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"title": "There’s Now a Stevie Nicks-Themed Barbie. And Wouldn't You Love to Love Her?",
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"content": "\u003cfigure id=\"attachment_13935779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935779\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788.jpg\" alt=\"A woman on stage stands under an enormous screen depicting a doll clutching a tambourine. The doll is wearing a black dress and boots and has its arms raised upwards with long flowing black chiffon hanging down from them. The doll stands before a dramatic red curtain and has a guitar by its side.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stevie Nicks stands under an image of her new Barbie doll during a concert at New York City’s Madison Square Garden. \u003ccite>(Jamie McCarthy/ Getty Images for ABA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This Barbie is known for her bewitching voice and sense of style, particularly her love of shawls. She’s topped charts for decades, both as a band member and a solo artist. And she’s the first woman to have been inducted into the Rock & Roll Hall of fame twice.\u003c/p>\n\u003cp>Yep, she’s Stevie Nicks.\u003c/p>\n\u003cp>The Fleetwood Mac singer is the \u003ca href=\"https://www.billboard.com/music/music-news/tina-turner-barbie-where-to-buy-1235155679/\">latest icon\u003c/a> to have her likeness celebrated in doll form as part of Mattel’s Barbie series of famous musicians, along with Tina Turner, Gloria Estefan, David Bowie and Elvis Presley. It will be officially released in November.\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cx5wVddxnhO/\u003c/p>\n\u003cp>Mattel says it designed the doll in honor of Nicks’ 75th birthday, which was in May. It was inspired by her outfit on the cover of the 1977 album \u003cem>Rumours\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The doll has recognizable blond bangs and smoky eye shadow, wears a flowy-sleeved black dress, platform boots and moon-shaped pendant and holds a tambourine cascading with ribbons.\u003c/p>\n\u003cp>[aside postid='pop_8404']Nicks is known for her flared, fringed all-black ensembles, a look she’s been honing since the 1970s. She told \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/10/02/barbie-stevie-nicks-interview-fleetwood-mac-fashion-missing-christine-mcvie/70964361007/\">\u003cem>USA Today\u003c/em>\u003c/a> that after her first Fleetwood Mac tour she contacted a designer, Margi Kent, and drew her a stick figure wearing a handkerchief skirt and platform boots.\u003c/p>\n\u003cp>“I said to her, ‘Margi, I want to wear this when I’m 60 because I know I’ll be on stage when I’m 60,’ even though I’d been in Fleetwood Mac all of eight months, and she said, ‘OK,’ and I went back in a week and by the time we did \u003cem>Rumours\u003c/em> I had my beautiful black outfit,” Nicks recalled.\u003c/p>\n\u003cp>More than a dozen albums, tours and Grammy nominations later, that ever-iconic ensemble is now immortalized in Barbie form.\u003c/p>\n\u003cp>Nicks \u003ca href=\"https://x.com/StevieNicks/status/1708695303392555195?s=20\">said in a tweet \u003c/a>that she was overwhelmed when Mattel first approached her with the idea of a \u003cem>Rumours\u003c/em> Barbie: “Would she look like me? Would she have my spirit? Would she have my heart?” The final product, she said, absolutely does.\u003c/p>\n\u003cp>https://twitter.com/StevieNicks/status/1708695303392555195\u003c/p>\n\u003cp>“When I look at her, I see my 27 year old self~ All the memories of walking out on a big stage in that black outfit and those gorgeous boots come rushing back~ and then I see myself now in her face,” Nicks wrote. “What we have been through since 1975~ the battles we have fought, the lessons we have learned~ together. I am her and she is me.”\u003c/p>\n\u003cp>[aside postid='arts_13933011']Nicks — who \u003ca href=\"https://variety.com/2023/music/news/stevie-nicks-2024-tour-dates-live-in-concert-1235734701/\">just extended\u003c/a> her current North America tour into next year — officially introduced \u003ca href=\"https://www.instagram.com/p/Cx4WrsvNC34/\">“Stevie Barbie”\u003c/a> on stage at New York’s Madison Square Garden on Sunday night.\u003c/p>\n\u003cp>“I hope you all love her as much as I do,” she said, holding up the figurine as the crowd cheered.\u003c/p>\n\u003cp>And it seems people do. The $55 doll sold out \u003ca href=\"https://creations.mattel.com/products/barbie-music-series-stevie-nicks-doll-hmv00\">on Mattel’s website\u003c/a> within hours of its preorder release on Monday, and quickly emerged on resale markets at \u003ca href=\"https://x.com/resellnews/status/1708906354813931763?s=20\">almost twice the price\u003c/a>.\u003c/p>\n\u003ch3>For Nicks, the ’70s-era doll represents a lifetime of memories\u003c/h3>\n\u003cfigure id=\"attachment_13935780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279.jpg\" alt=\"A young woman with shaggy blonde hair stands on stage, head turned to one side, waving her arms aloft, black chiffon material flowing down from her hands and wrists.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicks — in her signature black outfit and flowing sleeves — performs with Fleetwood Mac in May 1977. \u003ccite>(Michael Ochs Archives/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicks, a longtime \u003ca href=\"https://people.com/stevie-nicks-barbie-mattel-releases-doll-inspired-by-the-singer-7975557\">baby doll collector\u003c/a>, played an active role in designing her Barbie.\u003c/p>\n\u003cp>She \u003ca href=\"https://www.today.com/popculture/music/stevie-nicks-barbie-taylor-swift-retirement-plans-rcna117449\">told TODAY\u003c/a> that after Mattel contacted her in March, she sent them her original \u003cem>Rumours\u003c/em> dress, straight from the vault. Instead of the ballet shoes she wore on the cover, she sent them a pair of suede boots, but didn’t expect to see them on the doll because “that would be way too hard.”\u003c/p>\n\u003cp>“If you can copy these boots with a little, teeny tiny platform, you can get it,” she recalls telling the company.\u003c/p>\n\u003cp>When Mattel sent back the prototype a few months later, Nicks said, she couldn’t stop staring at the boots: “I was like, ‘Oh my God, these are real.’”\u003c/p>\n\u003cp>She did have a few suggestions, like making the doll’s teeth visible and eye shadow higher. The second version came back in June.\u003c/p>\n\u003cp>[aside postid='arts_13931753']“I opened her up and I went, ‘She’s just perfect,’ ” Nicks \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/10/02/barbie-stevie-nicks-interview-fleetwood-mac-fashion-missing-christine-mcvie/70964361007/\">told \u003cem>USA Today\u003c/em>\u003c/a>. “This little Barbie is so precious and they helped her have my soul. If nobody else in the world got her but me, I’d almost be OK with that.”\u003c/p>\n\u003cp>Nicks says the doll is meaningful because it’s not just a collectible, but a collection of all her life’s experiences.\u003c/p>\n\u003cp>She compared it to a dream catcher, \u003ca href=\"https://people.com/stevie-nicks-barbie-mattel-releases-doll-inspired-by-the-singer-7975557\">\u003cem>telling People\u003c/em>\u003c/a>, “she catches all the memories and dreams, holds them in her hands and shows them to you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I see everything in her,” she added. “When I look at her, it’s like she’s my whole life from beginning to now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit NPR\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=There%27s+now+a+Stevie+Nicks-themed+Barbie.+And+wouldn%27t+you+love+to+love+her%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13935779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935779\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788.jpg\" alt=\"A woman on stage stands under an enormous screen depicting a doll clutching a tambourine. The doll is wearing a black dress and boots and has its arms raised upwards with long flowing black chiffon hanging down from them. The doll stands before a dramatic red curtain and has a guitar by its side.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stevie Nicks stands under an image of her new Barbie doll during a concert at New York City’s Madison Square Garden. \u003ccite>(Jamie McCarthy/ Getty Images for ABA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This Barbie is known for her bewitching voice and sense of style, particularly her love of shawls. She’s topped charts for decades, both as a band member and a solo artist. And she’s the first woman to have been inducted into the Rock & Roll Hall of fame twice.\u003c/p>\n\u003cp>Yep, she’s Stevie Nicks.\u003c/p>\n\u003cp>The Fleetwood Mac singer is the \u003ca href=\"https://www.billboard.com/music/music-news/tina-turner-barbie-where-to-buy-1235155679/\">latest icon\u003c/a> to have her likeness celebrated in doll form as part of Mattel’s Barbie series of famous musicians, along with Tina Turner, Gloria Estefan, David Bowie and Elvis Presley. It will be officially released in November.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mattel says it designed the doll in honor of Nicks’ 75th birthday, which was in May. It was inspired by her outfit on the cover of the 1977 album \u003cem>Rumours\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The doll has recognizable blond bangs and smoky eye shadow, wears a flowy-sleeved black dress, platform boots and moon-shaped pendant and holds a tambourine cascading with ribbons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nicks is known for her flared, fringed all-black ensembles, a look she’s been honing since the 1970s. She told \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/10/02/barbie-stevie-nicks-interview-fleetwood-mac-fashion-missing-christine-mcvie/70964361007/\">\u003cem>USA Today\u003c/em>\u003c/a> that after her first Fleetwood Mac tour she contacted a designer, Margi Kent, and drew her a stick figure wearing a handkerchief skirt and platform boots.\u003c/p>\n\u003cp>“I said to her, ‘Margi, I want to wear this when I’m 60 because I know I’ll be on stage when I’m 60,’ even though I’d been in Fleetwood Mac all of eight months, and she said, ‘OK,’ and I went back in a week and by the time we did \u003cem>Rumours\u003c/em> I had my beautiful black outfit,” Nicks recalled.\u003c/p>\n\u003cp>More than a dozen albums, tours and Grammy nominations later, that ever-iconic ensemble is now immortalized in Barbie form.\u003c/p>\n\u003cp>Nicks \u003ca href=\"https://x.com/StevieNicks/status/1708695303392555195?s=20\">said in a tweet \u003c/a>that she was overwhelmed when Mattel first approached her with the idea of a \u003cem>Rumours\u003c/em> Barbie: “Would she look like me? Would she have my spirit? Would she have my heart?” The final product, she said, absolutely does.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“When I look at her, I see my 27 year old self~ All the memories of walking out on a big stage in that black outfit and those gorgeous boots come rushing back~ and then I see myself now in her face,” Nicks wrote. “What we have been through since 1975~ the battles we have fought, the lessons we have learned~ together. I am her and she is me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nicks — who \u003ca href=\"https://variety.com/2023/music/news/stevie-nicks-2024-tour-dates-live-in-concert-1235734701/\">just extended\u003c/a> her current North America tour into next year — officially introduced \u003ca href=\"https://www.instagram.com/p/Cx4WrsvNC34/\">“Stevie Barbie”\u003c/a> on stage at New York’s Madison Square Garden on Sunday night.\u003c/p>\n\u003cp>“I hope you all love her as much as I do,” she said, holding up the figurine as the crowd cheered.\u003c/p>\n\u003cp>And it seems people do. The $55 doll sold out \u003ca href=\"https://creations.mattel.com/products/barbie-music-series-stevie-nicks-doll-hmv00\">on Mattel’s website\u003c/a> within hours of its preorder release on Monday, and quickly emerged on resale markets at \u003ca href=\"https://x.com/resellnews/status/1708906354813931763?s=20\">almost twice the price\u003c/a>.\u003c/p>\n\u003ch3>For Nicks, the ’70s-era doll represents a lifetime of memories\u003c/h3>\n\u003cfigure id=\"attachment_13935780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279.jpg\" alt=\"A young woman with shaggy blonde hair stands on stage, head turned to one side, waving her arms aloft, black chiffon material flowing down from her hands and wrists.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicks — in her signature black outfit and flowing sleeves — performs with Fleetwood Mac in May 1977. \u003ccite>(Michael Ochs Archives/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicks, a longtime \u003ca href=\"https://people.com/stevie-nicks-barbie-mattel-releases-doll-inspired-by-the-singer-7975557\">baby doll collector\u003c/a>, played an active role in designing her Barbie.\u003c/p>\n\u003cp>She \u003ca href=\"https://www.today.com/popculture/music/stevie-nicks-barbie-taylor-swift-retirement-plans-rcna117449\">told TODAY\u003c/a> that after Mattel contacted her in March, she sent them her original \u003cem>Rumours\u003c/em> dress, straight from the vault. Instead of the ballet shoes she wore on the cover, she sent them a pair of suede boots, but didn’t expect to see them on the doll because “that would be way too hard.”\u003c/p>\n\u003cp>“If you can copy these boots with a little, teeny tiny platform, you can get it,” she recalls telling the company.\u003c/p>\n\u003cp>When Mattel sent back the prototype a few months later, Nicks said, she couldn’t stop staring at the boots: “I was like, ‘Oh my God, these are real.’”\u003c/p>\n\u003cp>She did have a few suggestions, like making the doll’s teeth visible and eye shadow higher. The second version came back in June.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I opened her up and I went, ‘She’s just perfect,’ ” Nicks \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/10/02/barbie-stevie-nicks-interview-fleetwood-mac-fashion-missing-christine-mcvie/70964361007/\">told \u003cem>USA Today\u003c/em>\u003c/a>. “This little Barbie is so precious and they helped her have my soul. If nobody else in the world got her but me, I’d almost be OK with that.”\u003c/p>\n\u003cp>Nicks says the doll is meaningful because it’s not just a collectible, but a collection of all her life’s experiences.\u003c/p>\n\u003cp>She compared it to a dream catcher, \u003ca href=\"https://people.com/stevie-nicks-barbie-mattel-releases-doll-inspired-by-the-singer-7975557\">\u003cem>telling People\u003c/em>\u003c/a>, “she catches all the memories and dreams, holds them in her hands and shows them to you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I see everything in her,” she added. “When I look at her, it’s like she’s my whole life from beginning to now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit NPR\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=There%27s+now+a+Stevie+Nicks-themed+Barbie.+And+wouldn%27t+you+love+to+love+her%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé's Renaissance World Tour Is Over. But it’s Coming to Movie Theaters Soon",
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"content": "\u003cp>A documentary chronicling \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé’s just-concluded 39-city Renaissance World Tour\u003c/a> will premiere in North American theaters Dec. 1, AMC Theaters announced Monday.\u003c/p>\n\u003cp>[aside postid='arts_13934081']The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of five months, some 2.7 million concertgoers attended. The tour has grossed close to $500 million, according to Billboard.\u003c/p>\n\u003cp>[aside postid='arts_13934154']“It is about Beyoncé’s intention, hard work, involvement in every aspect of the production, her creative mind and purpose to create her legacy, and master her craft,” reads the film’s description.\u003c/p>\n\u003cp>Beyonce released a trailer on her Instagram account with the message: “Be careful what you ask for, ’cause I just might comply.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cx4pAjsuZjr/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At Portola, Little Simz and Nelly Furtado Show Who’s Boss",
"headTitle": "At Portola, Little Simz and Nelly Furtado Show Who’s Boss | KQED",
"content": "\u003cp>After a chaotic first year, Portola made a triumphant return to San Francisco’s Pier 80 — an austere, concrete landscape bookended by mechanical cranes and ships. The city’s largest cargo terminal doesn’t exactly scream musical festival, but it does say Bay Area industrial with its chest. Thousands flocked to the venue in repurposed Renaissance sequins and LED garments galore on Sept. 30 and Oct. 1 to brave Bay Area climate at her finest: too hot for layers at noon and tundra cold by dark.\u003c/p>\n\u003cp>Eric Prydz’ set on day one was less of a DJ set than it was an atmospheric experience. His electro-house beats were all-consuming even hundreds of rows back from the stage, while holograms of humanoids in hazmat gear surveilled the crowd like a cyberpunk nightmare.\u003c/p>\n\u003cp>An obvious gem of the entire two-day festival was British rapper Little Simz, who tore up the main stage on Sunday with her turbo-charged rhymes and commanding stage presence. She exuded the raw confidence of an artist well in her prime. “I bottle up and then spill it in verses / One day, I’m wordless, next day, I’m a wordsmith,” she rapped from her 2021 album \u003cem>Sometimes I Might Be Introvert\u003c/em>, and the crowd \u003cem>felt it\u003c/em>.\u003c/p>\n\u003cp>At the end of her set, Simz was as reluctant to go as the audience was. “Fuck it — if they cut us off, they cut us off,” she laughed, launching into an exhilarating bonus performance of “Woman.” (A highlight within the highlight were her ASL interpreters, who were busting moves as much as they were keeping up with her rapid fire verses.)\u003c/p>\n\u003cfigure id=\"attachment_13935673\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935673\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Simz performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to form, Thundercat delivered silky, six-string bass guitar solos — and meowed a lot. Rina Sawayama brought theatrical realness with three outfit changes and dramatic vocals. In the indoor scene, Kenny Beats, 2manydjs and Flying Lotus curated excellent warehouse parties. Kenny Beats’ expert mixing of Bay Area hits like “Got 5 on It” and “Tell Me When to Go” was frankly stunning.\u003c/p>\n\u003cp>FKJ, Nelly Furtado and Polo and Pan had spectacular back-to-back sets. The crowd pressed up to the stage as Furtado made an emotional comeback performance. “Thank you so much,” she said tearfully as the crowd sang along to “I’m Like A Bird,” a 2000 hit that still has the staying power to heal our collective inner child.\u003c/p>\n\u003cfigure id=\"attachment_13935630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nelly Furtado performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Furtado brought a syrupy nostalgia for the aughts era of Juicy velour and lowrise cargo pants, then Polo and Pan brought something more timeless and even subatomic. Kinetic orbs and pulsing triangles frolicked onscreen as the duo performed effervescent songs like “Feel Good,” which had the whole crowd astral projecting onto a plane better than this one. [aside postid='arts_13935114']\u003c/p>\n\u003cp>And while Skrillex delivered a relentless yet unremarkable 90 minutes of EDM, the real supernova of Portola’s climax was Tokischa, emphasis on the climax. The Dominican rapper threw down a volcanic performance that had both fans and backup dancers literally tearing off their clothes. Even the stragglers on the outskirts of the crowd were dancing and putting their whole backs into it to songs like “Perra” and “La Combi Versace.” Nothing was lowkey about the event — and Portola was better for it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13935686\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola festival on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935689\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thundercat performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935684\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Skrillex headlines Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935680\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935680\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Sawayama performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935678\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935678\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Sawayama performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Masego performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935668\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Dragon performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Dragon performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935666\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Labrinth performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935660\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janellelise Ondevilla (left) and partner Michae McEuen wear matching light up outfits to Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935657\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935657\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festivalgoers cheer from the front row of the Pier Stage as Skrillex headlines Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans dance at the Ship Tent as Kenny Beats performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935655\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935655\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans cheer for Kenny Beats from the front row of the Ship Tent on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935653\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eric Prydz performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935652\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eric Prydz performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935651\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935651\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Polo and Pan perform at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935650\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Polo and Pan perform at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935649\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Polo and Pan perform at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935647\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935646\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Portola attendees dance as Nelly Furtado performs on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Portola attendees dance as Polo and Pan perform on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935628\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935628\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">FKJ performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935627\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">FKJ performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935626\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935626\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chromeo performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n",
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"excerpt": "The electronic music festival found its groove during its second year at San Francisco's Pier 80. ",
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"description": "The electronic music festival found its groove during its second year at San Francisco's Pier 80. ",
"title": "At Portola, Little Simz and Nelly Furtado Show Who’s Boss | KQED",
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"headline": "At Portola, Little Simz and Nelly Furtado Show Who’s Boss",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a chaotic first year, Portola made a triumphant return to San Francisco’s Pier 80 — an austere, concrete landscape bookended by mechanical cranes and ships. The city’s largest cargo terminal doesn’t exactly scream musical festival, but it does say Bay Area industrial with its chest. Thousands flocked to the venue in repurposed Renaissance sequins and LED garments galore on Sept. 30 and Oct. 1 to brave Bay Area climate at her finest: too hot for layers at noon and tundra cold by dark.\u003c/p>\n\u003cp>Eric Prydz’ set on day one was less of a DJ set than it was an atmospheric experience. His electro-house beats were all-consuming even hundreds of rows back from the stage, while holograms of humanoids in hazmat gear surveilled the crowd like a cyberpunk nightmare.\u003c/p>\n\u003cp>An obvious gem of the entire two-day festival was British rapper Little Simz, who tore up the main stage on Sunday with her turbo-charged rhymes and commanding stage presence. She exuded the raw confidence of an artist well in her prime. “I bottle up and then spill it in verses / One day, I’m wordless, next day, I’m a wordsmith,” she rapped from her 2021 album \u003cem>Sometimes I Might Be Introvert\u003c/em>, and the crowd \u003cem>felt it\u003c/em>.\u003c/p>\n\u003cp>At the end of her set, Simz was as reluctant to go as the audience was. “Fuck it — if they cut us off, they cut us off,” she laughed, launching into an exhilarating bonus performance of “Woman.” (A highlight within the highlight were her ASL interpreters, who were busting moves as much as they were keeping up with her rapid fire verses.)\u003c/p>\n\u003cfigure id=\"attachment_13935673\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935673\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Simz-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Simz performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to form, Thundercat delivered silky, six-string bass guitar solos — and meowed a lot. Rina Sawayama brought theatrical realness with three outfit changes and dramatic vocals. In the indoor scene, Kenny Beats, 2manydjs and Flying Lotus curated excellent warehouse parties. Kenny Beats’ expert mixing of Bay Area hits like “Got 5 on It” and “Tell Me When to Go” was frankly stunning.\u003c/p>\n\u003cp>FKJ, Nelly Furtado and Polo and Pan had spectacular back-to-back sets. The crowd pressed up to the stage as Furtado made an emotional comeback performance. “Thank you so much,” she said tearfully as the crowd sang along to “I’m Like A Bird,” a 2000 hit that still has the staying power to heal our collective inner child.\u003c/p>\n\u003cfigure id=\"attachment_13935630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Nelly-Furtado-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nelly Furtado performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Furtado brought a syrupy nostalgia for the aughts era of Juicy velour and lowrise cargo pants, then Polo and Pan brought something more timeless and even subatomic. Kinetic orbs and pulsing triangles frolicked onscreen as the duo performed effervescent songs like “Feel Good,” which had the whole crowd astral projecting onto a plane better than this one. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while Skrillex delivered a relentless yet unremarkable 90 minutes of EDM, the real supernova of Portola’s climax was Tokischa, emphasis on the climax. The Dominican rapper threw down a volcanic performance that had both fans and backup dancers literally tearing off their clothes. Even the stragglers on the outskirts of the crowd were dancing and putting their whole backs into it to songs like “Perra” and “La Combi Versace.” Nothing was lowkey about the event — and Portola was better for it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13935686\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/The-crowd-at-Portola-festival-on-Sunday-Oct.-1-2023.-Estefany-GonzalezCR2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola festival on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935689\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Thundercat-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thundercat performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935684\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-8-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Skrillex headlines Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935680\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935680\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Sawayama performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935678\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935678\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Rina-Sawayama-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-4-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rina Sawayama performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935676\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Masego-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Masego performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935668\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Dragon performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Little-Dragon-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-3-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Dragon performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935666\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Labrinth-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-7-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Labrinth performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935660\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Janellelise-Ondevilla-left-and-partner-Michae-McEuen-wear-matching-light-up-outfits-to-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janellelise Ondevilla (left) and partner Michae McEuen wear matching light up outfits to Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935657\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935657\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Festivalgoers-cheer-from-the-front-row-of-the-Pier-Stage-as-Skrillex-headlines-Portola-on-Sunday-Oct.-1-2023.-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festivalgoers cheer from the front row of the Pier Stage as Skrillex headlines Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935656\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-dance-at-the-Ship-Tent-as-Kenny-Beats-performs-at-Portola-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans dance at the Ship Tent as Kenny Beats performs at Portola on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935655\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935655\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fans-cheer-for-Kenny-Beats-from-the-front-row-of-the-Ship-Tent-on-Sunday-Oct.-1-2023.-Estefany-Gonzalez-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fans cheer for Kenny Beats from the front row of the Ship Tent on Sunday, Oct. 1, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935653\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eric Prydz performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935652\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Eric-Prydz-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eric Prydz performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935651\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935651\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Polo and Pan perform at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935650\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Polo and Pan perform at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935649\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Polo-and-Pan-perform-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Polo and Pan perform at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935647\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Flying-Lotus-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935646\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-Dance-as-Nelly-Furtado-performs-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Portola attendees dance as Nelly Furtado performs on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Portola-attendees-dance-as-Polo-and-Pan-perform-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Portola attendees dance as Polo and Pan perform on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935628\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935628\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-3-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">FKJ performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935627\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/FKJ-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">FKJ performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13935626\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935626\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Chromeo-performs-at-Portola-on-Saturday-Sept.-30-2023.-Estefany-Gonzalez-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chromeo performs at Portola on Saturday, Sept. 30, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "The Taylor Swift-Travis Kelce Relationship News is a Gift to the NFL",
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"content": "\u003cp>The NFL didn’t need a popularity boost before Travis Kelce became enchanted with Taylor Swift.\u003c/p>\n\u003cp>They’ll gladly welcome millions of Swifties to watch this love story unfold.\u003c/p>\n\u003cp>[aside postid='arts_13931892']The biggest news that came out of Week 3 wasn’t Tua Tagovailoa and the Miami Dolphins lighting up the scoreboard against Denver with only the fourth 70-point performance in NFL history.\u003c/p>\n\u003cp>It wasn’t Arizona shocking Dallas, Houston upsetting Jacksonville or Matt Gay kicking four 50-yard field goals to help Indianapolis knock off Baltimore.\u003c/p>\n\u003cp>Instead, Swift stole the headlines by simply showing up at Arrowhead Stadium to watch Kelce and the defending Super Bowl champion Kansas City Chiefs destroy the woeful Chicago Bears. The pop star joined Donna Kelce in a suite and mesmerized the world with her high-fiving, glass-pounding, chest-bumping enthusiasm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Swift then left the stadium with Kelce and accompanied the four-time All-Pro tight end to an after-party with his teammates.\u003c/p>\n\u003cp>Two-time Super Bowl MVP Patrick Mahomes was impressed.\u003c/p>\n\u003cp>“She was really cool. Good people,” Mahomes said.\u003c/p>\n\u003cp>Andy Reid joked that he played matchmaker.\u003c/p>\n\u003cp>“I set them up. She’s tremendous at everything she does. I haven’t got to meet her, but if she ends up with Travis, I’ll probably get to meet her,” Reid said.\u003c/p>\n\u003cp>Even Bill Belichick shared his thoughts on America’s newest power couple.\u003c/p>\n\u003cp>“Well, I would say that Travis Kelce’s had a lot of big catches in his career. This would be the biggest,” Belichick said in a radio interview on WEEI in Boston.\u003c/p>\n\u003cp>There’s no shaking off the Swift-Kelce buzz if the NFL’s grumpiest coach is dropping lines about their possible relationship.\u003c/p>\n\u003cp>Everything really has changed.\u003c/p>\n\u003cp>[aside postid='arts_13926435']Kelce’s No. 87 jersey sales skyrocketed this week, spiking 400%. Television ratings for the Bears-Chiefs game soared despite the lopsided score. A total of 24.3 million viewers tuned in, making it the second-most watched game this season.\u003c/p>\n\u003cp>Dallas Mavericks owner Mark Cuban took notice.\u003c/p>\n\u003cp>“Like literally, she impacts economies when she brings her tour to a city,” Cuban said on ESPN’s First Take. “She is literally the most popular artist on the planet right now, not even close. So what I’m going to tell ya, Taylor, if you are listening, sorry Travis, break up with him. I got a bunch of good looking, single guys that play for the Dallas Mavericks. I gotchu, I gotchu.”\u003c/p>\n\u003cp>Kelce responded on X, formerly known as Twitter, telling Cuban to sign him to a 10-day contract.\u003c/p>\n\u003cp>Kelce, who joked about paparazzi staking out his house, has had plenty of fun in the spotlight but he plans to keep things quiet going forward.\u003c/p>\n\u003cp>“What’s real is that it is my personal life. I want to respect both of our lives,” he told his brother, Eagles All-Pro center Jason Kelce, on the \u003cem>New Heights with Jason and Travis Kelce\u003c/em> podcast.\u003c/p>\n\u003cp>But, two is better than one. So, Swift is reportedly heading to MetLife Stadium to see Kelce and the Chiefs take on the Aaron Rodgers-less New York Jets on Sunday Night Football.\u003c/p>\n\u003cp>[aside postid='arts_13873945']That’s another big win for the NFL since it’ll be difficult for the Jets to keep up with the high-flying Chiefs if Zach Wilson is still their quarterback. He should be since the team only signed Trevor Siemian this week. If the score gets out of control, expect the Swifties to stick with the NBC broadcast to see when the television cameras pan to the 12-time Grammy Award winner.\u003c/p>\n\u003cp>Betting sites are offering odds on how much face time Swift gets during the game, what color she will wear, which broadcaster says her name first, who she’ll sit with and much more.\u003c/p>\n\u003cp>Nobody reaps the benefit of this relationship more than the NFL, which already was doing just fine before Swift crashed the stadium and brought her 367 million followers on Instagram and X to the party.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The attention exceeds even the league’s wildest dreams.\u003c/p>\n\n",
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"excerpt": "The second-most watched game this season was one between the Chicago Bears and Kansas City Chiefs. Why? Taylor Swift.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The NFL didn’t need a popularity boost before Travis Kelce became enchanted with Taylor Swift.\u003c/p>\n\u003cp>They’ll gladly welcome millions of Swifties to watch this love story unfold.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The biggest news that came out of Week 3 wasn’t Tua Tagovailoa and the Miami Dolphins lighting up the scoreboard against Denver with only the fourth 70-point performance in NFL history.\u003c/p>\n\u003cp>It wasn’t Arizona shocking Dallas, Houston upsetting Jacksonville or Matt Gay kicking four 50-yard field goals to help Indianapolis knock off Baltimore.\u003c/p>\n\u003cp>Instead, Swift stole the headlines by simply showing up at Arrowhead Stadium to watch Kelce and the defending Super Bowl champion Kansas City Chiefs destroy the woeful Chicago Bears. The pop star joined Donna Kelce in a suite and mesmerized the world with her high-fiving, glass-pounding, chest-bumping enthusiasm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swift then left the stadium with Kelce and accompanied the four-time All-Pro tight end to an after-party with his teammates.\u003c/p>\n\u003cp>Two-time Super Bowl MVP Patrick Mahomes was impressed.\u003c/p>\n\u003cp>“She was really cool. Good people,” Mahomes said.\u003c/p>\n\u003cp>Andy Reid joked that he played matchmaker.\u003c/p>\n\u003cp>“I set them up. She’s tremendous at everything she does. I haven’t got to meet her, but if she ends up with Travis, I’ll probably get to meet her,” Reid said.\u003c/p>\n\u003cp>Even Bill Belichick shared his thoughts on America’s newest power couple.\u003c/p>\n\u003cp>“Well, I would say that Travis Kelce’s had a lot of big catches in his career. This would be the biggest,” Belichick said in a radio interview on WEEI in Boston.\u003c/p>\n\u003cp>There’s no shaking off the Swift-Kelce buzz if the NFL’s grumpiest coach is dropping lines about their possible relationship.\u003c/p>\n\u003cp>Everything really has changed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kelce’s No. 87 jersey sales skyrocketed this week, spiking 400%. Television ratings for the Bears-Chiefs game soared despite the lopsided score. A total of 24.3 million viewers tuned in, making it the second-most watched game this season.\u003c/p>\n\u003cp>Dallas Mavericks owner Mark Cuban took notice.\u003c/p>\n\u003cp>“Like literally, she impacts economies when she brings her tour to a city,” Cuban said on ESPN’s First Take. “She is literally the most popular artist on the planet right now, not even close. So what I’m going to tell ya, Taylor, if you are listening, sorry Travis, break up with him. I got a bunch of good looking, single guys that play for the Dallas Mavericks. I gotchu, I gotchu.”\u003c/p>\n\u003cp>Kelce responded on X, formerly known as Twitter, telling Cuban to sign him to a 10-day contract.\u003c/p>\n\u003cp>Kelce, who joked about paparazzi staking out his house, has had plenty of fun in the spotlight but he plans to keep things quiet going forward.\u003c/p>\n\u003cp>“What’s real is that it is my personal life. I want to respect both of our lives,” he told his brother, Eagles All-Pro center Jason Kelce, on the \u003cem>New Heights with Jason and Travis Kelce\u003c/em> podcast.\u003c/p>\n\u003cp>But, two is better than one. So, Swift is reportedly heading to MetLife Stadium to see Kelce and the Chiefs take on the Aaron Rodgers-less New York Jets on Sunday Night Football.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s another big win for the NFL since it’ll be difficult for the Jets to keep up with the high-flying Chiefs if Zach Wilson is still their quarterback. He should be since the team only signed Trevor Siemian this week. If the score gets out of control, expect the Swifties to stick with the NBC broadcast to see when the television cameras pan to the 12-time Grammy Award winner.\u003c/p>\n\u003cp>Betting sites are offering odds on how much face time Swift gets during the game, what color she will wear, which broadcaster says her name first, who she’ll sit with and much more.\u003c/p>\n\u003cp>Nobody reaps the benefit of this relationship more than the NFL, which already was doing just fine before Swift crashed the stadium and brought her 367 million followers on Instagram and X to the party.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The attention exceeds even the league’s wildest dreams.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How San Francisco Punk Reacted to Dianne Feinstein in the 1970s",
"headTitle": "How San Francisco Punk Reacted to Dianne Feinstein in the 1970s | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article was originally published in 2018.\u003c/em>\u003c/p>\n\u003cp>In the fall of 1978, the San Francisco punk scene was thriving. Shows occurred at least once a week at the Mabuhay Gardens, a Filipino supper club in North Beach, and satellite venues such as the Deaf Club and 330 Grove opened and closed amid police harassment in other parts of the city.\u003c/p>\n\u003cp>But there was something different about San Francisco’s strain of punk. According to historian Michael Stewart Foley, San Francisco boasted the most politically active punk scene in the country. Bands such as The Dils parsed tax policy in underground rags like \u003cem>Search & Destroy\u003c/em>, Crime satirized authority in cop drag, and groups including the Avengers and Mutants rallied to support striking coal miners in Kentucky. \u003c/p>\n\u003cp>A new group called the Dead Kennedys courted controversy by booking a show on the November anniversary of their namesake’s assassination, provoking the ire of \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen. But then fresh tragedies seized the headlines: a mass murder-suicide on Nov. 18 in Guyana, killing more than 900 followers of onetime San Francisco political darling Jim Jones, followed nine days later by Dan White’s slaying of his former Board of Supervisors colleague Harvey Milk and San Francisco Mayor George Moscone on Nov. 27. \u003c/p>\n\u003cfigure id=\"attachment_13845665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg\" alt=\"At left, the front page of the San Francisco Examiner after the "White Night" riots followed Dan White's voluntary manslaughter verdict; at right, the cover of the Dead Kennedys' 'Fresh Fruit for Rotting Vegetables.'.\" width=\"800\" height=\"349\" class=\"size-medium wp-image-13845665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-768x335.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1020x445.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1200x523.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage.jpg 1850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, the front page of the San Francisco Examiner after the “White Night” riots followed Dan White’s voluntary manslaughter verdict; at right, the cover of the Dead Kennedys’ ‘Fresh Fruit for Rotting Vegetables.’. \u003ccite>(SFPOA/Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaths of progressive Moscone and gay rights icon Milk created the political landscape lambasted on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, the Dead Kennedys’ debut album and arguably the city’s first punk full-length. Dianne Feinstein succeeded Moscone as mayor, inaugurating a developer- and police-friendly administration. White, a scion of old San Francisco and former cop, was sentenced to seven years in prison. He served five. “I fought the law,” sang Dead Kennedys bandleader Jello Biafra, “and \u003cem>I won\u003c/em>.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Foley’s book on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, \u003ca href=\"https://www.bloomsbury.com/us/dead-kennedys-fresh-fruit-for-rotting-vegetables-9781623567309/\">published\u003c/a> in 2015 as part of the 33 1/3 series, \u003ca href=\"https://www.eastbayexpress.com/oakland/dead-kennedys-and-the-season-of-the-witch/Content?oid=4330654\">contextualizes\u003c/a> the Dead Kennedys’ landmark album in this dark, tumultuous period.\u003c/p>\n\u003cp>Foley, a scholar and researcher who’s published books on draft resistance and student activism, is currently working on a broader history of 1970s San Francisco punk. Below, in an interview edited for length and clarity, he discusses the effects of the deaths and trial on the scene. \u003c/p>\n\u003cfigure id=\"attachment_13845664\" class=\"wp-caption aligncenter\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg\" alt=\"A flyer for a 'Nix on 6' benefit at Mabuhay Gardens.\" width=\"711\" height=\"445\" class=\"size-full wp-image-13845664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer-160x100.jpg 160w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a ‘Nix on 6’ benefit at Mabuhay Gardens.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How were Harvey Milk and George Moscone connected to the city’s punk scene? \u003c/strong>\u003c/p>\n\u003cp>Many of the punks from that time have nice things to say about Moscone. They remember his daughter, Jennifer, coming to shows at the Mabuhay. And Milk did go to the Mabuhay for a benefit for the No On 6 campaign, the anti-Briggs Initiative. [The failed proposition would’ve banned gays and lesbians from working in public schools.] It was headlined by Crime, and Milk was the MC. We know he appreciated punk’s political engagement with the Briggs Initiative.\u003c/p>\n\u003cp>\u003cstrong>How much overlap was there between the city’s punk and LGBTQ cultures?\u003c/strong>\u003c/p>\n\u003cp>There’s incredible overlap, but it’s complex. You had gay punks who lived in the Castro or spent time at the clubs there, and some knew Harvey Milk. When [415 Records cofounder] Howie Klein moved to San Francisco, Milk loaned him a camera and gave him free darkroom time. But there was also a younger LGBTQ community that didn’t feel so welcome in the Castro. Some of them, gay men I’ve spoken to, refer to the Castro clones, who were kind of upwardly mobile or more respectable. So there’s tension, but people move between the disco and punk scenes, too.\u003c/p>\n\u003cfigure id=\"attachment_13845668\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg\" alt=\"San Francisco punk band Crime, who often performed in police uniforms.\" width=\"621\" height=\"389\" class=\"size-full wp-image-13845668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits-160x100.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco punk band Crime, who often performed in police uniforms. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Moscone’s murder leads to Dianne Feinstein becoming the mayor of San Francisco. After she assumed power, how did the police department’s approach to the punk scene change?\u003c/strong>\u003c/p>\n\u003cp>In the memories of nearly all the punks that I’ve spoken to, there’s an almost immediate change in the police’s handling of crowds outside of the Mabuhay. They’re rolling up, harassing people, arresting people. There’s a kind of raid on the club, in which even Ness Aquino, the owner, is arrested. That’s a week or so after Feinstein takes office. \u003c/p>\n\u003cp>\u003cstrong>And then she’s blamed for the police preemptively shutting down an Avengers show, right?\u003c/strong>\u003c/p>\n\u003cp>Right. The Avengers and the Mutants were going to do a show at the Art Institute in February of ’79, and \u003ca href=\"http://www.sfmutants.com/800chestnut.html\">the show posters used bondage imagery and partially naked women\u003c/a>. Feinstein’s papers aren’t open for research, so I still have questions, but the word was that she took offense. The posters were all over North Beach, and maybe up closer to her home in Pacific Heights. \u003c/p>\n\u003cp>So the police padlocked the venue the night of the show. Eventually there was a makeup show, with alternate versions of the poster criticizing Feinstein for censorship. There was a definite sense by that point that as part of cleaning up San Francisco, she had it in for the punks. \u003c/p>\n\u003cfigure id=\"attachment_13845666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg\" alt=\"Part of the insert booklet for 'Fresh Fruit for Rotting Vegetables,' with extensive criticism of the Dan White verdict.\" width=\"800\" height=\"517\" class=\"size-medium wp-image-13845666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the insert booklet for ‘Fresh Fruit for Rotting Vegetables,’ with extensive criticism of the Dan White verdict. \u003ccite>(Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Fresh Fruit for Rotting Vegetables\u003c/em> is arguably the San Francisco punk scene’s first full-length statement, and Feinstein is sort of the album’s antagonist, right?\u003c/strong>\u003c/p>\n\u003cp>She’s certainly the antagonist. She’s the target in “Let’s Lynch the Landlord.” The song could’ve been called “Let’s Lynch the Mayor.” They felt contempt for her as a landlord mayor, married to a real-estate developer, and as a mayor friendly to the police. Jerry Brown is also present on the album, in “California Über Alles.” There’s a consistent thread of criticizing liberals on the record. \u003c/p>\n\u003cp>\u003cem>Watch news coverage of Jello Biafra’s 1979 campaign to unseat Dianne Feinstein as Mayor of San Francisco:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jvjpoy0q66w\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>We’re also talking about the wake of Jonestown, this tragedy overseen by someone who was closely tied to the city’s political establishment. Do you think Jonestown connects to the punk scene’s disenchantment with the city’s more traditional sort of progressivism? \u003c/strong>\u003c/p>\n\u003cp>It’s a good question. I only get vague answers about the scene’s interaction with Jim Jones or the Peoples Temple, although it was next door to Temple Beautiful, which had a lot of punk shows. To them, Jonestown was at least confirmation of certain pathologies in American society, but not something they associated necessarily with a liberal political regime. \u003c/p>\n\u003cp>\u003cstrong>How does \u003cem>Fresh Fruit\u003c/em>’s cover reference Dan White?\u003c/strong>\u003c/p>\n\u003cp>The verdict in his trial began the White Night riots. Punks participated. A couple people have told me they were among the first to throw bricks through the windows of City Hall. They were definitely among the first to set police cars on fire, which show up in these iconic \u003cem>Examiner\u003c/em> photos and then on the cover of \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>. Paired with the font of the band’s name, it has this kind of Kristallnacht look, which was a deliberate provocation. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D9lmj8fO64k\u003c/p>\n\u003cp>\u003cstrong>Did other local bands address the killings? \u003c/strong>\u003c/p>\n\u003cp>Yeah. There were benefits for punks arrested during the riots. Tuxedomoon is a good example. Steven Brown from Tuxedomoon was a fiercely political guy and also gay. He had moved to San Francisco from Chicago, where he was involved in a lot of student activism. When the White trial was taking place, they did these performances of ‘19th Nervous Breakdown’ where they read testimony from the newspapers. They also did ‘(Special Treatment for the) Family Man.’ Like the Dead Kennedys version of ‘I Fought the Law,’ it was specifically about Dan White. \u003c/p>\n\u003cp>Another Tuxedomoon song, which has never been released, was called, ‘Dianne, Your Slip is Showing.’ It basically suggests what a lot of punks have relayed to me over the years: that the killings seemed like an orchestrated conspiracy. Most of them consider White killing Moscone and Milk, the verdict, and Feinstein’s rise a win for cops and landlords, if not a right-wing coup.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article was originally published in 2018.\u003c/em>\u003c/p>\n\u003cp>In the fall of 1978, the San Francisco punk scene was thriving. Shows occurred at least once a week at the Mabuhay Gardens, a Filipino supper club in North Beach, and satellite venues such as the Deaf Club and 330 Grove opened and closed amid police harassment in other parts of the city.\u003c/p>\n\u003cp>But there was something different about San Francisco’s strain of punk. According to historian Michael Stewart Foley, San Francisco boasted the most politically active punk scene in the country. Bands such as The Dils parsed tax policy in underground rags like \u003cem>Search & Destroy\u003c/em>, Crime satirized authority in cop drag, and groups including the Avengers and Mutants rallied to support striking coal miners in Kentucky. \u003c/p>\n\u003cp>A new group called the Dead Kennedys courted controversy by booking a show on the November anniversary of their namesake’s assassination, provoking the ire of \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen. But then fresh tragedies seized the headlines: a mass murder-suicide on Nov. 18 in Guyana, killing more than 900 followers of onetime San Francisco political darling Jim Jones, followed nine days later by Dan White’s slaying of his former Board of Supervisors colleague Harvey Milk and San Francisco Mayor George Moscone on Nov. 27. \u003c/p>\n\u003cfigure id=\"attachment_13845665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg\" alt=\"At left, the front page of the San Francisco Examiner after the "White Night" riots followed Dan White's voluntary manslaughter verdict; at right, the cover of the Dead Kennedys' 'Fresh Fruit for Rotting Vegetables.'.\" width=\"800\" height=\"349\" class=\"size-medium wp-image-13845665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-768x335.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1020x445.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1200x523.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage.jpg 1850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, the front page of the San Francisco Examiner after the “White Night” riots followed Dan White’s voluntary manslaughter verdict; at right, the cover of the Dead Kennedys’ ‘Fresh Fruit for Rotting Vegetables.’. \u003ccite>(SFPOA/Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaths of progressive Moscone and gay rights icon Milk created the political landscape lambasted on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, the Dead Kennedys’ debut album and arguably the city’s first punk full-length. Dianne Feinstein succeeded Moscone as mayor, inaugurating a developer- and police-friendly administration. White, a scion of old San Francisco and former cop, was sentenced to seven years in prison. He served five. “I fought the law,” sang Dead Kennedys bandleader Jello Biafra, “and \u003cem>I won\u003c/em>.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Foley’s book on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, \u003ca href=\"https://www.bloomsbury.com/us/dead-kennedys-fresh-fruit-for-rotting-vegetables-9781623567309/\">published\u003c/a> in 2015 as part of the 33 1/3 series, \u003ca href=\"https://www.eastbayexpress.com/oakland/dead-kennedys-and-the-season-of-the-witch/Content?oid=4330654\">contextualizes\u003c/a> the Dead Kennedys’ landmark album in this dark, tumultuous period.\u003c/p>\n\u003cp>Foley, a scholar and researcher who’s published books on draft resistance and student activism, is currently working on a broader history of 1970s San Francisco punk. Below, in an interview edited for length and clarity, he discusses the effects of the deaths and trial on the scene. \u003c/p>\n\u003cfigure id=\"attachment_13845664\" class=\"wp-caption aligncenter\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg\" alt=\"A flyer for a 'Nix on 6' benefit at Mabuhay Gardens.\" width=\"711\" height=\"445\" class=\"size-full wp-image-13845664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer-160x100.jpg 160w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a ‘Nix on 6’ benefit at Mabuhay Gardens.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How were Harvey Milk and George Moscone connected to the city’s punk scene? \u003c/strong>\u003c/p>\n\u003cp>Many of the punks from that time have nice things to say about Moscone. They remember his daughter, Jennifer, coming to shows at the Mabuhay. And Milk did go to the Mabuhay for a benefit for the No On 6 campaign, the anti-Briggs Initiative. [The failed proposition would’ve banned gays and lesbians from working in public schools.] It was headlined by Crime, and Milk was the MC. We know he appreciated punk’s political engagement with the Briggs Initiative.\u003c/p>\n\u003cp>\u003cstrong>How much overlap was there between the city’s punk and LGBTQ cultures?\u003c/strong>\u003c/p>\n\u003cp>There’s incredible overlap, but it’s complex. You had gay punks who lived in the Castro or spent time at the clubs there, and some knew Harvey Milk. When [415 Records cofounder] Howie Klein moved to San Francisco, Milk loaned him a camera and gave him free darkroom time. But there was also a younger LGBTQ community that didn’t feel so welcome in the Castro. Some of them, gay men I’ve spoken to, refer to the Castro clones, who were kind of upwardly mobile or more respectable. So there’s tension, but people move between the disco and punk scenes, too.\u003c/p>\n\u003cfigure id=\"attachment_13845668\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg\" alt=\"San Francisco punk band Crime, who often performed in police uniforms.\" width=\"621\" height=\"389\" class=\"size-full wp-image-13845668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits-160x100.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco punk band Crime, who often performed in police uniforms. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Moscone’s murder leads to Dianne Feinstein becoming the mayor of San Francisco. After she assumed power, how did the police department’s approach to the punk scene change?\u003c/strong>\u003c/p>\n\u003cp>In the memories of nearly all the punks that I’ve spoken to, there’s an almost immediate change in the police’s handling of crowds outside of the Mabuhay. They’re rolling up, harassing people, arresting people. There’s a kind of raid on the club, in which even Ness Aquino, the owner, is arrested. That’s a week or so after Feinstein takes office. \u003c/p>\n\u003cp>\u003cstrong>And then she’s blamed for the police preemptively shutting down an Avengers show, right?\u003c/strong>\u003c/p>\n\u003cp>Right. The Avengers and the Mutants were going to do a show at the Art Institute in February of ’79, and \u003ca href=\"http://www.sfmutants.com/800chestnut.html\">the show posters used bondage imagery and partially naked women\u003c/a>. Feinstein’s papers aren’t open for research, so I still have questions, but the word was that she took offense. The posters were all over North Beach, and maybe up closer to her home in Pacific Heights. \u003c/p>\n\u003cp>So the police padlocked the venue the night of the show. Eventually there was a makeup show, with alternate versions of the poster criticizing Feinstein for censorship. There was a definite sense by that point that as part of cleaning up San Francisco, she had it in for the punks. \u003c/p>\n\u003cfigure id=\"attachment_13845666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg\" alt=\"Part of the insert booklet for 'Fresh Fruit for Rotting Vegetables,' with extensive criticism of the Dan White verdict.\" width=\"800\" height=\"517\" class=\"size-medium wp-image-13845666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the insert booklet for ‘Fresh Fruit for Rotting Vegetables,’ with extensive criticism of the Dan White verdict. \u003ccite>(Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Fresh Fruit for Rotting Vegetables\u003c/em> is arguably the San Francisco punk scene’s first full-length statement, and Feinstein is sort of the album’s antagonist, right?\u003c/strong>\u003c/p>\n\u003cp>She’s certainly the antagonist. She’s the target in “Let’s Lynch the Landlord.” The song could’ve been called “Let’s Lynch the Mayor.” They felt contempt for her as a landlord mayor, married to a real-estate developer, and as a mayor friendly to the police. Jerry Brown is also present on the album, in “California Über Alles.” There’s a consistent thread of criticizing liberals on the record. \u003c/p>\n\u003cp>\u003cem>Watch news coverage of Jello Biafra’s 1979 campaign to unseat Dianne Feinstein as Mayor of San Francisco:\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jvjpoy0q66w'\n title='//www.youtube.com/embed/jvjpoy0q66w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>We’re also talking about the wake of Jonestown, this tragedy overseen by someone who was closely tied to the city’s political establishment. Do you think Jonestown connects to the punk scene’s disenchantment with the city’s more traditional sort of progressivism? \u003c/strong>\u003c/p>\n\u003cp>It’s a good question. I only get vague answers about the scene’s interaction with Jim Jones or the Peoples Temple, although it was next door to Temple Beautiful, which had a lot of punk shows. To them, Jonestown was at least confirmation of certain pathologies in American society, but not something they associated necessarily with a liberal political regime. \u003c/p>\n\u003cp>\u003cstrong>How does \u003cem>Fresh Fruit\u003c/em>’s cover reference Dan White?\u003c/strong>\u003c/p>\n\u003cp>The verdict in his trial began the White Night riots. Punks participated. A couple people have told me they were among the first to throw bricks through the windows of City Hall. They were definitely among the first to set police cars on fire, which show up in these iconic \u003cem>Examiner\u003c/em> photos and then on the cover of \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>. Paired with the font of the band’s name, it has this kind of Kristallnacht look, which was a deliberate provocation. \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/D9lmj8fO64k'\n title='//www.youtube.com/embed/D9lmj8fO64k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Did other local bands address the killings? \u003c/strong>\u003c/p>\n\u003cp>Yeah. There were benefits for punks arrested during the riots. Tuxedomoon is a good example. Steven Brown from Tuxedomoon was a fiercely political guy and also gay. He had moved to San Francisco from Chicago, where he was involved in a lot of student activism. When the White trial was taking place, they did these performances of ‘19th Nervous Breakdown’ where they read testimony from the newspapers. They also did ‘(Special Treatment for the) Family Man.’ Like the Dead Kennedys version of ‘I Fought the Law,’ it was specifically about Dan White. \u003c/p>\n\u003cp>Another Tuxedomoon song, which has never been released, was called, ‘Dianne, Your Slip is Showing.’ It basically suggests what a lot of punks have relayed to me over the years: that the killings seemed like an orchestrated conspiracy. Most of them consider White killing Moscone and Milk, the verdict, and Feinstein’s rise a win for cops and landlords, if not a right-wing coup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Too Short, Sway Calloway and Chuy Gomez Host EMPIRE’s Hip-Hop 50 Celebration",
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"content": "\u003cp>San Francisco record label \u003ca href=\"https://empi.re/\">EMPIRE\u003c/a> has a track record of championing homegrown talent while also \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2012-empire-brought-the-music-industry-back-to-san-francisco\">connecting Bay Area artists\u003c/a> to bigger opportunities on the national, and even international, stage. So its no surprise that the label is putting on its own celebration of 50 years of hip-hop culture. The party will take place on \u003ca href=\"https://www.seetickets.us/event/empire-salutes-50-years-of-hip-hop/569634\">Oct. 15 at SVN West in San Francisco\u003c/a>, hosted by Too Short and legendary radio personalities Chuy Gomez and Sway Calloway. [aside label='More Hip-Hop 50 Coverage' postid='arts_13934715,arts_13933590']\u003c/p>\n\u003cp>Too Short began his career in the early ’80s, putting out custom homemade tapes, and by the end of the decade he ascended to national stardom with lyrics about Oakland street life and \u003ca href=\"https://www.kqed.org/whatspimpin\">pimp culture\u003c/a>. Now \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> royalty, he’s been a source of both local \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">pride\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13930867/whats-pimpin-culture-hip-hop-rap-sexism-misogynoir-black-women\">controversy\u003c/a> over his influential, decades-long career.\u003c/p>\n\u003cp>Chuy Gomez became a voice for the Bay Area hip-hop scene as a host on the California Music Channel, and later was a fixture at 106 KMEL for 20 years. Sway Calloway, meanwhile, began his career as a rapper and made a name for himself as a broadcaster with his syndicated \u003cem>Wake Up Show\u003c/em> in the ’90s. Since 2011, he’s hosted the influential \u003cem>Sway in the Morning \u003c/em>on SiriusXM.\u003c/p>\n\u003cp>Too Short, Gomez and Calloway will lead the festivities at EMPIRE’s celebration, which features DJs Steady, Cream of Beat (Mindmotion and DJ Ivan), Big Von, Scotty Fox and more. The event also promises food trucks, artist vendors, break dancers, a cypher and more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘EMPIRE Salutes 50 Years of Hip-Hop’ takes place at SVN West (10 South Van Ness Ave., San Francisco) on Oct. 15. \u003ca href=\"https://www.seetickets.us/event/empire-salutes-50-years-of-hip-hop/569634\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco record label \u003ca href=\"https://empi.re/\">EMPIRE\u003c/a> has a track record of championing homegrown talent while also \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2012-empire-brought-the-music-industry-back-to-san-francisco\">connecting Bay Area artists\u003c/a> to bigger opportunities on the national, and even international, stage. So its no surprise that the label is putting on its own celebration of 50 years of hip-hop culture. The party will take place on \u003ca href=\"https://www.seetickets.us/event/empire-salutes-50-years-of-hip-hop/569634\">Oct. 15 at SVN West in San Francisco\u003c/a>, hosted by Too Short and legendary radio personalities Chuy Gomez and Sway Calloway. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Too Short began his career in the early ’80s, putting out custom homemade tapes, and by the end of the decade he ascended to national stardom with lyrics about Oakland street life and \u003ca href=\"https://www.kqed.org/whatspimpin\">pimp culture\u003c/a>. Now \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> royalty, he’s been a source of both local \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">pride\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13930867/whats-pimpin-culture-hip-hop-rap-sexism-misogynoir-black-women\">controversy\u003c/a> over his influential, decades-long career.\u003c/p>\n\u003cp>Chuy Gomez became a voice for the Bay Area hip-hop scene as a host on the California Music Channel, and later was a fixture at 106 KMEL for 20 years. Sway Calloway, meanwhile, began his career as a rapper and made a name for himself as a broadcaster with his syndicated \u003cem>Wake Up Show\u003c/em> in the ’90s. Since 2011, he’s hosted the influential \u003cem>Sway in the Morning \u003c/em>on SiriusXM.\u003c/p>\n\u003cp>Too Short, Gomez and Calloway will lead the festivities at EMPIRE’s celebration, which features DJs Steady, Cream of Beat (Mindmotion and DJ Ivan), Big Von, Scotty Fox and more. The event also promises food trucks, artist vendors, break dancers, a cypher and more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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>\u003cem>‘EMPIRE Salutes 50 Years of Hip-Hop’ takes place at SVN West (10 South Van Ness Ave., San Francisco) on Oct. 15. \u003ca href=\"https://www.seetickets.us/event/empire-salutes-50-years-of-hip-hop/569634\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Fillmore Will Stop Taking a Cut of Artists’ Merch Sales",
"headTitle": "The Fillmore Will Stop Taking a Cut of Artists’ Merch Sales | KQED",
"content": "\u003cp>Over 75 clubs operated by Live Nation in the United States and Canada will stop taking a percentage of artist merch sales, and will pay performers an additional $1,500 travel stipend per concert, through an initiative called \u003ca href=\"https://roadagain.live/\">On the Road Again\u003c/a>, the company announced Tuesday.\u003c/p>\n\u003cp>In the Bay Area, only one Live Nation venue is included in the program: \u003ca href=\"https://www.livenation.com/venue/KovZpZAE6eeA/the-fillmore-events\">The Fillmore\u003c/a>, the historic, 1,315-capacity concert hall. For over 30 years, artists playing at The Fillmore “counted in” their T-shirts, albums and other merch, and, at the end of the show, “counted out” so the club could tally the night’s income and calculate the amount of profit to take.\u003c/p>\n\u003cp>\u003ca href=\"https://weareumaw.org/\">United Musicians and Allied Workers\u003c/a> (UMAW), an artist advocacy group, says it’s common for venues to take 15%-35% of merch sales, and some artists have reported fees as high as 40% at recent shows. [aside postid='arts_13857471']\u003c/p>\n\u003cp>On the Road Again also promises bonuses for tour staff and local promoters, and will contribute $5 million to Crew Nation, a global relief fund for live music crews facing hardship. Additional Live Nation venues in the Bay Area, including the Masonic, are not listed as participants. Statewide, 14 similarly sized clubs are included in the program, including The Wiltern in Los Angeles and Ace of Spades in Sacramento.\u003c/p>\n\u003cp>The initiative arrives at a challenging time for artists in today’s music industry, where visibility and acclaim do not translate to financial success. While Spotify and other streaming services pay \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">fractions of pennies per stream\u003c/a>, touring and merch sales have become the primary source of income for emerging and mid-level musicians. After a pandemic that decimated live concerts, artists have struggled to rebound due to inflation and high gas prices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s almost impossible to even break even as a touring artist at this level,” says San Francisco singer and multi-instrumentalist \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a>, whose upcoming tour includes a hometown show at \u003ca href=\"https://concerts.livenation.com/la-dona-san-francisco-california-11-09-2023/event/1C005F0FC26A52EC\">The Fillmore on Nov. 9\u003c/a>, as well as shows at participating clubs in Los Angeles and Santa Ana. She says her expenses include hiring a live band, merch handler and photographer, and paying for gas, touring vehicles and lodging. While La Doña handles many business aspects of her tour herself, it’s common for artists to pay booking agents, tour managers and publicists. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“O\u003c/span>ftentimes you can’t really get an offer that will support all of that,” she says. “Most artists \u003cspan style=\"font-weight: 400\">—\u003c/span> I know I do \u003cspan style=\"font-weight: 400\">—\u003c/span> usually end up paying out of pocket to go on tour, which is why you don’t do it very much.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For La Doña, merch sales are critical, and can account for up to a third of the money made each night. She hopes that On the Road Again will inspire more venues to let artists keep the profits from their merch tables, which would allow more diverse acts to succeed in the industry. “Y\u003c/span>ou don’t really get to see some of the best and most interesting musicians live because it’s tough to be on the road,” she notes.\u003c/p>\n\u003cp>[aside postid='arts_13934286']Some artists say that the economics of the industry have brought them close to quitting altogether. “You are either losing money, breaking even or coming home with such a little amount of money for such a big amount of work,” said Bethany Cosentino of Best Coast in a \u003ca href=\"https://www.tiktok.com/@bethanycosentino/video/7278097326621592878?lang=en\">TikTok video posted on Sept. 12\u003c/a>. “Most days I wake up and I question why I’m still even in this industry. There is no stability.”\u003c/p>\n\u003cp>In 2022, UMAW launched a campaign called \u003ca href=\"https://weareumaw.org/news/mymerch-campaign-launch\">#MyMerch\u003c/a>, through which 160 venues have so far pledged to stop charging artists for merch sales. Many of the venues who signed up for UMAW’s campaign are small businesses also struggling in the post-pandemic economy, such as the \u003ca href=\"https://mystictheatre.com/\">Mystic Theatre\u003c/a> in Petaluma, \u003ca href=\"https://www.cornerstoneberkeley.com/\">Cornerstone\u003c/a> in Berkeley and \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.P2XVsKmY.dpbs\">Bottom of the Hill\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Meanwhile, Live Nation — a global conglomerate that owns Ticketmaster, whose ticket fees have ballooned to record levels — reported in July that its revenue is up 27% this year, reaching $5.6 billion at the end of the most recent financial quarter.\u003c/p>\n\u003cp>[aside postid='forum_2010101892062']“This was our strongest second quarter ever, with 2023 on pace to be a record year, and early indicators for 2024 giving us confidence in continued growth,” said Live Nation Entertainment CEO and President Michael Rapino in a report to investors. (Rapino’s own total compensation for 2022 totaled $139 million.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, live music is clearly profitable — but artists aren’t seeing the payoff. New policies at clubs like the Fillmore could be the start of a change small musicians are asking for. “We hope that more [Live Nation] venues (especially small ones) will join the On the Road Again program,” UMAW wrote in an Instagram post on Tuesday.\u003c/p>\n\n",
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"excerpt": "Amid record profits, Live Nation, who owns the Fillmore, launched a national program to boost artists' earnings at over 75 of its clubs.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 75 clubs operated by Live Nation in the United States and Canada will stop taking a percentage of artist merch sales, and will pay performers an additional $1,500 travel stipend per concert, through an initiative called \u003ca href=\"https://roadagain.live/\">On the Road Again\u003c/a>, the company announced Tuesday.\u003c/p>\n\u003cp>In the Bay Area, only one Live Nation venue is included in the program: \u003ca href=\"https://www.livenation.com/venue/KovZpZAE6eeA/the-fillmore-events\">The Fillmore\u003c/a>, the historic, 1,315-capacity concert hall. For over 30 years, artists playing at The Fillmore “counted in” their T-shirts, albums and other merch, and, at the end of the show, “counted out” so the club could tally the night’s income and calculate the amount of profit to take.\u003c/p>\n\u003cp>\u003ca href=\"https://weareumaw.org/\">United Musicians and Allied Workers\u003c/a> (UMAW), an artist advocacy group, says it’s common for venues to take 15%-35% of merch sales, and some artists have reported fees as high as 40% at recent shows. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the Road Again also promises bonuses for tour staff and local promoters, and will contribute $5 million to Crew Nation, a global relief fund for live music crews facing hardship. Additional Live Nation venues in the Bay Area, including the Masonic, are not listed as participants. Statewide, 14 similarly sized clubs are included in the program, including The Wiltern in Los Angeles and Ace of Spades in Sacramento.\u003c/p>\n\u003cp>The initiative arrives at a challenging time for artists in today’s music industry, where visibility and acclaim do not translate to financial success. While Spotify and other streaming services pay \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">fractions of pennies per stream\u003c/a>, touring and merch sales have become the primary source of income for emerging and mid-level musicians. After a pandemic that decimated live concerts, artists have struggled to rebound due to inflation and high gas prices.\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\">It’s almost impossible to even break even as a touring artist at this level,” says San Francisco singer and multi-instrumentalist \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a>, whose upcoming tour includes a hometown show at \u003ca href=\"https://concerts.livenation.com/la-dona-san-francisco-california-11-09-2023/event/1C005F0FC26A52EC\">The Fillmore on Nov. 9\u003c/a>, as well as shows at participating clubs in Los Angeles and Santa Ana. She says her expenses include hiring a live band, merch handler and photographer, and paying for gas, touring vehicles and lodging. While La Doña handles many business aspects of her tour herself, it’s common for artists to pay booking agents, tour managers and publicists. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“O\u003c/span>ftentimes you can’t really get an offer that will support all of that,” she says. “Most artists \u003cspan style=\"font-weight: 400\">—\u003c/span> I know I do \u003cspan style=\"font-weight: 400\">—\u003c/span> usually end up paying out of pocket to go on tour, which is why you don’t do it very much.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For La Doña, merch sales are critical, and can account for up to a third of the money made each night. She hopes that On the Road Again will inspire more venues to let artists keep the profits from their merch tables, which would allow more diverse acts to succeed in the industry. “Y\u003c/span>ou don’t really get to see some of the best and most interesting musicians live because it’s tough to be on the road,” she notes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some artists say that the economics of the industry have brought them close to quitting altogether. “You are either losing money, breaking even or coming home with such a little amount of money for such a big amount of work,” said Bethany Cosentino of Best Coast in a \u003ca href=\"https://www.tiktok.com/@bethanycosentino/video/7278097326621592878?lang=en\">TikTok video posted on Sept. 12\u003c/a>. “Most days I wake up and I question why I’m still even in this industry. There is no stability.”\u003c/p>\n\u003cp>In 2022, UMAW launched a campaign called \u003ca href=\"https://weareumaw.org/news/mymerch-campaign-launch\">#MyMerch\u003c/a>, through which 160 venues have so far pledged to stop charging artists for merch sales. Many of the venues who signed up for UMAW’s campaign are small businesses also struggling in the post-pandemic economy, such as the \u003ca href=\"https://mystictheatre.com/\">Mystic Theatre\u003c/a> in Petaluma, \u003ca href=\"https://www.cornerstoneberkeley.com/\">Cornerstone\u003c/a> in Berkeley and \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.P2XVsKmY.dpbs\">Bottom of the Hill\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Meanwhile, Live Nation — a global conglomerate that owns Ticketmaster, whose ticket fees have ballooned to record levels — reported in July that its revenue is up 27% this year, reaching $5.6 billion at the end of the most recent financial quarter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This was our strongest second quarter ever, with 2023 on pace to be a record year, and early indicators for 2024 giving us confidence in continued growth,” said Live Nation Entertainment CEO and President Michael Rapino in a report to investors. (Rapino’s own total compensation for 2022 totaled $139 million.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, live music is clearly profitable — but artists aren’t seeing the payoff. New policies at clubs like the Fillmore could be the start of a change small musicians are asking for. “We hope that more [Live Nation] venues (especially small ones) will join the On the Road Again program,” UMAW wrote in an Instagram post on Tuesday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In the Steve Jobs Opera, 'Genius' Remains Inscrutable",
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"content": "\u003cp>If you hear the words “\u003ca href=\"https://www.kqed.org/arts/tag/steve-jobs-opera\">Steve Jobs opera\u003c/a>” and think, “great, a patently desperate attempt to attract tech donors to the arts by presenting a commercial for Apple that fawns over its billionaire CEO,” I am happy to report that you are wrong. \u003c/p>\n\u003cp>\u003cem>The (R)evolution of Steve Jobs\u003c/em>, running at the War Memorial Opera House now through Oct. 7, is remarkably enjoyable, and not at all a rose-tinted portrait. It’s also a perfect introduction for people who’ve never been to the opera: It’s shorter than your average Hollywood blockbuster, it’s sung in English and it’s about a device which \u003ca href=\"https://deviceatlas.com/blog/mobile-os-popularity-by-us-state\">two-thirds of all California residents\u003c/a> carry in their pocket. Bring the kids — I did. \u003c/p>\n\u003cp>I also admit I approached \u003cem>The (R)evolution of Steve Jobs\u003c/em> with some skepticism. Its composer, Burlingame’s own \u003ca href=\"https://www.kqed.org/arts/11525582/meet-mason-bates-the-man-behind-steve-jobs-the-opera\">Mason Bates\u003c/a>, has enjoyed patronage from tech giants like Cisco and Google, and has written such silicon-themed works as \u003cem>The Rise of Exotic Computing\u003c/em> and \u003cem>Garages of the Valley\u003c/em>. Who better to attract the tech sector, which has historically declined to support arts organizations like the opera? And would that require glossing over Jobs’ abusive tendencies, and celebrating rather than criticizing the far-reaching and detrimental transformations brought by the iPhone?\u003c/p>\n\u003cfigure id=\"attachment_13935377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3018.jpg\" alt=\"A man in a black turtleneck and jeans looks forward and to the right while holding a phone, against a backdrop of app icons\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13935377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, announcing the iPhone in San Francisco at MacWorld in 2007, in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, \u003cem>The (R)evolution of Steve Jobs\u003c/em> — finally seeing its Bay Area premiere after runs in seven other cities – directly addresses Jobs’ denial of his first child and his cruelty to her mother. It shows Jobs yelling at staff, demanding impossible deadlines. It depicts a man who sought inner peace for himself while haranguing those around him, and connected with nature while creating an addictive device that would distance much of humanity from it. \u003c/p>\n\u003cp>[aside postID='news_11572666']This dark truth-telling is accompanied by Bates’ bright, modern-but-accessible music, with cosmopolitan chords, Steve Reichian pulses and Bernstein-esque jazz. At times, this blends pleasantly with subtle computer sounds (we are spared the cliché of the dial-up modem, thank goodness) as well as sub-bass rolling around the Opera House, played from a laptop by Bates himself in the orchestra pit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>(R)evolution\u003c/em> starts amidst towers luminescent in Apple white. After a prologue of young Jobs tinkering with gadgets in the family garage, the scene jumps to the announcement of the iPhone at MacWorld 2007. Jobs (John Moore, resolute and commanding) stands before app icons projected on a large touchscreen. The crowd leans in with anticipation as the music swells, and Jobs hoists in the air “one device / does it all / in one hand / all you need.”\u003c/p>\n\u003cfigure id=\"attachment_13935376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3265.jpg\" alt=\"A man in a black turtleneck and jeans plays on a rotary phone with a man in scruffy hair, beard and yellow shirt at a workbench\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bille Bruley as Steve Wozniak and John Moore as Steve Jobs, hacking into an international phone line in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Numerous reality checks eventually arrive. Some come from the people who love him most: Apple co-founder Steve Wozniak (played with humor and personality by Bille Bruley), Jobs’ spiritual mentor Kobōn Chino Otogawa (Wei Wu, with gut-rattling bass and dry wit) and Laurene Powell Jobs (the excellent Sasha Cooke, doing her best with the character as written). \u003c/p>\n\u003cp>A nonlinear biographical highlight reel presents the origins of Jobs’ defining device. (The libretto, by Mark Campbell, does not use the word “iPhone.”) We see him taking LSD with his girlfriend Chrisann Brennan and perceiving the brilliance of natural design. We watch as he and Wozniak hack Pacific Bell with their homemade phone technology. We hear his college calligraphy teacher talk of simplicity, simplicity, simplicity. \u003c/p>\n\u003cp>We also witness his cruelty. He fathers a child with Chrisann, demands an abortion, then denies it’s his. “Twenty-nine percent of the male population in this country could be the father,” he snarls at a reporter, publicly tarnishing Chrisann, who desperately asks for recognition or support.\u003c/p>\n\u003cfigure id=\"attachment_13935373\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3471.jpg\" alt=\"A man in a black turtleneck and jeans site barefoot with a woman in a white dress on a blanket, with trees projected in the background\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs and Olivia Smith as Chrisann Brennan, taking LSD in an orchard in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As directed by Kevin Newbury, these scenes come alive. And yet, even as Jobs is berated by Chrisann for refusing to acknowledge his daughter, abandoned by Woz for becoming what they once hated and fired by the board of his own company, it all falls into the service of the asshole-genius narrative. We know he’s going to win. \u003c/p>\n\u003cp>[aside postID='arts_13921616']Thus, the only real tension here is that Jobs can’t admit his own failures, missteps or declining health. Is that enough to drive an entire opera? Especially when it ends with Jobs becoming a vaunted historical figure, “the inventor of the iPhone,” a multi-billionaire? \u003c/p>\n\u003cp>Jobs did of course wrestle with himself. This is spelled out during a segment in which Jobs chases after a younger version of himself on stage (Atom Young Maguire); getting in his way are people marching like robots and staring into their glowing iPhones, the very object of his fame and fortune impeding his ability to connect with his childhood self. Getting “back to the garage” is a repeated goal.\u003c/p>\n\u003cfigure id=\"attachment_13935395\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A4537.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, Wei Wu as Kōbun Chino Otogawa, and Sasha Cooke as Laurene Powell Jobs in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would have appreciated less of Jobs’ inner turmoil and more of the effect Jobs had on the world. Near the opera’s end, the savior figure of Laurene Powell Jobs blithely delivers a mini-lecture to the audience, instructing us all to look up from our iPhones and notice nature, the stars and each other. This feels off — a bit like the Sacklers telling Americans to just stop using opioids once in a while.\u003c/p>\n\u003cp>A more realistic conclusion might examine the iPhone’s fallout: more people addicted to their phones than ever, suicide-inducing work conditions at Apple factories in China, the deterioration of teenagers’ self-esteem. \u003c/p>\n\u003cp>But such thoughts only arrive because \u003cem>(R)evolution\u003c/em> is so good at drawing the audience in, forcing us to care about human invention, and the messy ways that society enters into large-scale behavioral shifts. For an hour and a half, you’ll reconsider your relationship to your phone, and how it came to dominate so much of your time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The (R)evolution of Steve Jobs’ runs through Oct. 7 at the War Memorial Opera House in San Francisco. Tickets start at $26. More details and information here. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you hear the words “\u003ca href=\"https://www.kqed.org/arts/tag/steve-jobs-opera\">Steve Jobs opera\u003c/a>” and think, “great, a patently desperate attempt to attract tech donors to the arts by presenting a commercial for Apple that fawns over its billionaire CEO,” I am happy to report that you are wrong. \u003c/p>\n\u003cp>\u003cem>The (R)evolution of Steve Jobs\u003c/em>, running at the War Memorial Opera House now through Oct. 7, is remarkably enjoyable, and not at all a rose-tinted portrait. It’s also a perfect introduction for people who’ve never been to the opera: It’s shorter than your average Hollywood blockbuster, it’s sung in English and it’s about a device which \u003ca href=\"https://deviceatlas.com/blog/mobile-os-popularity-by-us-state\">two-thirds of all California residents\u003c/a> carry in their pocket. Bring the kids — I did. \u003c/p>\n\u003cp>I also admit I approached \u003cem>The (R)evolution of Steve Jobs\u003c/em> with some skepticism. Its composer, Burlingame’s own \u003ca href=\"https://www.kqed.org/arts/11525582/meet-mason-bates-the-man-behind-steve-jobs-the-opera\">Mason Bates\u003c/a>, has enjoyed patronage from tech giants like Cisco and Google, and has written such silicon-themed works as \u003cem>The Rise of Exotic Computing\u003c/em> and \u003cem>Garages of the Valley\u003c/em>. Who better to attract the tech sector, which has historically declined to support arts organizations like the opera? And would that require glossing over Jobs’ abusive tendencies, and celebrating rather than criticizing the far-reaching and detrimental transformations brought by the iPhone?\u003c/p>\n\u003cfigure id=\"attachment_13935377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3018.jpg\" alt=\"A man in a black turtleneck and jeans looks forward and to the right while holding a phone, against a backdrop of app icons\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13935377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, announcing the iPhone in San Francisco at MacWorld in 2007, in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, \u003cem>The (R)evolution of Steve Jobs\u003c/em> — finally seeing its Bay Area premiere after runs in seven other cities – directly addresses Jobs’ denial of his first child and his cruelty to her mother. It shows Jobs yelling at staff, demanding impossible deadlines. It depicts a man who sought inner peace for himself while haranguing those around him, and connected with nature while creating an addictive device that would distance much of humanity from it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This dark truth-telling is accompanied by Bates’ bright, modern-but-accessible music, with cosmopolitan chords, Steve Reichian pulses and Bernstein-esque jazz. At times, this blends pleasantly with subtle computer sounds (we are spared the cliché of the dial-up modem, thank goodness) as well as sub-bass rolling around the Opera House, played from a laptop by Bates himself in the orchestra pit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>(R)evolution\u003c/em> starts amidst towers luminescent in Apple white. After a prologue of young Jobs tinkering with gadgets in the family garage, the scene jumps to the announcement of the iPhone at MacWorld 2007. Jobs (John Moore, resolute and commanding) stands before app icons projected on a large touchscreen. The crowd leans in with anticipation as the music swells, and Jobs hoists in the air “one device / does it all / in one hand / all you need.”\u003c/p>\n\u003cfigure id=\"attachment_13935376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3265.jpg\" alt=\"A man in a black turtleneck and jeans plays on a rotary phone with a man in scruffy hair, beard and yellow shirt at a workbench\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bille Bruley as Steve Wozniak and John Moore as Steve Jobs, hacking into an international phone line in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Numerous reality checks eventually arrive. Some come from the people who love him most: Apple co-founder Steve Wozniak (played with humor and personality by Bille Bruley), Jobs’ spiritual mentor Kobōn Chino Otogawa (Wei Wu, with gut-rattling bass and dry wit) and Laurene Powell Jobs (the excellent Sasha Cooke, doing her best with the character as written). \u003c/p>\n\u003cp>A nonlinear biographical highlight reel presents the origins of Jobs’ defining device. (The libretto, by Mark Campbell, does not use the word “iPhone.”) We see him taking LSD with his girlfriend Chrisann Brennan and perceiving the brilliance of natural design. We watch as he and Wozniak hack Pacific Bell with their homemade phone technology. We hear his college calligraphy teacher talk of simplicity, simplicity, simplicity. \u003c/p>\n\u003cp>We also witness his cruelty. He fathers a child with Chrisann, demands an abortion, then denies it’s his. “Twenty-nine percent of the male population in this country could be the father,” he snarls at a reporter, publicly tarnishing Chrisann, who desperately asks for recognition or support.\u003c/p>\n\u003cfigure id=\"attachment_13935373\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3471.jpg\" alt=\"A man in a black turtleneck and jeans site barefoot with a woman in a white dress on a blanket, with trees projected in the background\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs and Olivia Smith as Chrisann Brennan, taking LSD in an orchard in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As directed by Kevin Newbury, these scenes come alive. And yet, even as Jobs is berated by Chrisann for refusing to acknowledge his daughter, abandoned by Woz for becoming what they once hated and fired by the board of his own company, it all falls into the service of the asshole-genius narrative. We know he’s going to win. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Thus, the only real tension here is that Jobs can’t admit his own failures, missteps or declining health. Is that enough to drive an entire opera? Especially when it ends with Jobs becoming a vaunted historical figure, “the inventor of the iPhone,” a multi-billionaire? \u003c/p>\n\u003cp>Jobs did of course wrestle with himself. This is spelled out during a segment in which Jobs chases after a younger version of himself on stage (Atom Young Maguire); getting in his way are people marching like robots and staring into their glowing iPhones, the very object of his fame and fortune impeding his ability to connect with his childhood self. Getting “back to the garage” is a repeated goal.\u003c/p>\n\u003cfigure id=\"attachment_13935395\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A4537.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, Wei Wu as Kōbun Chino Otogawa, and Sasha Cooke as Laurene Powell Jobs in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would have appreciated less of Jobs’ inner turmoil and more of the effect Jobs had on the world. Near the opera’s end, the savior figure of Laurene Powell Jobs blithely delivers a mini-lecture to the audience, instructing us all to look up from our iPhones and notice nature, the stars and each other. This feels off — a bit like the Sacklers telling Americans to just stop using opioids once in a while.\u003c/p>\n\u003cp>A more realistic conclusion might examine the iPhone’s fallout: more people addicted to their phones than ever, suicide-inducing work conditions at Apple factories in China, the deterioration of teenagers’ self-esteem. \u003c/p>\n\u003cp>But such thoughts only arrive because \u003cem>(R)evolution\u003c/em> is so good at drawing the audience in, forcing us to care about human invention, and the messy ways that society enters into large-scale behavioral shifts. For an hour and a half, you’ll reconsider your relationship to your phone, and how it came to dominate so much of your time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The (R)evolution of Steve Jobs’ runs through Oct. 7 at the War Memorial Opera House in San Francisco. Tickets start at $26. More details and information here. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Frightwig, Legendary SF Punk Band, Is Still Smashing the Patriarchy at 40",
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"content": "\u003cp>[aside postid='arts_13902953']In 1993, at the height of grunge’s powers, Nirvana hit the stage at New York City’s Sony Studios and recorded one of the most beloved \u003cem>MTV Unplugged\u003c/em> sets of all time. Videos of the performance continue to garner tens of millions of views on YouTube. What few people might notice, however, is the white T-shirt \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> wears under his iconic green cardigan. It’s a \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> shirt, worn to honor the all-female San Francisco punk band that smashed barriers in the ’80s underground scene.\u003c/p>\n\u003cp>Frightwig was an undeniable influence on bands like L7, Faith No More, the Melvins and, in particular, Hole. Courtney Love once said: “Me, Kat [Bjelland from Babes in Toyland], and Jennifer Finch [from L7] all watched Frightwig on the same night and all decided to start bands the next day. Frightwig are the true grandmothers of riot grrrl.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P7lbJ0Oi6Jc&list=RDEMt2y_auEXtocfjlb6IFHw7g&index=2\u003c/p>\n\u003cp>Well, \u003ca href=\"https://www.kqed.org/arts/13911761/the-linda-lindas-npr-tiny-desk-la-public-library-racist-sexist-boy\" target=\"_blank\" rel=\"noopener\">riot grrl is back\u003c/a> — and so are its godmothers. In its original incarnation, Frightwig released two albums — \u003cem>Cat Farm Faboo \u003c/em>(Subterranean Records) and \u003cem>Faster, Frightwig, Kill! Kill!\u003c/em> (Caroline) — plus a couple of EPs. Now, 40 years after the outspoken band first formed, they’re releasing a new album, \u003cem>We\u003c/em> \u003cem>Need to Talk. \u003c/em>The record sees original bassist/vocalist Deanna Mitchell and guitarist/vocalist \u003ca href=\"http://mamamiadbruzzi.com/home/\">Mia d’Bruzzi\u003c/a> joined by guitarist Rebecca Sevrin (in Frightwig since 1986), drummer Tina Fagnani and keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Eric_Drew_Feldman\">Eric Drew Feldman\u003c/a>. They’ll celebrate the album release with a show at Bottom of the Hill on Friday, Sept. 29.\u003c/p>\n\u003cp>\u003cem>We Need to Talk\u003c/em> includes Frightwig’s 2014 single, the fiercely feminist “War on Women,” and swings frenetically between overtly political content (like “Redistribution of Wealth” and “Hot Air Rising”) and the deeply personal. “\u003ca href=\"https://www.youtube.com/watch?v=e-EFJgPlqNg&t=284s\">What Is Love?\u003c/a>” for example, is a rip-roaring ode to single life that starts with a proverbial “toilet full of boyfriends” and ends in a furious crescendo that includes lines repurposed (and drenched in sarcasm) from the Rolling Stones’ “\u003ca href=\"https://www.youtube.com/watch?v=krxU5Y9lCS8\">You Can’t Always Get What You Want\u003c/a>” and The Beatles’ “\u003ca href=\"https://www.youtube.com/watch?v=nGbWU8S3vzs\">She Loves You\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere on the 11-tracker, there’s “Aging Sux,” a frenzied 43-second anthem of empowerment for anyone wishing to age ungracefully, and “Ride Your Bike,” a catchy, humor-imbued ass-shaker. In contrast, “Shine Your Light” is a five-minute ballad written and sung by original Frightwig drummer Cecilia Kuhn, who passed away from cancer in 2017. “Shine Your Light” will be released as a 7″ single adorned with Kuhn’s face and middle finger, still proudly held aloft.\u003c/p>\n\u003cfigure id=\"attachment_13935332\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg\" alt=\"An illustration of a blonde woman, rendered in the style of Alfonse Mucha, wearing a crown of flowers and holding her right middle finger aloft.\" width=\"640\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Shine Your Light” by Frightwig honors drummer Cecilia Kuhn who died in 2017. \u003ccite>(Courtesy of Deanna Mitchell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frightwig were one of those bands that slammed open a lot of doors for others, but never quite got the props they deserved themselves. \u003cem>We Need to Talk\u003c/em> is an opportunity to right that wrong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Frightwig’s ‘We Need to Talk’ is out via \u003ca href=\"https://label51recordings.com/\">Label 51 Recordings\u003c/a> on Friday, Sept. 29. To celebrate the release, the band plays \u003ca href=\"http://www.bottomofthehill.com/iC202309.html\">Bottom of the Hill\u003c/a> that night, with openers \u003ca href=\"https://www.instagram.com/falseflagsf/\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/chakifunkwizard/?hl=en\">Chaki\u003c/a>. A free show will also take place at the Golden Gate Park Bandshell on Oct. 7.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1993, at the height of grunge’s powers, Nirvana hit the stage at New York City’s Sony Studios and recorded one of the most beloved \u003cem>MTV Unplugged\u003c/em> sets of all time. Videos of the performance continue to garner tens of millions of views on YouTube. What few people might notice, however, is the white T-shirt \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> wears under his iconic green cardigan. It’s a \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> shirt, worn to honor the all-female San Francisco punk band that smashed barriers in the ’80s underground scene.\u003c/p>\n\u003cp>Frightwig was an undeniable influence on bands like L7, Faith No More, the Melvins and, in particular, Hole. Courtney Love once said: “Me, Kat [Bjelland from Babes in Toyland], and Jennifer Finch [from L7] all watched Frightwig on the same night and all decided to start bands the next day. Frightwig are the true grandmothers of riot grrrl.”\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/P7lbJ0Oi6Jc'\n title='//www.youtube.com/embed/P7lbJ0Oi6Jc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, \u003ca href=\"https://www.kqed.org/arts/13911761/the-linda-lindas-npr-tiny-desk-la-public-library-racist-sexist-boy\" target=\"_blank\" rel=\"noopener\">riot grrl is back\u003c/a> — and so are its godmothers. In its original incarnation, Frightwig released two albums — \u003cem>Cat Farm Faboo \u003c/em>(Subterranean Records) and \u003cem>Faster, Frightwig, Kill! Kill!\u003c/em> (Caroline) — plus a couple of EPs. Now, 40 years after the outspoken band first formed, they’re releasing a new album, \u003cem>We\u003c/em> \u003cem>Need to Talk. \u003c/em>The record sees original bassist/vocalist Deanna Mitchell and guitarist/vocalist \u003ca href=\"http://mamamiadbruzzi.com/home/\">Mia d’Bruzzi\u003c/a> joined by guitarist Rebecca Sevrin (in Frightwig since 1986), drummer Tina Fagnani and keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Eric_Drew_Feldman\">Eric Drew Feldman\u003c/a>. They’ll celebrate the album release with a show at Bottom of the Hill on Friday, Sept. 29.\u003c/p>\n\u003cp>\u003cem>We Need to Talk\u003c/em> includes Frightwig’s 2014 single, the fiercely feminist “War on Women,” and swings frenetically between overtly political content (like “Redistribution of Wealth” and “Hot Air Rising”) and the deeply personal. “\u003ca href=\"https://www.youtube.com/watch?v=e-EFJgPlqNg&t=284s\">What Is Love?\u003c/a>” for example, is a rip-roaring ode to single life that starts with a proverbial “toilet full of boyfriends” and ends in a furious crescendo that includes lines repurposed (and drenched in sarcasm) from the Rolling Stones’ “\u003ca href=\"https://www.youtube.com/watch?v=krxU5Y9lCS8\">You Can’t Always Get What You Want\u003c/a>” and The Beatles’ “\u003ca href=\"https://www.youtube.com/watch?v=nGbWU8S3vzs\">She Loves You\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere on the 11-tracker, there’s “Aging Sux,” a frenzied 43-second anthem of empowerment for anyone wishing to age ungracefully, and “Ride Your Bike,” a catchy, humor-imbued ass-shaker. In contrast, “Shine Your Light” is a five-minute ballad written and sung by original Frightwig drummer Cecilia Kuhn, who passed away from cancer in 2017. “Shine Your Light” will be released as a 7″ single adorned with Kuhn’s face and middle finger, still proudly held aloft.\u003c/p>\n\u003cfigure id=\"attachment_13935332\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg\" alt=\"An illustration of a blonde woman, rendered in the style of Alfonse Mucha, wearing a crown of flowers and holding her right middle finger aloft.\" width=\"640\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Shine Your Light” by Frightwig honors drummer Cecilia Kuhn who died in 2017. \u003ccite>(Courtesy of Deanna Mitchell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frightwig were one of those bands that slammed open a lot of doors for others, but never quite got the props they deserved themselves. \u003cem>We Need to Talk\u003c/em> is an opportunity to right that wrong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Frightwig’s ‘We Need to Talk’ is out via \u003ca href=\"https://label51recordings.com/\">Label 51 Recordings\u003c/a> on Friday, Sept. 29. To celebrate the release, the band plays \u003ca href=\"http://www.bottomofthehill.com/iC202309.html\">Bottom of the Hill\u003c/a> that night, with openers \u003ca href=\"https://www.instagram.com/falseflagsf/\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/chakifunkwizard/?hl=en\">Chaki\u003c/a>. A free show will also take place at the Golden Gate Park Bandshell on Oct. 7.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live from Death Row, Keith LaMar Performs Freedom Songs in SF",
"headTitle": "Live from Death Row, Keith LaMar Performs Freedom Songs in SF | KQED",
"content": "\u003cp>When Jay Bordeleau booked Freedom First, a singular collaboration between pianist Albert Marquès and spoken word artist \u003ca href=\"https://www.keithlamar.org/\">Keith LaMar\u003c/a>, the \u003ca href=\"https://mrtipplessf.com/calendar/albert-marques-and-keith-lamar-freedom-first/\">Oct. 3-4 engagement\u003c/a> was marked by an urgency unlike any other at his jazz club, Mr. Tipple’s — or any other venue in the city for that matter.\u003c/p>\n\u003cp>After 29 years on death row, LaMar was scheduled for execution at Ohio State Penitentiary on Nov. 16, 2023 for what he’s always insisted was a wrongful conviction. In recent years, Marquès and a dedicated cadre of jazz musicians have championed his cause through international performances and the 2022 album \u003cem>\u003ca href=\"https://sayitloudrecords.bandcamp.com/album/freedom-first\">Freedom First\u003c/a>\u003c/em>, where LaMar skillfully recites his work via telephone from prison.\u003c/p>\n\u003cp>Along with ongoing efforts to secure a new trial, the attention from Freedom First may have helped induce Ohio Governor Mike DeWine to issue a \u003ca href=\"https://governor.ohio.gov/media/news-and-media/governor-dewine-issues-reprieve\">four-year reprieve for LaMar\u003c/a>, though the stated cause was “ongoing problems involving the willingness of pharmaceutical suppliers to provide drugs to the Ohio Department of Rehabilitation.”\u003c/p>\n\u003cp>The governor’s July decree moved his execution date to Jan. 13, 2027, “a mixed bag,” says LaMar in a recent phone conversation. “More time means more opportunity to right the wrong. But it also means more time. It’s bittersweet. I’m trying to hold on.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AZiCHpQpaxs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>LaMar was serving 15 years to life at the Southern Ohio Correctional Facility for a 1989 murder when riots broke out in April 1993. At the end of the 11-day standoff, nine inmates and a prison guard were dead, and in 1995 LaMar was convicted for murdering five prisoners. He’s steadfastly maintained his innocence, and it was only in the aftermath of George Floyd’s death in 2020 that Marquès came into the picture.\u003c/p>\n\u003cp>Born and raised in an industrial town outside of Barcelona, Marquès has long drawn inspiration from Catalonia’s heritage of radical politics. He and his wife, sculptor Mia Pearlman, happened to live in the same Brooklyn building as Brian Jackson, the keyboardist and composer best known for his prolific creative partnership with the late Gil Scott-Heron.\u003c/p>\n\u003cp>As Black Lives Matter demonstrations swept the nation, “we had lots of conversations around the George Floyd protests,” Marquès recalls. “The question kept coming up, ‘Why don’t we do something before the government kills [people]?’ Brian’s wife had read Keith’s book and that made connections. Keith loves jazz and John Coltrane, and he knows so much about it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L8b3ZMwA9Qc\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Talking to LaMar is a bracing experience. People often describe music as a lifeline, but in his case it provides a soul-bearing creative outlet, essential emotional sustenance and a direct connection to fellow jazz devotees. He grew up in Cleveland surrounded by sacred and secular Black popular music, and didn’t really discover jazz until he was years into his sentence. On death row, he immersed himself in the music of Thelonious Monk, Nat “King” Cole and, particularly, John Coltrane, “all these people who created this canon of creativity,” he says.\u003c/p>\n\u003cp>“I started reading history books, learning and growing. My loyalty to this art form grew along with my knowledge of this art form. It’s an integral part of my life. I start listening when I wake up and throughout the day it helps me stay focused.”\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=2002727958/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>He’s all too aware of the tension between his incarceration and jazz’s liberatory impulse, though he echoes the epiphany of Albert Camus’ Meursault in \u003cem>The Stranger\u003c/em> in describing his mindset. LaMar celebrates the music as a vehicle for freedom, but it’s the embrace of a man who has liberated himself.\u003c/p>\n\u003cp>“I’m already free,” he says. “I just happen to be in this place, death row. But we’re all leaving this planet. What are you going to do between now and then?”\u003c/p>\n\u003cfigure id=\"attachment_13935221\" class=\"wp-caption aligncenter\" style=\"max-width: 1663px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-scaled.jpeg\" alt=\"A musician visiting from the outside and an incarcerated poet hug inside a prison.\" width=\"1663\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-scaled.jpeg 1663w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-800x1232.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-1020x1570.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-160x246.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-768x1182.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-998x1536.jpeg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-1330x2048.jpeg 1330w\" sizes=\"(max-width: 1663px) 100vw, 1663px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Albert Marquès and poet Keith LaMar in 2022. \u003ccite>(Courtesy of Albert Marquès)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the Oct. 3-4 performances at Mr. Tipple’s, which are fundraisers for the legal campaign to overturn his sentence, LaMar will be reciting pieces from \u003cem>Freedom First\u003c/em> via phone from death row as Marquès leads a quartet featuring bassist Joshua Thurston-Milgrom, drummer Zack O’Farrill and tenor saxophonist Kazemde George.\u003c/p>\n\u003cp>O’Farrill, the third generation of an illustrious jazz clan, and the Berkeley-reared George have been working with Marquès since he first assembled some 30 musicians for performance protests in 2020. Since then, more than 70 musicians have participated in the project, including Berkeley-raised pianist-composer Samora Pinderhughes, who conducted a public conversation with LaMar last year as part of \u003ca href=\"https://ybca.org/event/transformation-music-and-healing-with-keith-lamar-and-samora-pinderhughes/\">\u003cem>The Healing Project\u003c/em>\u003c/a>, an extensive installation at Yerba Buena Center for the Arts. [aside postid='arts_13911226']\u003c/p>\n\u003cp>For George, who returns to the Bay Area to perform at the \u003ca href=\"https://blackcatsf.turntabletickets.com/shows/1487/?date=2023-11-24\">Black Cat Nov. 24-26\u003c/a> with vocalist Sami Stevens, the attraction to playing in Freedom First is both political and aesthetic. “First of all, we’re playing really good music, Albert’s originals, gospel and John Coltrane, all stuff I’m really into interpreting from a musical standpoint,” he says. “And we play some Trane I wouldn’t normally play, like ‘Alabama,’ a really heavy tune that I’m not going to call on a regular gig for a Saturday night crowd. The purpose of this music is different. This feels like we’re serving a bigger purpose.”\u003c/p>\n\u003cp>Mr. Tipples, a chatty supper club that’s been a jazz hot spot since 2016, isn’t an obvious venue for Freedom First, unless you know that its owner, Bordeleau, spent his college years in Ann Arbor giving music workshops in Michigan prisons.\u003c/p>\n\u003cp>“The idea was to create art and joy in the prison system, so I jumped at this when I heard about LaMar,” he says. “Those experiences made me really interested in not just serving cocktails to fancy people. This is much more interesting and impactful.”[aside postid='arts_13883580']\u003c/p>\n\u003cp>Part of Freedom First’s impact flows from LaMar’s musical commitment. He can’t hear much of what the musicians are playing to accompany him in the moment, but he listens back to recordings to study how they respond to his voice. And he’s constantly absorbing new sounds and songs. He listens mostly to jazz, but lately he’s been checking out Elvis Costello and he’s been obsessed with a song by Mercury Prize-winning British singer-songwriter Benjamin Clementine, “\u003ca href=\"https://www.youtube.com/watch?v=6DU6lDPs-AQ\">Condolence\u003c/a>.”\u003c/p>\n\u003cp>“Some of what music does for me as a person, it immerses and envelopes me in my significance as a human being,” he says. “It lets me feel I’m a member of this thing called humanity.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Freedom First performs at \u003ca href=\"https://mrtipplessf.com/calendar/albert-marques-and-keith-lamar-freedom-first/\">Mr. Tipple’s on Oct. 3-4, 2023\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Jay Bordeleau booked Freedom First, a singular collaboration between pianist Albert Marquès and spoken word artist \u003ca href=\"https://www.keithlamar.org/\">Keith LaMar\u003c/a>, the \u003ca href=\"https://mrtipplessf.com/calendar/albert-marques-and-keith-lamar-freedom-first/\">Oct. 3-4 engagement\u003c/a> was marked by an urgency unlike any other at his jazz club, Mr. Tipple’s — or any other venue in the city for that matter.\u003c/p>\n\u003cp>After 29 years on death row, LaMar was scheduled for execution at Ohio State Penitentiary on Nov. 16, 2023 for what he’s always insisted was a wrongful conviction. In recent years, Marquès and a dedicated cadre of jazz musicians have championed his cause through international performances and the 2022 album \u003cem>\u003ca href=\"https://sayitloudrecords.bandcamp.com/album/freedom-first\">Freedom First\u003c/a>\u003c/em>, where LaMar skillfully recites his work via telephone from prison.\u003c/p>\n\u003cp>Along with ongoing efforts to secure a new trial, the attention from Freedom First may have helped induce Ohio Governor Mike DeWine to issue a \u003ca href=\"https://governor.ohio.gov/media/news-and-media/governor-dewine-issues-reprieve\">four-year reprieve for LaMar\u003c/a>, though the stated cause was “ongoing problems involving the willingness of pharmaceutical suppliers to provide drugs to the Ohio Department of Rehabilitation.”\u003c/p>\n\u003cp>The governor’s July decree moved his execution date to Jan. 13, 2027, “a mixed bag,” says LaMar in a recent phone conversation. “More time means more opportunity to right the wrong. But it also means more time. It’s bittersweet. I’m trying to hold on.”\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/AZiCHpQpaxs'\n title='//www.youtube.com/embed/AZiCHpQpaxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>LaMar was serving 15 years to life at the Southern Ohio Correctional Facility for a 1989 murder when riots broke out in April 1993. At the end of the 11-day standoff, nine inmates and a prison guard were dead, and in 1995 LaMar was convicted for murdering five prisoners. He’s steadfastly maintained his innocence, and it was only in the aftermath of George Floyd’s death in 2020 that Marquès came into the picture.\u003c/p>\n\u003cp>Born and raised in an industrial town outside of Barcelona, Marquès has long drawn inspiration from Catalonia’s heritage of radical politics. He and his wife, sculptor Mia Pearlman, happened to live in the same Brooklyn building as Brian Jackson, the keyboardist and composer best known for his prolific creative partnership with the late Gil Scott-Heron.\u003c/p>\n\u003cp>As Black Lives Matter demonstrations swept the nation, “we had lots of conversations around the George Floyd protests,” Marquès recalls. “The question kept coming up, ‘Why don’t we do something before the government kills [people]?’ Brian’s wife had read Keith’s book and that made connections. Keith loves jazz and John Coltrane, and he knows so much about it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/L8b3ZMwA9Qc'\n title='//www.youtube.com/embed/L8b3ZMwA9Qc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Talking to LaMar is a bracing experience. People often describe music as a lifeline, but in his case it provides a soul-bearing creative outlet, essential emotional sustenance and a direct connection to fellow jazz devotees. He grew up in Cleveland surrounded by sacred and secular Black popular music, and didn’t really discover jazz until he was years into his sentence. On death row, he immersed himself in the music of Thelonious Monk, Nat “King” Cole and, particularly, John Coltrane, “all these people who created this canon of creativity,” he says.\u003c/p>\n\u003cp>“I started reading history books, learning and growing. My loyalty to this art form grew along with my knowledge of this art form. It’s an integral part of my life. I start listening when I wake up and throughout the day it helps me stay focused.”\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=2002727958/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>He’s all too aware of the tension between his incarceration and jazz’s liberatory impulse, though he echoes the epiphany of Albert Camus’ Meursault in \u003cem>The Stranger\u003c/em> in describing his mindset. LaMar celebrates the music as a vehicle for freedom, but it’s the embrace of a man who has liberated himself.\u003c/p>\n\u003cp>“I’m already free,” he says. “I just happen to be in this place, death row. But we’re all leaving this planet. What are you going to do between now and then?”\u003c/p>\n\u003cfigure id=\"attachment_13935221\" class=\"wp-caption aligncenter\" style=\"max-width: 1663px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-scaled.jpeg\" alt=\"A musician visiting from the outside and an incarcerated poet hug inside a prison.\" width=\"1663\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-scaled.jpeg 1663w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-800x1232.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-1020x1570.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-160x246.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-768x1182.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-998x1536.jpeg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-1330x2048.jpeg 1330w\" sizes=\"(max-width: 1663px) 100vw, 1663px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Albert Marquès and poet Keith LaMar in 2022. \u003ccite>(Courtesy of Albert Marquès)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the Oct. 3-4 performances at Mr. Tipple’s, which are fundraisers for the legal campaign to overturn his sentence, LaMar will be reciting pieces from \u003cem>Freedom First\u003c/em> via phone from death row as Marquès leads a quartet featuring bassist Joshua Thurston-Milgrom, drummer Zack O’Farrill and tenor saxophonist Kazemde George.\u003c/p>\n\u003cp>O’Farrill, the third generation of an illustrious jazz clan, and the Berkeley-reared George have been working with Marquès since he first assembled some 30 musicians for performance protests in 2020. Since then, more than 70 musicians have participated in the project, including Berkeley-raised pianist-composer Samora Pinderhughes, who conducted a public conversation with LaMar last year as part of \u003ca href=\"https://ybca.org/event/transformation-music-and-healing-with-keith-lamar-and-samora-pinderhughes/\">\u003cem>The Healing Project\u003c/em>\u003c/a>, an extensive installation at Yerba Buena Center for the Arts. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For George, who returns to the Bay Area to perform at the \u003ca href=\"https://blackcatsf.turntabletickets.com/shows/1487/?date=2023-11-24\">Black Cat Nov. 24-26\u003c/a> with vocalist Sami Stevens, the attraction to playing in Freedom First is both political and aesthetic. “First of all, we’re playing really good music, Albert’s originals, gospel and John Coltrane, all stuff I’m really into interpreting from a musical standpoint,” he says. “And we play some Trane I wouldn’t normally play, like ‘Alabama,’ a really heavy tune that I’m not going to call on a regular gig for a Saturday night crowd. The purpose of this music is different. This feels like we’re serving a bigger purpose.”\u003c/p>\n\u003cp>Mr. Tipples, a chatty supper club that’s been a jazz hot spot since 2016, isn’t an obvious venue for Freedom First, unless you know that its owner, Bordeleau, spent his college years in Ann Arbor giving music workshops in Michigan prisons.\u003c/p>\n\u003cp>“The idea was to create art and joy in the prison system, so I jumped at this when I heard about LaMar,” he says. “Those experiences made me really interested in not just serving cocktails to fancy people. This is much more interesting and impactful.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of Freedom First’s impact flows from LaMar’s musical commitment. He can’t hear much of what the musicians are playing to accompany him in the moment, but he listens back to recordings to study how they respond to his voice. And he’s constantly absorbing new sounds and songs. He listens mostly to jazz, but lately he’s been checking out Elvis Costello and he’s been obsessed with a song by Mercury Prize-winning British singer-songwriter Benjamin Clementine, “\u003ca href=\"https://www.youtube.com/watch?v=6DU6lDPs-AQ\">Condolence\u003c/a>.”\u003c/p>\n\u003cp>“Some of what music does for me as a person, it immerses and envelopes me in my significance as a human being,” he says. “It lets me feel I’m a member of this thing called humanity.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Freedom First performs at \u003ca href=\"https://mrtipplessf.com/calendar/albert-marques-and-keith-lamar-freedom-first/\">Mr. Tipple’s on Oct. 3-4, 2023\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "8-over-80-gary-bartz",
"title": "For 82-Year-Old Jazz Saxophonist Gary Bartz, ‘Music Is My Religion’",
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"headTitle": "For 82-Year-Old Jazz Saxophonist Gary Bartz, ‘Music Is My Religion’ | KQED",
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"content": "\u003cfigure id=\"attachment_13935187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg\" alt=\"A man with white hair and a blue suit plays alto saxophone with foliage in the background.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays saxophone on the rooftop of KQED in San Francisco, Aug. 13, 2023. The recently named NEA Jazz Master has just finished recording three new projects, due to be released in 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This story is part of the series \u003ca href=\"http://kqed.org/8over80\">8 Over 80\u003c/a>, celebrating artists and cultural figures over the age of 80 who continue to shape the greater Bay Area.\u003c/i>\u003c/p>\n\u003cp>[dropcap]G[/dropcap]ary Bartz wants to go to the playground. Walking along 17th Street in San Francisco, he spies a swing set in Franklin Square and clambers up the park stairs, carrying his saxophone.\u003c/p>\n\u003cp>In his 82 years, Bartz has released dozens of albums under his own name, and hundreds more as a sideman. He’s performed thousands of concerts with jazz luminaries like Miles Davis, Pharoah Sanders and Art Blakey, all over the globe. In August, three weeks before we meet, the \u003ca href=\"https://www.npr.org/2023/07/12/1187199875/nea-jazz-masters\">NEA named him a 2024 Jazz Master\u003c/a>, a prestigious national honor.\u003c/p>\n\u003cp>But today, he’s just returned from a marathon three-week recording session in Los Angeles, and he’s ready to unwind. At the playground, he hops on a swing, throws his head back with a wide smile and starts singing: “Fairy tales can come true / It can happen to you / If you’re young at heart…”\u003c/p>\n\u003cp>The passage of time, this inevitable thing that might nag at other octogenarians, comes to a halt. For a moment, singing of love and life and dreams, Bartz is a kid again, transported back to his childhood in Baltimore. When he reaches the end of the song, he stands up, brushes the dirt from the swing’s chains off his hands, and asks out loud to no one in particular:\u003c/p>\n\u003cp>“Who’s 82 \u003cem>now\u003c/em>?!”\u003c/p>\n\u003cfigure id=\"attachment_13933561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg\" alt=\"Gary Bartz swings at the playground at Franklin Square in San Francisco\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz swings at the playground at San Francisco’s Franklin Square. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There may be a reason for Bartz’s carefree mood these days. In addition to the NEA honor, which comes with a $25,000 grant, his music is undergoing a renaissance among younger listeners. Part of it is his recent collaboration with Adrian Younge and Ali Shaheed Muhammad (from A Tribe Called Quest) in their \u003cem>Jazz Is Dead\u003c/em> series, which introduced Bartz to a new audience amidst a growing crossover of jazz and hip-hop.\u003c/p>\n\u003cp>But mainly, it’s that Bartz has always made music that reflects the emotional, spiritual and political realms of the world. Everyone else is just catching up, is all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>‘Spontaneous composition’ in the Bay Area\u003c/h2>\n\u003cp>For a college professor — he’s taught at Oberlin for over two decades — Bartz is quicker to admit what he doesn’t know than what he does. He says he can’t define love, exactly. He doesn’t know what happens to us in the afterlife, only that man-made religions exist to console those who refuse to see reality. As for music, this thing he’s spent his life studying, “we don’t know where it comes from, and we don’t know where it goes.”\u003c/p>\n\u003cp>He does know about the things he can control, though. On his days at home, Bartz sometimes runs or bikes around Lake Merritt or Lafayette Reservoir. He tries to stay on his diet, and listens to Frank Sinatra “about every day.” Most of the time, he practices his horn: running through his compositions, or spontaneously creating new ones. Other people, he says, foolishly call it “improvising.”\u003c/p>\n\u003cp>“But we’re not improvising. We’re composing, all the time,” he says about soloing. “Improvising means you’re making stuff up. You don’t study something for 50 years just to go make stuff up.”\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In those 50 years, Bartz kept being drawn to the Bay Area. He closed out the final show at the old Yoshi’s in North Oakland, appeared regularly at the Keystone Korner in San Francisco, and recorded prolifically at Fantasy Studios in Berkeley. He even tells a story of crossing paths with Bob Marley at a live radio broadcast session in Sausalito. “There’s so much great music that has come out of here,” he says. “It’s always been a very fertile place for me.”\u003c/p>\n\u003cp>Six years ago, Bartz moved to a house on the border of Oakland and Emeryville to be closer to family. He admits to a touch of nomadism, suggesting he may not stay forever. But in his time living in the Bay Area, he’s become part of the scene on major stages like the Kuumbwa Jazz Center and the San Jose Jazz Festival.\u003c/p>\n\u003cp>[aside tag='8over80' label='More 8 Over 80']At the SFJAZZ Center in January, Bartz appeared at a tribute to the late pianist McCoy Tyner, in whose band he performed for many years. (“He was composing music at the highest level,” Bartz says.) On tunes like “Contemplation,” Bartz soloed on stage — or rather, spontaneously composed — with more imagination, technique and spirit than many musicians half his age.\u003c/p>\n\u003cp>In June of this year, Bartz again paid tribute to a recently departed friend, who he calls “my brother”: the saxophone giant Pharoah Sanders. At the Healdsburg Jazz Festival, Bartz performed Sanders landmarks like “The Creator Has a Master Plan,” and stepped to the microphone to sing the pensive “Colors,” with its poetic lyrics about pushing aside the misery of life, and inviting happiness and joy.\u003c/p>\n\u003ch2>Hearing the future\u003c/h2>\n\u003cp>Bartz was just six when he heard Charlie Parker for the first time, and “it was the most beautiful thing I’d ever heard,” he says. He remembers thinking to himself: \u003cem>that’s what I want to do with my life\u003c/em>.\u003c/p>\n\u003cp>Five years later, during which he listened studiously to the jazz greats of the day, his parents bought him an alto saxophone. (His life goal was aided by the fact that his father, Floyd, ran a jazz club in Baltimore.) After attending Juilliard, he packed off to New York, where he hooked up with jazz drum giant Max Roach and, at age 24, joined Art Blakey’s Jazz Messengers. While stringing gigs together, he sometimes slept on the subway.\u003c/p>\n\u003cfigure id=\"attachment_13933560\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg\" alt=\"A man in a blue suit looks determinedly into the camera\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait on San Francisco’s Bryant Street. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Miles Davis asked Bartz to join his band, in 1970, he’d already played with the likes of Charles Mingus, Roy Ayers, Eric Dolphy and Woody Shaw. But his time with Miles, captured on records like \u003cem>Live-Evil\u003c/em> and \u003cem>The Cellar Door Sessions\u003c/em>, was an experience like no other.\u003c/p>\n\u003cp>“Miles could hear the future,” Bartz says. “That’s the job of any artist, to be able to see or hear the future. Something that’s never been heard before. That’s what we’re all looking for.”\u003c/p>\n\u003cp>[aside postID='arts_13927947']Listening to Bartz’s own albums from the early 1970s, one gets a glimpse of his version of the future. On 1971’s \u003cem>Harlem Bush Music—Uhuru\u003c/em>, made with his group NTU Troop, blues and ramshackle proto-funk mix with avant-garde jazz and the music of Central and West Africa. Lyrics sung plainly by either Bartz or vocalist Andy Bey cover topics like Vietnam (“Vietcong”), life in the cosmos (“Celestial Blues”), conscientious objection to war (“Uhuru Sasa”), and the emotional abrasion of being Black in America (“Blue (A Folk Tale)”).\u003c/p>\n\u003cp>At the same time, Bartz also conveyed a playful side, as heard on the later tracks “Whasaname” and “Dozens (The Sounding Song),” which refers to the \u003ca href=\"https://www.elijahwald.com/dozens.html\">one-upping game of insults\u003c/a> which strongly influenced early hip-hop. (Rap is often a dividing line among generations, but Bartz understood it immediately: “When they asked Rakim where he got his flow, he said ‘I got my flow from listening to John Coltrane.’ So that should tell you something right there.”)\u003c/p>\n\u003cp>Bartz has also drawn on the words of poets, like Paul Laurence Dunbar for “\u003ca href=\"https://youtu.be/5uYVxQKLtVc?si=xYZq7titrr5KPQL0&t=1795\">Parted\u003c/a>,” and Langston Hughes for the rhythmic, reflective “\u003ca href=\"https://www.youtube.com/watch?v=l9WCFQzznC4\">I’ve Known Rivers\u003c/a>.” The latter is a highlight in Bartz’s catalog, and an ode to a community of people that spans the Congo to the Mississippi. Its final line is a meditation on age and experience: “My soul has grown deep like the rivers.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l9WCFQzznC4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The world is still catching up to Gary Bartz, but to write so soulfully, so young, I gather Bartz was also catching up to himself. He first recorded “I’ve Known Rivers” in France when he was 33 years old. Almost 50 years later, after living in New York, Italy, Spain, and Los Angeles, I ask how he views modern-day America.\u003c/p>\n\u003cp>“Well, our laws are based on a false premise, which is that color of your skin makes a race. That’s a dumb premise,” he says. “There’s only one human race. I mean, I’ve never seen a different one. Little kids know it. They have to be taught different, either on purpose, or just by society. I found out by growing up in a segregated city.”\u003c/p>\n\u003cp>With so much lived experience, I wonder: Does he feel 82?\u003c/p>\n\u003cp>“Physically, I do, sometimes,” Bartz says. “Mentally, I see myself the same as I’ve always seen myself. But when I look in the mirror, I say, ‘Who is he?’”\u003c/p>\n\u003cfigure id=\"attachment_13933559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg\" alt=\"Gary Bartz plays his saxophone on the rooftop of KQED\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays his saxophone on the rooftop of KQED. ‘Listening is more important than playing,’ he often says. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staying devout\u003c/h2>\n\u003cp>A British reporter once asked Charlie Parker for his religious affiliation. “I am a devout musician,” Parker replied. Bartz likes that concept, and calls himself a born-again musician, “because there were times that I forsook music, and didn’t realize how important it really was.”\u003c/p>\n\u003cp>Bartz tells me if he could go back in time and give advice to himself at age 20, he’d say: “Be careful.”\u003c/p>\n\u003cp>Drugs were rampant in New York jazz circles at the time. Heroin, especially. If you did it, you were immediately connected to other musicians who did it too; people like Art Blakey, Kenny Dorham and Philly Joe Jones. Bartz did it, and naturally got hooked. It lasted on and off for years. “I endangered myself,” Bartz says.\u003c/p>\n\u003cfigure id=\"attachment_13935188\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BartzStage.72dpi.jpg\" alt=\"A man in long pants and yellow shit plays saxophone under stage lights \" width=\"1920\" height=\"1257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1536x1006.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz onstage with NTU Troop at the Montreux Jazz Festival in 1973. \u003ccite>(Tony Lane/Prestige Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once, a friend asked Bartz, “Who do you play music for?” “It was like a koan,” he says. “It took me a while to understand even the question: Who do I play music for?”\u003c/p>\n\u003cp>He says he spent much of the 1970s trying to answer the question. He got close to an answer in 1977, when he switched gears stylistically and recorded the song “\u003ca href=\"https://www.youtube.com/watch?v=RfiEkI3Z0ig\">Music is My Sanctuary\u003c/a>.” Released on Capitol Records, it became one of his better known commercial singles. But originally, it had a different title.\u003c/p>\n\u003cp>“For me,” Bartz says, “music is my \u003cem>religion\u003c/em>.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13935187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg\" alt=\"A man with white hair and a blue suit plays alto saxophone with foliage in the background.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays saxophone on the rooftop of KQED in San Francisco, Aug. 13, 2023. The recently named NEA Jazz Master has just finished recording three new projects, due to be released in 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This story is part of the series \u003ca href=\"http://kqed.org/8over80\">8 Over 80\u003c/a>, celebrating artists and cultural figures over the age of 80 who continue to shape the greater Bay Area.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">G\u003c/span>\u003c/p>\u003cp>ary Bartz wants to go to the playground. Walking along 17th Street in San Francisco, he spies a swing set in Franklin Square and clambers up the park stairs, carrying his saxophone.\u003c/p>\n\u003cp>In his 82 years, Bartz has released dozens of albums under his own name, and hundreds more as a sideman. He’s performed thousands of concerts with jazz luminaries like Miles Davis, Pharoah Sanders and Art Blakey, all over the globe. In August, three weeks before we meet, the \u003ca href=\"https://www.npr.org/2023/07/12/1187199875/nea-jazz-masters\">NEA named him a 2024 Jazz Master\u003c/a>, a prestigious national honor.\u003c/p>\n\u003cp>But today, he’s just returned from a marathon three-week recording session in Los Angeles, and he’s ready to unwind. At the playground, he hops on a swing, throws his head back with a wide smile and starts singing: “Fairy tales can come true / It can happen to you / If you’re young at heart…”\u003c/p>\n\u003cp>The passage of time, this inevitable thing that might nag at other octogenarians, comes to a halt. For a moment, singing of love and life and dreams, Bartz is a kid again, transported back to his childhood in Baltimore. When he reaches the end of the song, he stands up, brushes the dirt from the swing’s chains off his hands, and asks out loud to no one in particular:\u003c/p>\n\u003cp>“Who’s 82 \u003cem>now\u003c/em>?!”\u003c/p>\n\u003cfigure id=\"attachment_13933561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg\" alt=\"Gary Bartz swings at the playground at Franklin Square in San Francisco\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz swings at the playground at San Francisco’s Franklin Square. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There may be a reason for Bartz’s carefree mood these days. In addition to the NEA honor, which comes with a $25,000 grant, his music is undergoing a renaissance among younger listeners. Part of it is his recent collaboration with Adrian Younge and Ali Shaheed Muhammad (from A Tribe Called Quest) in their \u003cem>Jazz Is Dead\u003c/em> series, which introduced Bartz to a new audience amidst a growing crossover of jazz and hip-hop.\u003c/p>\n\u003cp>But mainly, it’s that Bartz has always made music that reflects the emotional, spiritual and political realms of the world. Everyone else is just catching up, is all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘Spontaneous composition’ in the Bay Area\u003c/h2>\n\u003cp>For a college professor — he’s taught at Oberlin for over two decades — Bartz is quicker to admit what he doesn’t know than what he does. He says he can’t define love, exactly. He doesn’t know what happens to us in the afterlife, only that man-made religions exist to console those who refuse to see reality. As for music, this thing he’s spent his life studying, “we don’t know where it comes from, and we don’t know where it goes.”\u003c/p>\n\u003cp>He does know about the things he can control, though. On his days at home, Bartz sometimes runs or bikes around Lake Merritt or Lafayette Reservoir. He tries to stay on his diet, and listens to Frank Sinatra “about every day.” Most of the time, he practices his horn: running through his compositions, or spontaneously creating new ones. Other people, he says, foolishly call it “improvising.”\u003c/p>\n\u003cp>“But we’re not improvising. We’re composing, all the time,” he says about soloing. “Improvising means you’re making stuff up. You don’t study something for 50 years just to go make stuff up.”\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In those 50 years, Bartz kept being drawn to the Bay Area. He closed out the final show at the old Yoshi’s in North Oakland, appeared regularly at the Keystone Korner in San Francisco, and recorded prolifically at Fantasy Studios in Berkeley. He even tells a story of crossing paths with Bob Marley at a live radio broadcast session in Sausalito. “There’s so much great music that has come out of here,” he says. “It’s always been a very fertile place for me.”\u003c/p>\n\u003cp>Six years ago, Bartz moved to a house on the border of Oakland and Emeryville to be closer to family. He admits to a touch of nomadism, suggesting he may not stay forever. But in his time living in the Bay Area, he’s become part of the scene on major stages like the Kuumbwa Jazz Center and the San Jose Jazz Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the SFJAZZ Center in January, Bartz appeared at a tribute to the late pianist McCoy Tyner, in whose band he performed for many years. (“He was composing music at the highest level,” Bartz says.) On tunes like “Contemplation,” Bartz soloed on stage — or rather, spontaneously composed — with more imagination, technique and spirit than many musicians half his age.\u003c/p>\n\u003cp>In June of this year, Bartz again paid tribute to a recently departed friend, who he calls “my brother”: the saxophone giant Pharoah Sanders. At the Healdsburg Jazz Festival, Bartz performed Sanders landmarks like “The Creator Has a Master Plan,” and stepped to the microphone to sing the pensive “Colors,” with its poetic lyrics about pushing aside the misery of life, and inviting happiness and joy.\u003c/p>\n\u003ch2>Hearing the future\u003c/h2>\n\u003cp>Bartz was just six when he heard Charlie Parker for the first time, and “it was the most beautiful thing I’d ever heard,” he says. He remembers thinking to himself: \u003cem>that’s what I want to do with my life\u003c/em>.\u003c/p>\n\u003cp>Five years later, during which he listened studiously to the jazz greats of the day, his parents bought him an alto saxophone. (His life goal was aided by the fact that his father, Floyd, ran a jazz club in Baltimore.) After attending Juilliard, he packed off to New York, where he hooked up with jazz drum giant Max Roach and, at age 24, joined Art Blakey’s Jazz Messengers. While stringing gigs together, he sometimes slept on the subway.\u003c/p>\n\u003cfigure id=\"attachment_13933560\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg\" alt=\"A man in a blue suit looks determinedly into the camera\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait on San Francisco’s Bryant Street. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Miles Davis asked Bartz to join his band, in 1970, he’d already played with the likes of Charles Mingus, Roy Ayers, Eric Dolphy and Woody Shaw. But his time with Miles, captured on records like \u003cem>Live-Evil\u003c/em> and \u003cem>The Cellar Door Sessions\u003c/em>, was an experience like no other.\u003c/p>\n\u003cp>“Miles could hear the future,” Bartz says. “That’s the job of any artist, to be able to see or hear the future. Something that’s never been heard before. That’s what we’re all looking for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Listening to Bartz’s own albums from the early 1970s, one gets a glimpse of his version of the future. On 1971’s \u003cem>Harlem Bush Music—Uhuru\u003c/em>, made with his group NTU Troop, blues and ramshackle proto-funk mix with avant-garde jazz and the music of Central and West Africa. Lyrics sung plainly by either Bartz or vocalist Andy Bey cover topics like Vietnam (“Vietcong”), life in the cosmos (“Celestial Blues”), conscientious objection to war (“Uhuru Sasa”), and the emotional abrasion of being Black in America (“Blue (A Folk Tale)”).\u003c/p>\n\u003cp>At the same time, Bartz also conveyed a playful side, as heard on the later tracks “Whasaname” and “Dozens (The Sounding Song),” which refers to the \u003ca href=\"https://www.elijahwald.com/dozens.html\">one-upping game of insults\u003c/a> which strongly influenced early hip-hop. (Rap is often a dividing line among generations, but Bartz understood it immediately: “When they asked Rakim where he got his flow, he said ‘I got my flow from listening to John Coltrane.’ So that should tell you something right there.”)\u003c/p>\n\u003cp>Bartz has also drawn on the words of poets, like Paul Laurence Dunbar for “\u003ca href=\"https://youtu.be/5uYVxQKLtVc?si=xYZq7titrr5KPQL0&t=1795\">Parted\u003c/a>,” and Langston Hughes for the rhythmic, reflective “\u003ca href=\"https://www.youtube.com/watch?v=l9WCFQzznC4\">I’ve Known Rivers\u003c/a>.” The latter is a highlight in Bartz’s catalog, and an ode to a community of people that spans the Congo to the Mississippi. Its final line is a meditation on age and experience: “My soul has grown deep like the rivers.”\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/l9WCFQzznC4'\n title='//www.youtube.com/embed/l9WCFQzznC4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>The world is still catching up to Gary Bartz, but to write so soulfully, so young, I gather Bartz was also catching up to himself. He first recorded “I’ve Known Rivers” in France when he was 33 years old. Almost 50 years later, after living in New York, Italy, Spain, and Los Angeles, I ask how he views modern-day America.\u003c/p>\n\u003cp>“Well, our laws are based on a false premise, which is that color of your skin makes a race. That’s a dumb premise,” he says. “There’s only one human race. I mean, I’ve never seen a different one. Little kids know it. They have to be taught different, either on purpose, or just by society. I found out by growing up in a segregated city.”\u003c/p>\n\u003cp>With so much lived experience, I wonder: Does he feel 82?\u003c/p>\n\u003cp>“Physically, I do, sometimes,” Bartz says. “Mentally, I see myself the same as I’ve always seen myself. But when I look in the mirror, I say, ‘Who is he?’”\u003c/p>\n\u003cfigure id=\"attachment_13933559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg\" alt=\"Gary Bartz plays his saxophone on the rooftop of KQED\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays his saxophone on the rooftop of KQED. ‘Listening is more important than playing,’ he often says. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staying devout\u003c/h2>\n\u003cp>A British reporter once asked Charlie Parker for his religious affiliation. “I am a devout musician,” Parker replied. Bartz likes that concept, and calls himself a born-again musician, “because there were times that I forsook music, and didn’t realize how important it really was.”\u003c/p>\n\u003cp>Bartz tells me if he could go back in time and give advice to himself at age 20, he’d say: “Be careful.”\u003c/p>\n\u003cp>Drugs were rampant in New York jazz circles at the time. Heroin, especially. If you did it, you were immediately connected to other musicians who did it too; people like Art Blakey, Kenny Dorham and Philly Joe Jones. Bartz did it, and naturally got hooked. It lasted on and off for years. “I endangered myself,” Bartz says.\u003c/p>\n\u003cfigure id=\"attachment_13935188\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BartzStage.72dpi.jpg\" alt=\"A man in long pants and yellow shit plays saxophone under stage lights \" width=\"1920\" height=\"1257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1536x1006.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz onstage with NTU Troop at the Montreux Jazz Festival in 1973. \u003ccite>(Tony Lane/Prestige Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once, a friend asked Bartz, “Who do you play music for?” “It was like a koan,” he says. “It took me a while to understand even the question: Who do I play music for?”\u003c/p>\n\u003cp>He says he spent much of the 1970s trying to answer the question. He got close to an answer in 1977, when he switched gears stylistically and recorded the song “\u003ca href=\"https://www.youtube.com/watch?v=RfiEkI3Z0ig\">Music is My Sanctuary\u003c/a>.” Released on Capitol Records, it became one of his better known commercial singles. But originally, it had a different title.\u003c/p>\n\u003cp>“For me,” Bartz says, “music is my \u003cem>religion\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hyphy Kids Got Trauma: A Rightnowish Podcast Series",
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"headTitle": "Hyphy Kids Got Trauma: A Rightnowish Podcast Series | KQED",
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"content": "\u003cfigure id=\"attachment_13935051\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png\" alt=\"The words Rightnowish Presents Hyphy Kids Got Trauma are airbrushed on a white t-shirt over a yellow background.\" width=\"3000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1920x1920.png 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy Kids Got Trauma, the podcast series from Rightnowish. \u003ccite>(Rebecca Kao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]he year 2006 was a wild one in the Bay Area, especially if, like me, you were into hip-hop.\u003c/p>\n\u003cp>The scene was dominated by the \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\">hyphy movement\u003c/a>, a youth culture driven by uptempo music, oversized airbrushed white T-shirts, big-ass sunglasses called stunna shades and candy painted cars doing donuts in intersections. Music blasted out of speakers lodged in the cars’ front grills as crowds of people gathered around, screaming “swang that shit.”\u003c/p>\n\u003cp>The people fueled the music, and in turn, the music moved the people. It was unbridled energy, livewire behavior, and communal celebration.\u003c/p>\n\u003cp>But beneath it all? That’s where it gets real — and why we’re calling this special Rightnowish podcast series Hyphy Kids Got Trauma.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3485225341&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13932929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy was known as a high-energy, flamboyant movement, but layered beneath it surface was no small amount of pain. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]O[/dropcap]n March 7, 2006, Oakland rapper Too Short dropped the single “Blow The Whistle.” Produced by one of Atlanta’s most acclaimed artists, Lil Jon, it perfectly married the energy of hyphy music with the power of crunk music. With a sinister bass line, energetic drums, a simple hook and Too Short’s cocky flow, the song was a smash, and still gets present-day crowds turnt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The very next week, on March 14, Vallejo’s legendary lyricist and esteemed entrepreneur E-40 released \u003cem>My Ghetto Report Card\u003c/em>, a landmark project that featured the hit song “Tell Me When to Go.” Also produced by Lil Jon, and featuring fan favorite Keak Da Sneak from East Oakland, the song and accompanying video caused a cultural earthquake, the aftershocks of which are felt to this day.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4775019711&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That year also brought about landmark projects from San Francisco’s San Quinn, Big Rich, and Messy Marv. West Oakland’s J-Stalin teamed up with DJ Fresh for a banger. North Oakland’s Mistah F.A.B. and Pittsburg’s late lyricist The Jacka both rode the wave of big projects they individually dropped the year prior. And at the end of 2006, Berkeley’s The Pack stepped into the rap game with the hit song “Vans.”\u003c/p>\n\u003cp>There was this one artist, Beeda Weeda, from a neighborhood in East Oakland known as the Dubs — or Murder Dubs — who made this one song I couldn’t stop slappin’.\u003c/p>\n\u003cp>[aside postID='arts_13923938']The track was simply titled “\u003ca href=\"https://www.youtube.com/watch?v=lXx3oATdjeg\">We Ain’t Listening\u003c/a>,” and it was pure youth rebellion over drums and synths. The lyrics provided a vent for me, a frustrated teenager. I was one of the many young adults who’d consumed too much dark liquor while celebrating each drug-induced day as if it were my last. Maybe because it very well could’ve been.\u003c/p>\n\u003cp>Almost 20 years later, with the benefit of hindsight and the language to express it, I can see how I was partying while simultaneously mourning, and living in a constant, traumatic state of fear.\u003c/p>\n\u003cp>In January of 2006, my friend Willie Clay, who I’d known since middle school, was shot and killed in the Dubs. Multiple people were hit; one other person died. That year, 148 people were killed in Oakland, one of the Town’s highest homicide totals ever recorded.\u003c/p>\n\u003cfigure id=\"attachment_13935136\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935136\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg\" alt=\"A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]W[/dropcap]hen people talk about the hyphy movement, it’s often remembered as fun-loving and goofy. And while there were definitely some comical dances and corny songs, the origins of hyphy are far from funny.\u003c/p>\n\u003cp>“Hyphy” originally meant hyperactive, and not in a good way. Like an aggressive loose dog, a driver speeding on the wrong side of the street, or rebellious teenagers who tell oppressive authority figures “we ain’t listening” without giving it a second thought.\u003c/p>\n\u003cp>As the culture grew, though, the term got watered down. There was actually a lot of pain in that era. Some of the scars were specific to that year, while others were the latest incarnation of larger societal issues (systemic racism, sexism, capitalism and imperialism, to name a few) that have oppressed folks in this country for centuries. But no matter what the cause was, the pain gave us a reason to party.\u003c/p>\n\u003cp>The music was an outlet; a salve for the wounds caused by the world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3978396932&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935139\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg\" alt=\"Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin.\" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-768x512.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin. \u003ccite>(Alexander Warnow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to festering neighborhood beefs and unfortunate acts of community violence, we were facing the onset of gentrification. Banks were handing out predatory housing loans, rents were increasing and \u003ca href=\"https://www.nytimes.com/2010/09/03/us/politics/03bcbrown.html\" target=\"_blank\" rel=\"noopener\">former Oakland Mayor Jerry Brown laid out a plan\u003c/a> to redevelop downtown and usher in thousands of new residents. \u003ca href=\"https://www.theguardian.com/us-news/2018/jun/01/from-black-panthers-to-bbq-becky-the-displacement-of-black-oakland\" target=\"_blank\" rel=\"noopener\">Black folks were pushed out of Oakland in droves\u003c/a>, relocating to California’s Central Valley, Nevada, Arizona or one of the southern states. We were also dealing with over-policing from a corrupt Oakland Police Department that had entered its third year of federal oversight.\u003c/p>\n\u003cp>At the same time, the unjust system of mass incarceration in California hit its peak. In 2006, the state’s prisons operated at \u003ca href=\"https://www.library.ca.gov/wp-content/uploads/GovernmentPublications/executive-order-proclamation/38-Proc-2006-93.pdf\" target=\"_blank\" rel=\"noopener\">200% of their capacity\u003c/a>.\u003c/p>\n\u003cp>And nationally, as the United States hurtled toward its worst economic downturn since the Great Depression, the military was sending my peers to Afghanistan to fight the War on Terror, a conflict that would eventually become the longest war this country has ever seen.\u003c/p>\n\u003cp>Yeah, we were dealing with a lot.\u003c/p>\n\u003cp>How did we cope? We went stupid. We shook dreads. We dodged cops. We smoked grapes, sipped drank and shoved pills in our faces. We turned up the music, revved engines and screamed “Yee!” ’til our voices shook the concrete, causing the nation to take note of us. \u003cem>That’s\u003c/em> how we dealt with pain.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6098869655&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A scraper bike on the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap] few years ago I was bending corners around West Oakland and saw some graffiti on an underpass that stuck with me. The words were simple: “hyphy kids got trauma.”\u003c/p>\n\u003cp>The piece I saw, inspired by lyrics from San Francisco’s \u003ca href=\"https://www.textmerecords.com/rich-iyala\" target=\"_blank\" rel=\"noopener\">Rich Iyala\u003c/a>, was by a graffiti writer named Nasty. But then I saw it in a few other places too, by different writers.\u003c/p>\n\u003cp>Evidently the idea resonated with folks. I wasn’t the only one.\u003c/p>\n\u003cp>I have fond memories of watching cars dance at sideshows, and seeing homies gig during turf dance battles at East Oakland’s Youth Uprising Center. But those sweet reflections, of kicking it with my friends at the teenage club — the Candy Shop, or hotboxing with the homies in the parking lot — are met with the unsavory realities of the the hyphy movement. It wasn’t all fun and games. There were a lot of people with the letters RIP airbrushed on their white t-shirts, and folks with funeral pamphlets on the front dashboard of their Buick scrapers. Evidence of the pain.\u003c/p>\n\u003cp>As a hip-hop loving, budding journalist, laying the foundation for my career path while trying to stay out of harm’s way, I took note of it all. Now, as an adult, I see it with a new perspective.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The year 2006 truly was a wild year for the Bay Area. I’m still healing from it, and I’m not the only one.\u003c/p>\n\n",
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"title": "Hyphy Kids Got Trauma: A Rightnowish Podcast Series | KQED",
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"headline": "Hyphy Kids Got Trauma: A Rightnowish Podcast Series",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13935051\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png\" alt=\"The words Rightnowish Presents Hyphy Kids Got Trauma are airbrushed on a white t-shirt over a yellow background.\" width=\"3000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1920x1920.png 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy Kids Got Trauma, the podcast series from Rightnowish. \u003ccite>(Rebecca Kao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he year 2006 was a wild one in the Bay Area, especially if, like me, you were into hip-hop.\u003c/p>\n\u003cp>The scene was dominated by the \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\">hyphy movement\u003c/a>, a youth culture driven by uptempo music, oversized airbrushed white T-shirts, big-ass sunglasses called stunna shades and candy painted cars doing donuts in intersections. Music blasted out of speakers lodged in the cars’ front grills as crowds of people gathered around, screaming “swang that shit.”\u003c/p>\n\u003cp>The people fueled the music, and in turn, the music moved the people. It was unbridled energy, livewire behavior, and communal celebration.\u003c/p>\n\u003cp>But beneath it all? That’s where it gets real — and why we’re calling this special Rightnowish podcast series Hyphy Kids Got Trauma.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3485225341&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13932929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy was known as a high-energy, flamboyant movement, but layered beneath it surface was no small amount of pain. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n March 7, 2006, Oakland rapper Too Short dropped the single “Blow The Whistle.” Produced by one of Atlanta’s most acclaimed artists, Lil Jon, it perfectly married the energy of hyphy music with the power of crunk music. With a sinister bass line, energetic drums, a simple hook and Too Short’s cocky flow, the song was a smash, and still gets present-day crowds turnt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The very next week, on March 14, Vallejo’s legendary lyricist and esteemed entrepreneur E-40 released \u003cem>My Ghetto Report Card\u003c/em>, a landmark project that featured the hit song “Tell Me When to Go.” Also produced by Lil Jon, and featuring fan favorite Keak Da Sneak from East Oakland, the song and accompanying video caused a cultural earthquake, the aftershocks of which are felt to this day.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4775019711&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That year also brought about landmark projects from San Francisco’s San Quinn, Big Rich, and Messy Marv. West Oakland’s J-Stalin teamed up with DJ Fresh for a banger. North Oakland’s Mistah F.A.B. and Pittsburg’s late lyricist The Jacka both rode the wave of big projects they individually dropped the year prior. And at the end of 2006, Berkeley’s The Pack stepped into the rap game with the hit song “Vans.”\u003c/p>\n\u003cp>There was this one artist, Beeda Weeda, from a neighborhood in East Oakland known as the Dubs — or Murder Dubs — who made this one song I couldn’t stop slappin’.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The track was simply titled “\u003ca href=\"https://www.youtube.com/watch?v=lXx3oATdjeg\">We Ain’t Listening\u003c/a>,” and it was pure youth rebellion over drums and synths. The lyrics provided a vent for me, a frustrated teenager. I was one of the many young adults who’d consumed too much dark liquor while celebrating each drug-induced day as if it were my last. Maybe because it very well could’ve been.\u003c/p>\n\u003cp>Almost 20 years later, with the benefit of hindsight and the language to express it, I can see how I was partying while simultaneously mourning, and living in a constant, traumatic state of fear.\u003c/p>\n\u003cp>In January of 2006, my friend Willie Clay, who I’d known since middle school, was shot and killed in the Dubs. Multiple people were hit; one other person died. That year, 148 people were killed in Oakland, one of the Town’s highest homicide totals ever recorded.\u003c/p>\n\u003cfigure id=\"attachment_13935136\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935136\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg\" alt=\"A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen people talk about the hyphy movement, it’s often remembered as fun-loving and goofy. And while there were definitely some comical dances and corny songs, the origins of hyphy are far from funny.\u003c/p>\n\u003cp>“Hyphy” originally meant hyperactive, and not in a good way. Like an aggressive loose dog, a driver speeding on the wrong side of the street, or rebellious teenagers who tell oppressive authority figures “we ain’t listening” without giving it a second thought.\u003c/p>\n\u003cp>As the culture grew, though, the term got watered down. There was actually a lot of pain in that era. Some of the scars were specific to that year, while others were the latest incarnation of larger societal issues (systemic racism, sexism, capitalism and imperialism, to name a few) that have oppressed folks in this country for centuries. But no matter what the cause was, the pain gave us a reason to party.\u003c/p>\n\u003cp>The music was an outlet; a salve for the wounds caused by the world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3978396932&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935139\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg\" alt=\"Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin.\" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-768x512.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin. \u003ccite>(Alexander Warnow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to festering neighborhood beefs and unfortunate acts of community violence, we were facing the onset of gentrification. Banks were handing out predatory housing loans, rents were increasing and \u003ca href=\"https://www.nytimes.com/2010/09/03/us/politics/03bcbrown.html\" target=\"_blank\" rel=\"noopener\">former Oakland Mayor Jerry Brown laid out a plan\u003c/a> to redevelop downtown and usher in thousands of new residents. \u003ca href=\"https://www.theguardian.com/us-news/2018/jun/01/from-black-panthers-to-bbq-becky-the-displacement-of-black-oakland\" target=\"_blank\" rel=\"noopener\">Black folks were pushed out of Oakland in droves\u003c/a>, relocating to California’s Central Valley, Nevada, Arizona or one of the southern states. We were also dealing with over-policing from a corrupt Oakland Police Department that had entered its third year of federal oversight.\u003c/p>\n\u003cp>At the same time, the unjust system of mass incarceration in California hit its peak. In 2006, the state’s prisons operated at \u003ca href=\"https://www.library.ca.gov/wp-content/uploads/GovernmentPublications/executive-order-proclamation/38-Proc-2006-93.pdf\" target=\"_blank\" rel=\"noopener\">200% of their capacity\u003c/a>.\u003c/p>\n\u003cp>And nationally, as the United States hurtled toward its worst economic downturn since the Great Depression, the military was sending my peers to Afghanistan to fight the War on Terror, a conflict that would eventually become the longest war this country has ever seen.\u003c/p>\n\u003cp>Yeah, we were dealing with a lot.\u003c/p>\n\u003cp>How did we cope? We went stupid. We shook dreads. We dodged cops. We smoked grapes, sipped drank and shoved pills in our faces. We turned up the music, revved engines and screamed “Yee!” ’til our voices shook the concrete, causing the nation to take note of us. \u003cem>That’s\u003c/em> how we dealt with pain.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6098869655&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A scraper bike on the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp> few years ago I was bending corners around West Oakland and saw some graffiti on an underpass that stuck with me. The words were simple: “hyphy kids got trauma.”\u003c/p>\n\u003cp>The piece I saw, inspired by lyrics from San Francisco’s \u003ca href=\"https://www.textmerecords.com/rich-iyala\" target=\"_blank\" rel=\"noopener\">Rich Iyala\u003c/a>, was by a graffiti writer named Nasty. But then I saw it in a few other places too, by different writers.\u003c/p>\n\u003cp>Evidently the idea resonated with folks. I wasn’t the only one.\u003c/p>\n\u003cp>I have fond memories of watching cars dance at sideshows, and seeing homies gig during turf dance battles at East Oakland’s Youth Uprising Center. But those sweet reflections, of kicking it with my friends at the teenage club — the Candy Shop, or hotboxing with the homies in the parking lot — are met with the unsavory realities of the the hyphy movement. It wasn’t all fun and games. There were a lot of people with the letters RIP airbrushed on their white t-shirts, and folks with funeral pamphlets on the front dashboard of their Buick scrapers. Evidence of the pain.\u003c/p>\n\u003cp>As a hip-hop loving, budding journalist, laying the foundation for my career path while trying to stay out of harm’s way, I took note of it all. Now, as an adult, I see it with a new perspective.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"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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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"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?",
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"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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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"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",
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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",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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