.bayareahiphoparchives.org/\">\u003cspan style=\"font-weight: 400\">Bay Area Hip Hop Archives\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (BAHHA), \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">he has been working to conserve local hip-hop history\u003c/a> by documenting the genre’s pioneers through firsthand stories.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Last year, BAHHA publicly debuted by honoring 55 of the Bay Area’s most influential hip-hop contributors and legacy-makers, with a culminating event at the Oakland Museum of California that brought together many of the area’s pioneers. Each inductee has a “special collection” — items and media that tell their story in their own words, including primary-source interviews, flyers, posters, setlists and more. Largely funded by community donations, the archive isn’t interested in appeasing corporate interests. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The first artifact is the oral history coming from the primary source,” Jahi says. “I’ll sit and have multiple conversations. After that, we’ll go back and gather artifacts. You see the story in [each inductee’s] voice.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Monday, May 13, BAHHA announced 14 new inductees, bringing the total to 69 honorees since launching in 2023. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The archive now recognizes individual visionaries like the legendary producer Ant Banks; rapper and \u003ca href=\"https://www.kqed.org/author/rockyrivera\">KQED food columnist\u003c/a> Rocky Rivera; music journalist and acclaimed author \u003ca href=\"https://www.kqed.org/forum/2010101888845/danyel-smith-on-the-black-women-artists-who-shine-bright-in-pop-music-history\">Danyel Smith\u003c/a>; and videographer-turned-CEO Sean Kennedy, among others. It’s not limited to solo acts, though; KPOO 89.5 — a community radio station owned by Poor People’s Radio, operating out of the historic Fillmore District — is also being celebrated. KPOO became one of the first Bay Area stations to air a hip-hop show in the ’80s. [aside postid='arts_13894159']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Some of the names are obvious, and some may not be as obvious,” says Jahi. “We really want to focus on celebrating the underseen, undervalued and underappreciated. We know who the tree tops are in the Bay Area, but there are branches, leaves, trunks, roots. We want to cover that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Selected by Jahi himself, along with an anonymous council of “triple OGs from the Bay Area community [who provide] sacred advice and verification,” each chosen entity must have at least 20 years of Bay Area hip-hop service. It’s not just about the rappers, either. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We do research. Why not [include] a legendary historian of funk to understand the interconnectedness to tell a cultural story?” says Jahi, referring to inductee \u003ca href=\"https://africam.berkeley.edu/people/ricky-vincent/\">Ricky Vincent\u003c/a>. “We’re not following the rules of the commercial rap industry and what they say equates with hip-hop. We’re coming from a cultural lens. This is community work. That’s more indicative of what the hip-hop family really looks like.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Black, a prominent queer DJ who has mentored numerous others, is one of those people. Along with turntable queen Pam the Funkstress, Jahi points to her as “a mother of building the culture.” [aside postid='arts_13915614']\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=LR4r0Mo9Vds\">\u003cspan style=\"font-weight: 400\">Gentlemen of Production\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an iconic dance group from Oakland, is another inductee whose contributions in popping, locking, strutting and boogaloo have helped to legitimize Bay Area dance beyond California. Rounding out the list of inductees are artists Karen and Malik Seneferu, rapper Silk-E, jazz radio host \u003ca href=\"https://www.kqed.org/arts/13930273/liner-notes-greg-bridges-and-the-jazz-voice\">Greg Bridges\u003c/a>, rapper T-Kash and DJ Edaboss. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jahi hopes that each name will encourage hip-hop fans to “do the homework” and learn about the cultivators and innovators that perhaps haven’t gotten the shine they deserve. For him, it’s important to tell their narrative “the right way.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is planned to outlive us all for the 100th anniversary of hip-hop,” Jahi says. “This isn’t momentary. This is about when we’re not here. Hip-hop didn’t start in a university or in any media houses. It started in the community. What we’re doing is a community thing.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Bay Area has an encyclopedia’s worth of archival materials and important figures in its decades-long legacy. That’s where Jahi comes into the mix. An MC, curator and founder of the \u003c/span>\u003ca href=\"https://www.bayareahiphoparchives.org/\">\u003cspan style=\"font-weight: 400\">Bay Area Hip Hop Archives\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (BAHHA), \u003ca href=\"https://www.kqed.org/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art\">he has been working to conserve local hip-hop history\u003c/a> by documenting the genre’s pioneers through firsthand stories.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Last year, BAHHA publicly debuted by honoring 55 of the Bay Area’s most influential hip-hop contributors and legacy-makers, with a culminating event at the Oakland Museum of California that brought together many of the area’s pioneers. Each inductee has a “special collection” — items and media that tell their story in their own words, including primary-source interviews, flyers, posters, setlists and more. Largely funded by community donations, the archive isn’t interested in appeasing corporate interests. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The first artifact is the oral history coming from the primary source,” Jahi says. “I’ll sit and have multiple conversations. After that, we’ll go back and gather artifacts. You see the story in [each inductee’s] voice.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Monday, May 13, BAHHA announced 14 new inductees, bringing the total to 69 honorees since launching in 2023. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The archive now recognizes individual visionaries like the legendary producer Ant Banks; rapper and \u003ca href=\"https://www.kqed.org/author/rockyrivera\">KQED food columnist\u003c/a> Rocky Rivera; music journalist and acclaimed author \u003ca href=\"https://www.kqed.org/forum/2010101888845/danyel-smith-on-the-black-women-artists-who-shine-bright-in-pop-music-history\">Danyel Smith\u003c/a>; and videographer-turned-CEO Sean Kennedy, among others. It’s not limited to solo acts, though; KPOO 89.5 — a community radio station owned by Poor People’s Radio, operating out of the historic Fillmore District — is also being celebrated. KPOO became one of the first Bay Area stations to air a hip-hop show in the ’80s. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Some of the names are obvious, and some may not be as obvious,” says Jahi. “We really want to focus on celebrating the underseen, undervalued and underappreciated. We know who the tree tops are in the Bay Area, but there are branches, leaves, trunks, roots. We want to cover that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Selected by Jahi himself, along with an anonymous council of “triple OGs from the Bay Area community [who provide] sacred advice and verification,” each chosen entity must have at least 20 years of Bay Area hip-hop service. It’s not just about the rappers, either. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We do research. Why not [include] a legendary historian of funk to understand the interconnectedness to tell a cultural story?” says Jahi, referring to inductee \u003ca href=\"https://africam.berkeley.edu/people/ricky-vincent/\">Ricky Vincent\u003c/a>. “We’re not following the rules of the commercial rap industry and what they say equates with hip-hop. We’re coming from a cultural lens. This is community work. That’s more indicative of what the hip-hop family really looks like.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Black, a prominent queer DJ who has mentored numerous others, is one of those people. Along with turntable queen Pam the Funkstress, Jahi points to her as “a mother of building the culture.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=LR4r0Mo9Vds\">\u003cspan style=\"font-weight: 400\">Gentlemen of Production\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an iconic dance group from Oakland, is another inductee whose contributions in popping, locking, strutting and boogaloo have helped to legitimize Bay Area dance beyond California. Rounding out the list of inductees are artists Karen and Malik Seneferu, rapper Silk-E, jazz radio host \u003ca href=\"https://www.kqed.org/arts/13930273/liner-notes-greg-bridges-and-the-jazz-voice\">Greg Bridges\u003c/a>, rapper T-Kash and DJ Edaboss. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jahi hopes that each name will encourage hip-hop fans to “do the homework” and learn about the cultivators and innovators that perhaps haven’t gotten the shine they deserve. For him, it’s important to tell their narrative “the right way.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is planned to outlive us all for the 100th anniversary of hip-hop,” Jahi says. “This isn’t momentary. This is about when we’re not here. Hip-hop didn’t start in a university or in any media houses. It started in the community. What we’re doing is a community thing.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public",
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"content": "\u003cfigure class=\"wp-block-image size-large\">\u003cfigcaption>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist, musician and punk pioneer Kathleen Hanna has always been a force. With her band \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill\u003c/a>, she pioneered the “riot grrrl” movement in the 1990s, challenging the misogyny of both the punk scene and society at large.\u003c/p>\n\u003cp>“When I moved to Olympia, [Wash.], there were all these kids who were making music and putting out records on small indie labels,” Hanna says. “And they sort of defined punk not as a genre or a … loud, angry, aggressive sound, but as an idea … that we don’t have to wait for corporations to tell us what is good music or art or writing. We can make it ourselves.”\u003c/p>\n\u003cp>[aside postid='pop_10272']And so she did. Along with Tobi Vail, Billy Karren and Kathi Wilcox, Hanna formed the feminist punk band Bikini Kill. The band urged women and girls in the audience to move up to the front of the stage, write political zines and talk openly about sexual violence. Emboldened by the music, fans would come to Hanna to talk about their own experiences.\u003c/p>\n\u003cp>On tour, Hanna and her bandmates faced abuse and disrespect from male fans and club workers. A one point, a sound man threatened to stab her when she was touring with another one of her bands, Le Tigre.\u003c/p>\n\u003cp>“This was our workplace, and every single night was a different set of threatened angry men … who would treat us with such utter disrespect,” she says. “One of the things that has been getting me by is this phrase: ‘In punk rock, there is no HR.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In her new memoir, \u003cem>Rebel Girl\u003c/em>, Hanna looks back on her childhood and her experiences in the punk scene. She also writes about finding out that an undiagnosed case of Lyme disease was the reason she couldn’t physically perform anymore.\u003c/p>\n\u003cp>Since her diagnosis and treatment, Hanna’s back to to performing again with Bikini Kill and her other bands, Le Tigre and \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>. She says there’s still a lot of anger in the shows, but there’s also “so much more joy.”\u003c/p>\n\u003cp>“The songs really go from joy to sadness to rage very quickly. And I’m finding nuances in them that I didn’t know were there,” she says. “It feels joyous to explore our anger in public.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/rebelgirlbookcover---photo-by-leeta-harding_cover-by-ecco-1-1-_custom-0ef859eb029e015065ad9cadc6266a733c1ccc37.jpeg?s=1200&c=75&f=jpeg\" alt=\"A book cover featuring a photo of a young woman wearing her hair in a pony tail.\" width=\"1200\" height=\"1802\">\u003cfigcaption class=\"wp-caption-text\">‘Rebel Girl’ by Kathleen Hanna.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On the early days of the riot grrrl feminist punk movement\u003c/strong>\u003c/p>\n\u003cp>[There were] girls in the riot grrrl meetings who were just crying because it was the first time they’d been in an all-female atmosphere, and they were just like, “Whoa, this feels really weird. I’m confused.” And then like, “Wait, why have I never made this a priority before?” And just that feeling of a room changing. Just sitting at a crappy plastic Office Max table with a bunch of young women who have been relegated to the back of the room at punk shows for so long, finally saying, “I’ve always wanted to start a band,” or “Hey, does anybody know how to play guitar? I’d like to learn.” That’s an amazing feeling. That really kind of changes the room into this beautiful place of possibilities.\u003c/p>\n\u003cp>\u003cstrong>On writing the 1993\u003c/strong> \u003cstrong>riot grrrl anthem, “Rebel Girl” \u003c/strong>\u003c/p>\n\u003cp>We wrote that one in the basement of this house called The Embassy. It was a punk house, and punk houses a lot of times have names. And this one was called The Embassy because it was pretty close to Embassy Row in D.C. And I just remember how sweaty it was and it was very small. And I’ll always remember writing that song because it was one of those times where I was writing it as we were playing it. So they started coming up with the music, and as it became more full-formed, I started hearing the first couple lines in my head and I just stepped to the mic, and then they just kind of fell out. I stepped back and started thinking, ‘OK, what’s the chorus going to be?’ … And then I walked back to the mic and I just sang and ‘Rebel girl, rebel girl, you are the queen of my world’ came out. And it just kind of happened. It felt like the scene of punk women that I was hanging out with, and that I was becoming friends with, really wrote that song and I just like grabbed it from the air, or something.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/joanjettbikinikill_wide-ed61f729f30fd7890e9b85581c3640e127cff2e3.jpeg?s=1200&c=75&f=jpeg\" alt=\"A girl with a black bob hair cut wearing a leather jacket stands surrounded by three young women and one young man.\" width=\"1200\" height=\"675\">\u003cfigcaption class=\"wp-caption-text\">Hanna (fourth from left) poses with Joan Jett (center) and fellow Bikini Kill members Tobi Vail, Billy Karren and Kathi Wilcox in New York City in 1992.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On how she made her concerts a safe space for women and girls \u003c/strong>\u003c/p>\n\u003cp>We did stuff like hand out lyric sheets that had the lyrics on them so that other girls and women would know these are the lyrics and what the subject matter was, because a lot of times you couldn’t understand what I was saying through the crappy PAs I was singing through, and sometimes even talking in between songs, you couldn’t understand what I was saying. And so that was one way that [we] gave them a souvenir to take home, to read through and think about and maybe disagree with so that they start their own bands or it encourages them to write their own poetry or write their own zines.\u003c/p>\n\u003cp>[aside postid='arts_13863821']We also had zines that talked about a lot of different political issues of the day that we sold at our shows. We prioritized having girls and women come up to the front, because a lot of the shows we were playing back then, it was straight, cisgender white guys predominating and taking up all the space of the room. And we really selfishly wanted to build the community so we had more girl bands to play with. And how is that going to happen if they’re all stuck in the back? … So I started inviting the girls to the front. ‘Hey, do you guys want to come to the front?’ And then it kind of became a thing. … It was like, what if we just rearrange this room a little bit? What’s going to happen? And what happened was a lot of men were really mad and hated us. But it was also an interesting experiment.\u003c/p>\n\u003cp>\u003cstrong>On a drunken night with \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> when she graffitied a phrase that inspired the title of \u003c/strong>\u003cstrong>Nirvana\u003c/strong>\u003cstrong>‘s first big hit \u003c/strong>\u003c/p>\n\u003cp>I took out a Sharpie marker, and I just wrote like, ‘Kurt Smells Like Teen Spirit’ because me and Tobi [Vail] had been at a grocery store and seen this new deodorant [that said] ‘Smells like teen spirit,’ and we were like, ‘That’s hilarious. What does teen spirit smell like? … Sharpie marker and poster board? It smells like Mod Podge? What does it smell like?’ So we were just goofing on that. So [it] was in my head. And when I was wasted, it just came out and I wrote, like, 10 other things on his wall — and he was a renter, so that was kind of a bad move on my part. Not very kind or thoughtful. And then he called me on the phone many, many months later and was like, ‘Can I use that in a song?’ I didn’t even know it was going to be the title for a song. And I was like, ‘Yeah, sure, that’s great.’\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Thea Chaloner and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-image size-large\">\u003cfigcaption>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist, musician and punk pioneer Kathleen Hanna has always been a force. With her band \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill\u003c/a>, she pioneered the “riot grrrl” movement in the 1990s, challenging the misogyny of both the punk scene and society at large.\u003c/p>\n\u003cp>“When I moved to Olympia, [Wash.], there were all these kids who were making music and putting out records on small indie labels,” Hanna says. “And they sort of defined punk not as a genre or a … loud, angry, aggressive sound, but as an idea … that we don’t have to wait for corporations to tell us what is good music or art or writing. We can make it ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so she did. Along with Tobi Vail, Billy Karren and Kathi Wilcox, Hanna formed the feminist punk band Bikini Kill. The band urged women and girls in the audience to move up to the front of the stage, write political zines and talk openly about sexual violence. Emboldened by the music, fans would come to Hanna to talk about their own experiences.\u003c/p>\n\u003cp>On tour, Hanna and her bandmates faced abuse and disrespect from male fans and club workers. A one point, a sound man threatened to stab her when she was touring with another one of her bands, Le Tigre.\u003c/p>\n\u003cp>“This was our workplace, and every single night was a different set of threatened angry men … who would treat us with such utter disrespect,” she says. “One of the things that has been getting me by is this phrase: ‘In punk rock, there is no HR.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In her new memoir, \u003cem>Rebel Girl\u003c/em>, Hanna looks back on her childhood and her experiences in the punk scene. She also writes about finding out that an undiagnosed case of Lyme disease was the reason she couldn’t physically perform anymore.\u003c/p>\n\u003cp>Since her diagnosis and treatment, Hanna’s back to to performing again with Bikini Kill and her other bands, Le Tigre and \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>. She says there’s still a lot of anger in the shows, but there’s also “so much more joy.”\u003c/p>\n\u003cp>“The songs really go from joy to sadness to rage very quickly. And I’m finding nuances in them that I didn’t know were there,” she says. “It feels joyous to explore our anger in public.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/rebelgirlbookcover---photo-by-leeta-harding_cover-by-ecco-1-1-_custom-0ef859eb029e015065ad9cadc6266a733c1ccc37.jpeg?s=1200&c=75&f=jpeg\" alt=\"A book cover featuring a photo of a young woman wearing her hair in a pony tail.\" width=\"1200\" height=\"1802\">\u003cfigcaption class=\"wp-caption-text\">‘Rebel Girl’ by Kathleen Hanna.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On the early days of the riot grrrl feminist punk movement\u003c/strong>\u003c/p>\n\u003cp>[There were] girls in the riot grrrl meetings who were just crying because it was the first time they’d been in an all-female atmosphere, and they were just like, “Whoa, this feels really weird. I’m confused.” And then like, “Wait, why have I never made this a priority before?” And just that feeling of a room changing. Just sitting at a crappy plastic Office Max table with a bunch of young women who have been relegated to the back of the room at punk shows for so long, finally saying, “I’ve always wanted to start a band,” or “Hey, does anybody know how to play guitar? I’d like to learn.” That’s an amazing feeling. That really kind of changes the room into this beautiful place of possibilities.\u003c/p>\n\u003cp>\u003cstrong>On writing the 1993\u003c/strong> \u003cstrong>riot grrrl anthem, “Rebel Girl” \u003c/strong>\u003c/p>\n\u003cp>We wrote that one in the basement of this house called The Embassy. It was a punk house, and punk houses a lot of times have names. And this one was called The Embassy because it was pretty close to Embassy Row in D.C. And I just remember how sweaty it was and it was very small. And I’ll always remember writing that song because it was one of those times where I was writing it as we were playing it. So they started coming up with the music, and as it became more full-formed, I started hearing the first couple lines in my head and I just stepped to the mic, and then they just kind of fell out. I stepped back and started thinking, ‘OK, what’s the chorus going to be?’ … And then I walked back to the mic and I just sang and ‘Rebel girl, rebel girl, you are the queen of my world’ came out. And it just kind of happened. It felt like the scene of punk women that I was hanging out with, and that I was becoming friends with, really wrote that song and I just like grabbed it from the air, or something.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/joanjettbikinikill_wide-ed61f729f30fd7890e9b85581c3640e127cff2e3.jpeg?s=1200&c=75&f=jpeg\" alt=\"A girl with a black bob hair cut wearing a leather jacket stands surrounded by three young women and one young man.\" width=\"1200\" height=\"675\">\u003cfigcaption class=\"wp-caption-text\">Hanna (fourth from left) poses with Joan Jett (center) and fellow Bikini Kill members Tobi Vail, Billy Karren and Kathi Wilcox in New York City in 1992.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On how she made her concerts a safe space for women and girls \u003c/strong>\u003c/p>\n\u003cp>We did stuff like hand out lyric sheets that had the lyrics on them so that other girls and women would know these are the lyrics and what the subject matter was, because a lot of times you couldn’t understand what I was saying through the crappy PAs I was singing through, and sometimes even talking in between songs, you couldn’t understand what I was saying. And so that was one way that [we] gave them a souvenir to take home, to read through and think about and maybe disagree with so that they start their own bands or it encourages them to write their own poetry or write their own zines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We also had zines that talked about a lot of different political issues of the day that we sold at our shows. We prioritized having girls and women come up to the front, because a lot of the shows we were playing back then, it was straight, cisgender white guys predominating and taking up all the space of the room. And we really selfishly wanted to build the community so we had more girl bands to play with. And how is that going to happen if they’re all stuck in the back? … So I started inviting the girls to the front. ‘Hey, do you guys want to come to the front?’ And then it kind of became a thing. … It was like, what if we just rearrange this room a little bit? What’s going to happen? And what happened was a lot of men were really mad and hated us. But it was also an interesting experiment.\u003c/p>\n\u003cp>\u003cstrong>On a drunken night with \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> when she graffitied a phrase that inspired the title of \u003c/strong>\u003cstrong>Nirvana\u003c/strong>\u003cstrong>‘s first big hit \u003c/strong>\u003c/p>\n\u003cp>I took out a Sharpie marker, and I just wrote like, ‘Kurt Smells Like Teen Spirit’ because me and Tobi [Vail] had been at a grocery store and seen this new deodorant [that said] ‘Smells like teen spirit,’ and we were like, ‘That’s hilarious. What does teen spirit smell like? … Sharpie marker and poster board? It smells like Mod Podge? What does it smell like?’ So we were just goofing on that. So [it] was in my head. And when I was wasted, it just came out and I wrote, like, 10 other things on his wall — and he was a renter, so that was kind of a bad move on my part. Not very kind or thoughtful. And then he called me on the phone many, many months later and was like, ‘Can I use that in a song?’ I didn’t even know it was going to be the title for a song. And I was like, ‘Yeah, sure, that’s great.’\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Portola Music Festival Returns With RÜFÜS DU SOL, Honey Dijon and More",
"headTitle": "Portola Music Festival Returns With RÜFÜS DU SOL, Honey Dijon and More | KQED",
"content": "\u003cp>Now in its third year, \u003ca href=\"https://portolamusicfestival.com/\">Portola Music Festival\u003c/a> is coming back to San Francisco’s Pier 80 on Sept. 28-29, and tickets go on sale May 17.\u003c/p>\n\u003cp>The two-day musical bonanza — which is organized by Goldenvoice, the company behind Coachella — brings some of the world’s most beloved DJs and electronic acts to the City by the Bay. This year, headliners include a panoply of international stars and turntable orchestrators, along with notable emerging (and re-emerging) acts.\u003c/p>\n\u003cp>Saturday kicks off with headliners \u003ca href=\"https://www.instagram.com/rufusdusol/?hl=en\">RÜFÜS DU SOL\u003c/a>\u003cspan style=\"font-weight: 400\">, an Australian three-piece band whose live sets are known for an epic opulence and experiential, outdoor energy — as seen in this \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Zy4KtD98S2c\">\u003cspan style=\"font-weight: 400\">cinematic Joshua Tree performance\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Other performers on opening night will include French DJ and producer Gesaffelstein and \u003c/span>\u003ca href=\"https://www.instagram.com/jpegmafia/?hl=en\">\u003cspan style=\"font-weight: 400\">JPEGMAFIA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the experimental Baltimorean rapper who was \u003c/span>\u003ca href=\"https://twitter.com/jpegmafia/status/1786610765178507536\">\u003cspan style=\"font-weight: 400\">formerly known as Drake’s biggest hater\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> before Drake’s disastrous beef with Kendrick Lamar. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919654\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919654\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">An honorable mention goes to the Bay Area’s very own \u003c/span>\u003ca href=\"https://www.instagram.com/officialdeltron/?hl=en\">\u003cspan style=\"font-weight: 400\">Deltron 3030\u003c/span>\u003c/a>, who’ll be playing their first local show in a decade at Portola.\u003cspan style=\"font-weight: 400\"> The trio consists of Oakland’s Del the Funky Homosapien, San Francisco’s Dan the Automator and DJ Kid Koala. They made a surrealist, sci-fi rap classic with their self-titled 2000 album, and earlier this year, Del and Dan made a rare appearance together on \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13952322/these-bay-area-rap-legends-are-featured-in-88risings-latest-mega-album\">\u003cspan style=\"font-weight: 400\">88rising’s latest project\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sunday’s Portola lineup doesn’t lose any steam. \u003c/span>\u003ca href=\"https://www.instagram.com/honeydijon/?hl=en\">\u003cspan style=\"font-weight: 400\">Honey Dijon\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the Grammy-winning house music producer who splits her time between Berlin and New York City, will headline. Already a legend the electronic music scene, Dijon recently rose to mainstream pop acclaim with \u003ca href=\"https://www.npr.org/2023/05/04/1174081216/beyonces-renaissance-tour-begins-revisiting-house-music-history-with-dj-honey-di\">two production assists on Beyoncé’s \u003cem>Renaissance\u003c/em> album\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/djpee.wee/?hl=en\">\u003cspan style=\"font-weight: 400\">DJ Pee.Wee\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the disc jockey alter ego of funky rapper, singer, producer and drummer Anderson .Paak,\u003c/span>\u003cspan style=\"font-weight: 400\"> will also make an appearance. And M.I.A, the British rapper of “Paper Planes” notoriety, is slated to deliver a set as well.\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Tickets to Portola go on sale on May 17 at noon. Those who attended the festival in 2022 or 2023 get early access on May 16 at noon. General admission weekend passes start at $359; single-day tickets start at $239.95. \u003ca href=\"http://portolamusicfestival.com\">Full lineup, tickets and details here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\n",
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"excerpt": "The September electronic music festival also brings Deltron 3030, M.I.A. and others to San Francisco.",
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"title": "Portola Music Festival Returns With RÜFÜS DU SOL, Honey Dijon and More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its third year, \u003ca href=\"https://portolamusicfestival.com/\">Portola Music Festival\u003c/a> is coming back to San Francisco’s Pier 80 on Sept. 28-29, and tickets go on sale May 17.\u003c/p>\n\u003cp>The two-day musical bonanza — which is organized by Goldenvoice, the company behind Coachella — brings some of the world’s most beloved DJs and electronic acts to the City by the Bay. This year, headliners include a panoply of international stars and turntable orchestrators, along with notable emerging (and re-emerging) acts.\u003c/p>\n\u003cp>Saturday kicks off with headliners \u003ca href=\"https://www.instagram.com/rufusdusol/?hl=en\">RÜFÜS DU SOL\u003c/a>\u003cspan style=\"font-weight: 400\">, an Australian three-piece band whose live sets are known for an epic opulence and experiential, outdoor energy — as seen in this \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Zy4KtD98S2c\">\u003cspan style=\"font-weight: 400\">cinematic Joshua Tree performance\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Other performers on opening night will include French DJ and producer Gesaffelstein and \u003c/span>\u003ca href=\"https://www.instagram.com/jpegmafia/?hl=en\">\u003cspan style=\"font-weight: 400\">JPEGMAFIA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the experimental Baltimorean rapper who was \u003c/span>\u003ca href=\"https://twitter.com/jpegmafia/status/1786610765178507536\">\u003cspan style=\"font-weight: 400\">formerly known as Drake’s biggest hater\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> before Drake’s disastrous beef with Kendrick Lamar. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919654\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919654\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">An honorable mention goes to the Bay Area’s very own \u003c/span>\u003ca href=\"https://www.instagram.com/officialdeltron/?hl=en\">\u003cspan style=\"font-weight: 400\">Deltron 3030\u003c/span>\u003c/a>, who’ll be playing their first local show in a decade at Portola.\u003cspan style=\"font-weight: 400\"> The trio consists of Oakland’s Del the Funky Homosapien, San Francisco’s Dan the Automator and DJ Kid Koala. They made a surrealist, sci-fi rap classic with their self-titled 2000 album, and earlier this year, Del and Dan made a rare appearance together on \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13952322/these-bay-area-rap-legends-are-featured-in-88risings-latest-mega-album\">\u003cspan style=\"font-weight: 400\">88rising’s latest project\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sunday’s Portola lineup doesn’t lose any steam. \u003c/span>\u003ca href=\"https://www.instagram.com/honeydijon/?hl=en\">\u003cspan style=\"font-weight: 400\">Honey Dijon\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the Grammy-winning house music producer who splits her time between Berlin and New York City, will headline. Already a legend the electronic music scene, Dijon recently rose to mainstream pop acclaim with \u003ca href=\"https://www.npr.org/2023/05/04/1174081216/beyonces-renaissance-tour-begins-revisiting-house-music-history-with-dj-honey-di\">two production assists on Beyoncé’s \u003cem>Renaissance\u003c/em> album\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/djpee.wee/?hl=en\">\u003cspan style=\"font-weight: 400\">DJ Pee.Wee\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the disc jockey alter ego of funky rapper, singer, producer and drummer Anderson .Paak,\u003c/span>\u003cspan style=\"font-weight: 400\"> will also make an appearance. And M.I.A, the British rapper of “Paper Planes” notoriety, is slated to deliver a set as well.\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Tickets to Portola go on sale on May 17 at noon. Those who attended the festival in 2022 or 2023 get early access on May 16 at noon. General admission weekend passes start at $359; single-day tickets start at $239.95. \u003ca href=\"http://portolamusicfestival.com\">Full lineup, tickets and details here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Botanist’s Album About Ancient Plants Echoes Today’s Climate Crisis",
"headTitle": "Botanist’s Album About Ancient Plants Echoes Today’s Climate Crisis | KQED",
"content": "\u003cp>When Otrebor writes a \u003ca href=\"https://verdant-realm-botanist.bandcamp.com/\">Botanist\u003c/a> song, he sets a few rules for himself. First: the song has to have hammered dulcimers instead of guitars. Second: it has to be about plants.\u003c/p>\n\u003cp>Third: it has to come from the perspective of a character called the Botanist, through whose eyes the pseudonymous San Francisco musician has been writing ecologically-themed black metal songs (or “green metal,” if you will) for the past decade.\u003c/p>\n\u003cp>“The idea is that it’s a scientist who sees the world being destroyed by mankind’s negligence or meddling and loses his mind,” says Otrebor. “In order to protect whatever he has left of his shattered psyche, he goes off into the forest and creates this world of plants around him. And when he’s there, the plants speak to him.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3288265383/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The plant voices on Botanist’s new album \u003cem>Paleobotany\u003c/em>, out on Prophecy Productions on May 17, come from the late Cretaceous period 70 million years ago — not long before the extinction event that wiped out some 75% of the plant and animal species on Earth, including the dinosaurs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The fossil record suggests plants tended to grow larger than their modern-day descendants in this period, and while some prehistoric species like the magnolia survive to this day, Otrebor describes others that weren’t so lucky, like a tree with “bark like diamonds” whose leaves grew directly out of its trunk.\u003c/p>\n\u003cp>“You can go out and see a magnolia tree and how pretty they smell,” says Otrebor. “This used to exist back when these megafauna existed. It’s really very inspirational and it gives the lesson that nature is eternal.”\u003c/p>\n\u003cfigure id=\"attachment_13955945\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955945\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Botanist (a.k.a. Otrebor, a.k.a. Roberto Martinelli) in the Presidio in San Francisco on April 12, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This eco-drama plays across tracks that are surprisingly pop given the project’s esoteric nature. The songs are about three or four minutes apiece, and the vocals by new collaborator Mar are much cleaner than the growls of the past, allowing Otrebor’s intricate lyrics to shine through. Botanical terminology itself, with all its Latinate curlicues, is as key to the project as the dulcimers or the plant-warrior concept.\u003c/p>\n\u003cp>“I am very motivated by words,” says Otrebor. “It’s how I largely started the concept for the band. I got engrossed in botanical nomenclature and classical botanical art, and I wanted to make a band that was all about that.”\u003c/p>\n\u003cp>https://youtu.be/B6BoG65wL40?si=MBcdKlsR3CiPaqbm\u003c/p>\n\u003cp>Otrebor got into metal as a teenager while growing up in San Francisco. A lover of heavy music and a voracious reader of Romantic poetry, Otrebor found an instinctive connection between the two disciplines, especially as manifested in black metal — the misanthropic, blisteringly beautiful subgenre that developed in Europe in the ’80s and found its most iconic and influential expression in early-’90s Norwegian bands like Darkthrone, Mayhem and Ulver.\u003c/p>\n\u003cp>“The music is like, ‘Oh my God, it’s so sinister and dark,’” says Otrebor. “It’s kind of like a thorn bush of roses. If I try to go in, I’m gonna hurt myself. I can cut myself, it’s very unapproachable. But there’s beautiful elements to it, and if you know how to find it, you find beautiful music.” [aside postid='arts_13936847']\u003c/p>\n\u003cp>Botanist started in 2009 and put out its first album, \u003ca href=\"https://verdant-realm-botanist.bandcamp.com/album/i-the-suicide-tree-ii-a-rose-from-the-dead\">\u003cem>I: The Suicide Tree\u003c/em>\u003c/a>, in 2011. He’s been prolific since then, releasing music on multiple labels and with various lineups (including as a one-man band). Otrebor’s 110-string dulcimer is central to the band’s sound; as a drummer, he prefers its percussive qualities to those of a guitar.\u003c/p>\n\u003cp>The inspiration for the \u003cem>Paleobotany\u003c/em> concept was surprisingly mundane. Botanist was originally slated to do a split release with \u003ca href=\"https://showmeadinosaur.bandcamp.com/album/plantgazer\">Show Me a Dinosaur\u003c/a>, a metal band from Russia whose lyrics also skew towards the botanical, and a “prehistoric” concept would fit well with their name. The plan fell through, but the concept was too good to give up.\u003c/p>\n\u003cp>“And then when I hired [Mar], it was like a dream for her because she loved plants and she also dreamed of being a paleontologist when she was a kid,” says Otrebor.\u003c/p>\n\u003cfigure id=\"attachment_13955943\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955943\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Botanist (aka. Roberto Martinelli) in the Presidio in San Francisco on April 12, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to connect the Cretaceous extinction event described on the album to the current anthropogenic devastation being wrought on the Earth’s species, which ecological conservationists largely agree is equal to any of the mass die-offs that dot the planet’s history once every few eons. The idea of “apocalypse” is central to the project, but while most black metal connects this idea to the Christian rapture and eternal torment in Hell, Otrebor has a more hopeful vision.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s always going to be something,” says Otrebor. “It’s an idea I find very calming within the storm of being afraid of what’s happening with the world and global warming and all these things that are scary — to have this idea that there will always be something, whether the human race is there to see it.”\u003c/p>\n\n",
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"excerpt": "The enigmatic hammer dulcimer player’s black metal record ‘Paleobotany’ reminds us ‘nature is eternal.’",
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"title": "Botanist’s Album About Ancient Plants Echoes Today’s Climate Crisis | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Otrebor writes a \u003ca href=\"https://verdant-realm-botanist.bandcamp.com/\">Botanist\u003c/a> song, he sets a few rules for himself. First: the song has to have hammered dulcimers instead of guitars. Second: it has to be about plants.\u003c/p>\n\u003cp>Third: it has to come from the perspective of a character called the Botanist, through whose eyes the pseudonymous San Francisco musician has been writing ecologically-themed black metal songs (or “green metal,” if you will) for the past decade.\u003c/p>\n\u003cp>“The idea is that it’s a scientist who sees the world being destroyed by mankind’s negligence or meddling and loses his mind,” says Otrebor. “In order to protect whatever he has left of his shattered psyche, he goes off into the forest and creates this world of plants around him. And when he’s there, the plants speak to him.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3288265383/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The plant voices on Botanist’s new album \u003cem>Paleobotany\u003c/em>, out on Prophecy Productions on May 17, come from the late Cretaceous period 70 million years ago — not long before the extinction event that wiped out some 75% of the plant and animal species on Earth, including the dinosaurs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fossil record suggests plants tended to grow larger than their modern-day descendants in this period, and while some prehistoric species like the magnolia survive to this day, Otrebor describes others that weren’t so lucky, like a tree with “bark like diamonds” whose leaves grew directly out of its trunk.\u003c/p>\n\u003cp>“You can go out and see a magnolia tree and how pretty they smell,” says Otrebor. “This used to exist back when these megafauna existed. It’s really very inspirational and it gives the lesson that nature is eternal.”\u003c/p>\n\u003cfigure id=\"attachment_13955945\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955945\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Botanist (a.k.a. Otrebor, a.k.a. Roberto Martinelli) in the Presidio in San Francisco on April 12, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This eco-drama plays across tracks that are surprisingly pop given the project’s esoteric nature. The songs are about three or four minutes apiece, and the vocals by new collaborator Mar are much cleaner than the growls of the past, allowing Otrebor’s intricate lyrics to shine through. Botanical terminology itself, with all its Latinate curlicues, is as key to the project as the dulcimers or the plant-warrior concept.\u003c/p>\n\u003cp>“I am very motivated by words,” says Otrebor. “It’s how I largely started the concept for the band. I got engrossed in botanical nomenclature and classical botanical art, and I wanted to make a band that was all about that.”\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/B6BoG65wL40'\n title='//www.youtube.com/embed/B6BoG65wL40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Otrebor got into metal as a teenager while growing up in San Francisco. A lover of heavy music and a voracious reader of Romantic poetry, Otrebor found an instinctive connection between the two disciplines, especially as manifested in black metal — the misanthropic, blisteringly beautiful subgenre that developed in Europe in the ’80s and found its most iconic and influential expression in early-’90s Norwegian bands like Darkthrone, Mayhem and Ulver.\u003c/p>\n\u003cp>“The music is like, ‘Oh my God, it’s so sinister and dark,’” says Otrebor. “It’s kind of like a thorn bush of roses. If I try to go in, I’m gonna hurt myself. I can cut myself, it’s very unapproachable. But there’s beautiful elements to it, and if you know how to find it, you find beautiful music.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Botanist started in 2009 and put out its first album, \u003ca href=\"https://verdant-realm-botanist.bandcamp.com/album/i-the-suicide-tree-ii-a-rose-from-the-dead\">\u003cem>I: The Suicide Tree\u003c/em>\u003c/a>, in 2011. He’s been prolific since then, releasing music on multiple labels and with various lineups (including as a one-man band). Otrebor’s 110-string dulcimer is central to the band’s sound; as a drummer, he prefers its percussive qualities to those of a guitar.\u003c/p>\n\u003cp>The inspiration for the \u003cem>Paleobotany\u003c/em> concept was surprisingly mundane. Botanist was originally slated to do a split release with \u003ca href=\"https://showmeadinosaur.bandcamp.com/album/plantgazer\">Show Me a Dinosaur\u003c/a>, a metal band from Russia whose lyrics also skew towards the botanical, and a “prehistoric” concept would fit well with their name. The plan fell through, but the concept was too good to give up.\u003c/p>\n\u003cp>“And then when I hired [Mar], it was like a dream for her because she loved plants and she also dreamed of being a paleontologist when she was a kid,” says Otrebor.\u003c/p>\n\u003cfigure id=\"attachment_13955943\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955943\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240412-BOTANIST-MD-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Botanist (aka. Roberto Martinelli) in the Presidio in San Francisco on April 12, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s easy to connect the Cretaceous extinction event described on the album to the current anthropogenic devastation being wrought on the Earth’s species, which ecological conservationists largely agree is equal to any of the mass die-offs that dot the planet’s history once every few eons. The idea of “apocalypse” is central to the project, but while most black metal connects this idea to the Christian rapture and eternal torment in Hell, Otrebor has a more hopeful vision.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s always going to be something,” says Otrebor. “It’s an idea I find very calming within the storm of being afraid of what’s happening with the world and global warming and all these things that are scary — to have this idea that there will always be something, whether the human race is there to see it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How to See Chaka Khan, Chicano Batman for Free at Stern Grove",
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"content": "\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>, a San Francisco institution if there ever was one, is back for an 87th season of free outdoor concerts starting June 23 and continuing every Sunday through Aug. 25.\u003c/p>\n\u003cp>Its eclectic lineup kicks off with a performance by popular queer indie rock duo \u003ca href=\"https://youtu.be/BTMt8sjbFtU?si=t7tlrfmZAeYZHOwS\">Tegan and Sara\u003c/a>, with an opening set from rising Oakland singer-songwriter \u003ca href=\"https://kingisis.bandcamp.com/\">King Isis\u003c/a>. June 30 sees the arrival of \u003ca href=\"https://youtu.be/fsmwWjU_Xaw?si=WyN7fbGLEQjueAwN\">Chicano Batman\u003c/a>, whose oozing, psychedelic guitar pop shines on their new, bilingual album, \u003cem>Notebook Fantasy\u003c/em>; Colombian Canadian singer \u003ca href=\"https://youtu.be/K0nRktrfhPk?si=OdidVB2CnIsKEvh7\">Lido Pimiento\u003c/a> will open with her tropical, electronic indie pop.\u003c/p>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg\" alt=\"Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On July 7, the San Francisco Symphony performs en plein air with Broadway singer and actress \u003ca href=\"https://youtu.be/jSiWuNb8b_A?si=mo2jjp20PzXSbRYz\">Jessica Vosk\u003c/a>. Funk and soul legends the Commodores (the band of “\u003ca href=\"https://youtu.be/KzOJaHHlIcQ?si=X5S7aWX06UH1qCuq\">Brick House\u003c/a>” fame that gave rise to Lionel Richie) perform July 14 with \u003ca href=\"https://youtu.be/tiAf94VSPI0?si=PctRNudqQ5kGZWM2\">The Grease Traps\u003c/a>. July 21 welcomes saxophonist and R&B singer \u003ca href=\"https://youtu.be/hC8CH0Z3L54?si=hLErNIUsSU3tF-AC\">Masego\u003c/a>, along with soulful Oakland vocalist \u003ca href=\"https://youtu.be/N5cET-ipUcQ?si=MZ_j1dh-Cw1jXX78\">Satya\u003c/a>.\u003c/p>\n\u003cp>Nu-disco British electronic duo \u003ca href=\"https://youtu.be/uFJomteTY7k?si=qQ1apaG6yHKxutQs\">Franc Moody\u003c/a> takes the stage July 28 with funk revivalists \u003ca href=\"https://www.youtube.com/watch?v=NSdAUJhLZNc\">Drama\u003c/a>. Indie rocker \u003ca href=\"https://youtu.be/zV75x00RiKI?si=Wi9M3GCo6nU8VrXq\">Alex G\u003c/a> and local faves \u003ca href=\"https://youtu.be/09XNN3nfNlk?si=H8t3WpYkyh60-_LS\">Fake Fruit\u003c/a> perform on Aug. 4.\u003c/p>\n\u003cp>Jazz legend Herbie Hancock — who has \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#herbie-hancock-records-head-hunters-in-the-tenderloin\">plenty of history\u003c/a> in San Francisco — headlines Aug. 11, with the SFJAZZ Collective. Americana treasure \u003ca href=\"https://youtu.be/mTu4cXW9H_Q?si=JyevuVRy34g8E3f8\">Lucinda Williams\u003c/a> performs on Aug. 18 with \u003ca href=\"https://youtu.be/5LZtcCsCwP8?si=jm28IqDCMxvDM_L6\">Jobi Riccio\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939952\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg\" alt=\"a young woman with dark hair and a dark dress plays a white guitar on stage in purple lighting\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hannah D’Amato of Oakland’s Fake Fruit performs at Pitchfork Music Festival London in 2022. \u003ccite>(Burak Cingi/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the closing Big Picnic Weekend, which also includes a Saturday show, electronic pop duo Sylvan Esso (whose song “\u003ca href=\"https://youtu.be/Qr5AIKRPIHo?si=lSV7PVLzeF4bVPjs\">Coffee\u003c/a>” you’ve definitely heard even if you don’t know it by name) performs Aug. 24 with lounge-y disco and pop band \u003ca href=\"https://youtu.be/8_I7AS90OV4?si=kqK2aIQcikLAbOcp\">Poolside\u003c/a>. And finally, on Aug. 25, the queen of funk, boogie and disco \u003ca href=\"https://youtu.be/BNirQXe8HOA?si=_aWlSodf42Pb43eN\">Chaka Khan\u003c/a> closes out the summer festivities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All shows are free, but RSVP is required. \u003ca href=\"https://www.sterngrove.org/\">Tickets\u003c/a> get released one month ahead of each event at 2 p.m. Reserved table seating is available for purchase, and the concerts will also broadcast and livestream on KPIX.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>, a San Francisco institution if there ever was one, is back for an 87th season of free outdoor concerts starting June 23 and continuing every Sunday through Aug. 25.\u003c/p>\n\u003cp>Its eclectic lineup kicks off with a performance by popular queer indie rock duo \u003ca href=\"https://youtu.be/BTMt8sjbFtU?si=t7tlrfmZAeYZHOwS\">Tegan and Sara\u003c/a>, with an opening set from rising Oakland singer-songwriter \u003ca href=\"https://kingisis.bandcamp.com/\">King Isis\u003c/a>. June 30 sees the arrival of \u003ca href=\"https://youtu.be/fsmwWjU_Xaw?si=WyN7fbGLEQjueAwN\">Chicano Batman\u003c/a>, whose oozing, psychedelic guitar pop shines on their new, bilingual album, \u003cem>Notebook Fantasy\u003c/em>; Colombian Canadian singer \u003ca href=\"https://youtu.be/K0nRktrfhPk?si=OdidVB2CnIsKEvh7\">Lido Pimiento\u003c/a> will open with her tropical, electronic indie pop.\u003c/p>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg\" alt=\"Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On July 7, the San Francisco Symphony performs en plein air with Broadway singer and actress \u003ca href=\"https://youtu.be/jSiWuNb8b_A?si=mo2jjp20PzXSbRYz\">Jessica Vosk\u003c/a>. Funk and soul legends the Commodores (the band of “\u003ca href=\"https://youtu.be/KzOJaHHlIcQ?si=X5S7aWX06UH1qCuq\">Brick House\u003c/a>” fame that gave rise to Lionel Richie) perform July 14 with \u003ca href=\"https://youtu.be/tiAf94VSPI0?si=PctRNudqQ5kGZWM2\">The Grease Traps\u003c/a>. July 21 welcomes saxophonist and R&B singer \u003ca href=\"https://youtu.be/hC8CH0Z3L54?si=hLErNIUsSU3tF-AC\">Masego\u003c/a>, along with soulful Oakland vocalist \u003ca href=\"https://youtu.be/N5cET-ipUcQ?si=MZ_j1dh-Cw1jXX78\">Satya\u003c/a>.\u003c/p>\n\u003cp>Nu-disco British electronic duo \u003ca href=\"https://youtu.be/uFJomteTY7k?si=qQ1apaG6yHKxutQs\">Franc Moody\u003c/a> takes the stage July 28 with funk revivalists \u003ca href=\"https://www.youtube.com/watch?v=NSdAUJhLZNc\">Drama\u003c/a>. Indie rocker \u003ca href=\"https://youtu.be/zV75x00RiKI?si=Wi9M3GCo6nU8VrXq\">Alex G\u003c/a> and local faves \u003ca href=\"https://youtu.be/09XNN3nfNlk?si=H8t3WpYkyh60-_LS\">Fake Fruit\u003c/a> perform on Aug. 4.\u003c/p>\n\u003cp>Jazz legend Herbie Hancock — who has \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#herbie-hancock-records-head-hunters-in-the-tenderloin\">plenty of history\u003c/a> in San Francisco — headlines Aug. 11, with the SFJAZZ Collective. Americana treasure \u003ca href=\"https://youtu.be/mTu4cXW9H_Q?si=JyevuVRy34g8E3f8\">Lucinda Williams\u003c/a> performs on Aug. 18 with \u003ca href=\"https://youtu.be/5LZtcCsCwP8?si=jm28IqDCMxvDM_L6\">Jobi Riccio\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939952\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg\" alt=\"a young woman with dark hair and a dark dress plays a white guitar on stage in purple lighting\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hannah D’Amato of Oakland’s Fake Fruit performs at Pitchfork Music Festival London in 2022. \u003ccite>(Burak Cingi/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the closing Big Picnic Weekend, which also includes a Saturday show, electronic pop duo Sylvan Esso (whose song “\u003ca href=\"https://youtu.be/Qr5AIKRPIHo?si=lSV7PVLzeF4bVPjs\">Coffee\u003c/a>” you’ve definitely heard even if you don’t know it by name) performs Aug. 24 with lounge-y disco and pop band \u003ca href=\"https://youtu.be/8_I7AS90OV4?si=kqK2aIQcikLAbOcp\">Poolside\u003c/a>. And finally, on Aug. 25, the queen of funk, boogie and disco \u003ca href=\"https://youtu.be/BNirQXe8HOA?si=_aWlSodf42Pb43eN\">Chaka Khan\u003c/a> closes out the summer festivities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All shows are free, but RSVP is required. \u003ca href=\"https://www.sterngrove.org/\">Tickets\u003c/a> get released one month ahead of each event at 2 p.m. Reserved table seating is available for purchase, and the concerts will also broadcast and livestream on KPIX.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kezia Is the Bay’s Fresh New Voice of ‘Rock’N’B’",
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"content": "\u003cfigure id=\"attachment_13957562\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957562\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3348-1-scaled.jpg\" alt=\"A portrait of Kezia at night on a beach, illuminated by red light.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3348-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3348-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3348-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3348-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3348-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3348-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3348-1-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Kezia’s love of Paramore and Brandy shaped her genre-bending style. \u003ccite>(Sanny Bisquerra )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rising singer \u003ca href=\"https://www.instagram.com/k333zia/\">Kezia\u003c/a> is clear about who she is and what she wants: “I’m Kezia. I’m an artist. I make rock’n’b, and I want you to love yourself and believe you’re hot and sexy and can do anything, always,” she says in a recent interview.\u003c/p>\n\u003cp>At her first headlining show, \u003ca href=\"https://www.brickandmortarmusic.com/event-details/13524368/kezia/\">May 11 at San Francisco’s Brick & Mortar Music Hall\u003c/a>, the singer-songwriter will preview tracks from her upcoming project, showcasing the dreamy sonic world that she’s built for her fans.\u003c/p>\n\u003cp>In the three years since the release of her \u003ci>Claire\u003c/i> EP, Kezia has dropped a number of singles and evolved her sound, an ethereal combination of soft vocals over fuzzy guitar and trap-inspired hi-hats. It’s a fusion that stems from her earliest loves in music\u003c/p>\n\u003cp>“I remember growing up, riding with my mom listening to the Bay Area alternative music station, Live 105,” she says. She found inspiration in bands like Red Hot Chili Peppers, Incubus and Paramore — the first band she discovered on her own. She also loved the stacked vocal harmonies of R&B singers like Brandy. Now, she melds these sounds into one that represents her.\u003c/p>\n\u003cp>https://youtu.be/n8eQIjnKnZ8?si=G1B8c3SRZqCgr1pZ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her warm and hazy track “megan fox” has received over 3.6 million streams on Spotify, thanks to a placement on the popular Lorem playlist, which highlights indie artists across genres for a largely Gen Z audience. The placement connected Kezia to fans across the world.\u003c/p>\n\u003cp>Kezia’s musicality has been a constant in her life — growing from childhood jam sessions on guitar to later studying music in college at Cal Poly Pomona, where she cites a class on the history of American pop music as a turning point. “Learning about the history of rock’n’roll and R&B, it was really fascinating for me to discover that they really sprouted from the same seed,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13957558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957558\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kezia says authenticity is a Bay Area value that shapes her approach to her music. \u003ccite>(Sanny Bisquerra )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was this newfound knowledge that inspired her to look to the core of the classic music she loves and ask herself why it still resonates with fans after decades. “For a song to be classic and timeless, it has to be real and authentic and punch from the heart,” she says.\u003c/p>\n\u003cp>Raised in American Canyon, between Napa and Vallejo, Kezia describes diversity and commitment to authenticity as the ethos of the Bay Area — values shapes her creative process. The Bay is a place she considers magical, and she tries to not spend too much time away while pursuing her dreams in Los Angeles. “I think growing up in the Bay Area, you don’t realize that you’re living in a completely different world than the rest of the country until you leave,” she reflects.\u003c/p>\n\u003cp>https://youtu.be/lOnTlZKEPL8?si=zSOTbX9aURTyFFIH\u003c/p>\n\u003cp>Looking back at her early days of performing at underground shows, Kezia says the culture here helped her grow. “People can tell when you’re faking and trying too hard, and they don’t like that,” Kezia notes. “Bay Area crowds will not lie to you, they will walk away.”\u003c/p>\n\u003cp>Spirituality and getting in tune with herself have been integral to Kezia’s artistic journey. “When I’m in the studio, it’s a very unconscious process,” she shares. “The flow state is real.”\u003c/p>\n\u003cp>https://youtu.be/ibGuykzDc8w?si=n7ECFuZkd4nkFzK6\u003c/p>\n\u003cp>For her, the creative process revolves around letting her spirit guide her, freestyling melodies and letting the rest of the song come. “A mantra that me and my producer on a lot of this next project, Oscar Scheller, will constantly say in the studio is ‘no thoughts.’”\u003c/p>\n\u003cp>In jam sessions for her upcoming project, some songs came together in a matter of days; others took years to perfect. Kezia mentions the arrangement of a forthcoming track titled “Skywalker,” inspired by a joyous recurring dream. Dreams are a continuous inspiration in Kezia’s world — she describes one of her latest singles, “sweet nothing,” as the feeling of fantasy softening harsh realities. [aside postid='arts_13957459']\u003c/p>\n\u003cp>As she prepares for her headlining show, Kezia draws upon her background in acting to get into that flow state on stage. While rehearsing, she’s also focused on more than how she’s going to sound or look. “Music is really so important to the spiritual health of the world, and it provides a great service,” she says. “Anytime you’re sharing or channeling your gifts, it’s always going to be spiritually healthy for you.”\u003c/p>\n\u003cp>Kezia views her fans as peers who see themselves in the lyrics; she wants her songs to be as empowering for them as they are for her. “At many points in my life, certain songs have been a friend to me,” she says. “I just hope that my songs can be that for people when they feel like nobody understands them, to inspire them to see themselves clearly and to love themselves more deeply and to honor their own inner nature.” [aside postid='arts_13955372']\u003c/p>\n\u003cp>Connecting with her fans after the show is always a highlight for Kezia. “I love the community that we’ve created,“ she says. “One of the most beautiful things about music is that it’s always existed to be shared amongst the community, and that’s why I’m really excited to play my show.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kezia performs at Brick & Mortar Music Hall in San Francisco on Saturday, May 11, at 9 p.m. \u003ca href=\"https://www.brickandmortarmusic.com/event-details/13524368/kezia/\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her warm and hazy track “megan fox” has received over 3.6 million streams on Spotify, thanks to a placement on the popular Lorem playlist, which highlights indie artists across genres for a largely Gen Z audience. The placement connected Kezia to fans across the world.\u003c/p>\n\u003cp>Kezia’s musicality has been a constant in her life — growing from childhood jam sessions on guitar to later studying music in college at Cal Poly Pomona, where she cites a class on the history of American pop music as a turning point. “Learning about the history of rock’n’roll and R&B, it was really fascinating for me to discover that they really sprouted from the same seed,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13957558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957558\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_3560-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kezia says authenticity is a Bay Area value that shapes her approach to her music. \u003ccite>(Sanny Bisquerra )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was this newfound knowledge that inspired her to look to the core of the classic music she loves and ask herself why it still resonates with fans after decades. “For a song to be classic and timeless, it has to be real and authentic and punch from the heart,” she says.\u003c/p>\n\u003cp>Raised in American Canyon, between Napa and Vallejo, Kezia describes diversity and commitment to authenticity as the ethos of the Bay Area — values shapes her creative process. The Bay is a place she considers magical, and she tries to not spend too much time away while pursuing her dreams in Los Angeles. “I think growing up in the Bay Area, you don’t realize that you’re living in a completely different world than the rest of the country until you leave,” she reflects.\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/lOnTlZKEPL8'\n title='//www.youtube.com/embed/lOnTlZKEPL8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Looking back at her early days of performing at underground shows, Kezia says the culture here helped her grow. “People can tell when you’re faking and trying too hard, and they don’t like that,” Kezia notes. “Bay Area crowds will not lie to you, they will walk away.”\u003c/p>\n\u003cp>Spirituality and getting in tune with herself have been integral to Kezia’s artistic journey. “When I’m in the studio, it’s a very unconscious process,” she shares. “The flow state is real.”\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/ibGuykzDc8w'\n title='//www.youtube.com/embed/ibGuykzDc8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For her, the creative process revolves around letting her spirit guide her, freestyling melodies and letting the rest of the song come. “A mantra that me and my producer on a lot of this next project, Oscar Scheller, will constantly say in the studio is ‘no thoughts.’”\u003c/p>\n\u003cp>In jam sessions for her upcoming project, some songs came together in a matter of days; others took years to perfect. Kezia mentions the arrangement of a forthcoming track titled “Skywalker,” inspired by a joyous recurring dream. Dreams are a continuous inspiration in Kezia’s world — she describes one of her latest singles, “sweet nothing,” as the feeling of fantasy softening harsh realities. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As she prepares for her headlining show, Kezia draws upon her background in acting to get into that flow state on stage. While rehearsing, she’s also focused on more than how she’s going to sound or look. “Music is really so important to the spiritual health of the world, and it provides a great service,” she says. “Anytime you’re sharing or channeling your gifts, it’s always going to be spiritually healthy for you.”\u003c/p>\n\u003cp>Kezia views her fans as peers who see themselves in the lyrics; she wants her songs to be as empowering for them as they are for her. “At many points in my life, certain songs have been a friend to me,” she says. “I just hope that my songs can be that for people when they feel like nobody understands them, to inspire them to see themselves clearly and to love themselves more deeply and to honor their own inner nature.” \u003c/p>\u003c/div>",
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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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