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"content": "\u003cp>At the second annual San Francisco Music Week Industry Summit on Feb. 27, Mayor Daniel Lurie was quick to praise independent venues for generating $1.4 billion for the city’s economy. After all, every time someone attends a show at, say, El Rio or the Chapel, they’re also spending additional cash on pre-show drinks, post-show burritos, parking, merch and maybe even a hotel room.\u003c/p>\n\u003cp>Aside from their economic impact, independent venues have shaped San Francisco’s culture and global reputation. Whether it’s the Fillmore’s post–World War II jazz clubs or Haight-Ashbury’s Summer of Love heyday, San Francisco’s music scene has inspired the city’s biggest tourist attractions.\u003c/p>\n\u003cp>Yet at the summit, panelist after panelist spoke about how San Francisco’s independent venues are struggling. Ever-rising rents, costly permits and increasing corporate control of the industry have put a strain on the mom-and-pop shops that serve as crucial proving grounds for new bands, rappers and DJs.\u003c/p>\n\u003cp>“This last year we made by far in revenue the most we’ve ever made, but at the same time the costs were unbelievably higher than they’ve ever been before,” Fred Barnes, talent buyer and general manager at Great American Music Hall, told KQED after stepping off stage at the summit.\u003c/p>\n\u003cfigure id=\"attachment_13987286\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Gabe Docto of August Hall, Fred Barnes of Great American Music Hall, Daniel Bondi of the Faight and Lynn Schwarz of Bottom of the Hill speak at the San Francisco Music Week Industry Summit on Feb. 27, 2026. \u003ccite>(Courtesy of SF Music Week)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to a recent report from the National Independent Venue Association (NIVA), independent venues generated billions for the nation’s economy in 2024, but only 36% of them were actually profitable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adding to the list of challenges, venues are no longer just competing against one another for patrons’ dollars. As Daniel Bondi, co-owner of the Faight, put it during the panel, “We’re actually just competing against TikTok and Instagram and social media. We’re competing against your will to get off the couch.”\u003c/p>\n\u003cp>With two historic venues, Thee Parkside and Bottom of the Hill, closing this year, San Francisco Music Week included a timely conversation about the health of the live music ecosystem and how local governments, fans and artists can help.\u003c/p>\n\u003ch2>Fixing a power imbalance\u003c/h2>\n\u003cp>On stage at Swedish American Hall, panelists were quick to point out the power imbalance between independent venues and Live Nation and AEG, the two largest live events companies in the country. Live Nation, which owns Ticketmaster, operates Bay Area venues including August Hall, the Fillmore and the Masonic. Goldenvoice, an AEG subsidiary, controls the Warfield and the Regency Ballroom.\u003c/p>\n\u003cp>Barnes pointed out that independent venues often lose money booking up-and-coming acts; once those acts blow up, they move on to the larger corporate venues, creating a dynamic where the small indies don’t get to profit from the hype they helped build.\u003c/p>\n\u003cp>“There’s much less risk-taking up the corporate ladder,” said Barnes. “They much prefer to just sit and wait for all of that to happen, and then just take it.”\u003c/p>\n\u003cfigure id=\"attachment_13972474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glixen, a shoegaze band, performs at Bottom of the Hill in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a possible solution, Lynn Schwarz, co-owner of Bottom of the Hill, pointed to the San Francisco Music and Entertainment Venue Recovery Fund, which was created to help venues stay afloat during pandemic closures. While the grant has already been distributed, Schwarz proposed reviving the fund to meet the current moment. She pitched the idea of putting $1 of every ticket sold at a corporate-backed concert into the fund and dividing it up among smaller venues.\u003c/p>\n\u003cp>“I think that part of it could go to a fund that was specifically earmarked to pay opening bands more, to pay local bands more,” she added. “I’ve been passionate about that.” [aside postid='arts_13987231']\u003c/p>\n\u003ch2>Alcohol sales may no longer be the answer\u003c/h2>\n\u003cp>Another challenge for venues is that \u003ca href=\"https://time.com/7203140/gen-z-drinking-less-alcohol/\">Gen Z drinks less than any previous generation\u003c/a>. “Which is really great for them and really bad for us,” Schwarz said.\u003c/p>\n\u003cp>Several of the panelists lamented that their business model hinges on bar sales when music is the heart of what they do. Katie Rose, the co-owner of Kilowatt, was listening in the audience and passionately agreed. “It sucks that we have to consider art being associated with drinking,” she told KQED after the panel. “If we could find a way to change that, I think a lot of that might come with grants from the city so that music venues don’t have to make decisions based on alcohol sales.”\u003c/p>\n\u003cp>Bondi said the Faight is in the process of starting a nonprofit so that it can apply for grants to fund some of its events, which skew young, D.I.Y. and experimental. “We are first and foremost a community space,” he said. “Our whole mission is to give artists and musicians a platform to grow.”\u003c/p>\n\u003cfigure id=\"attachment_13972462\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Video Age opens for Gepgrapher at August Hall in San Francisco as part of Noise Pop on Feb. 21, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reducing city costs\u003c/h2>\n\u003cp>Venue operators praised several new programs that have cut down their operating costs in recent years. One is a relatively new Type 90 liquor license for entertainment venues. Liquor licenses used to run clubs upwards of $150,000, but the Faight got their Type 90 license for $25,000, Bondi said.\u003c/p>\n\u003cp>“It’s massive. Wouldn’t have been able to start otherwise,” he added.\u003c/p>\n\u003cp>Off stage in a follow-up conversation, Docto of August Hall gave props to a new parking permit reform in San Francisco that reduces the costs for venues to park tour buses outside their doors. Docto said August Hall anticipates saving $30,000 on parking alone this year. “It’s not breaking the bank anymore,” he said.\u003c/p>\n\u003ch2>How artists and fans can support their favorite small venues\u003c/h2>\n\u003cp>Several panelists pointed to the success of the Castro Theatre, a historic movie palace that Another Planet Entertainment recently reopened as a mixed-use entertainment venue. British hitmaker Sam Smith recently sold out a 20-show residency there.\u003c/p>\n\u003cp>“That gives them a raging start to their financial year,” Bondi said.\u003c/p>\n\u003cp>“I think artists also do have some power here, like maybe push back against the agents” who want them to play bigger clubs, he argued. “Be like, ‘No, I want to play Bottom of the Hill. I want to do a three-night run there, and we’re gonna sell the place.’” [aside postid='arts_13987242']\u003c/p>\n\u003cp>Bottom of the Hill’s Schwarz said booking agents have a part to play as well. She said it’s becoming more and more common for tours to book opening acts rather than allowing independent venues like hers to add a local artist to the bill — something that would help nourish the live music ecosystem.\u003c/p>\n\u003cp>“Every time you see a two-band bill on our calendar I had a fight about it,” she said. “I had a fight and I lost.”\u003c/p>\n\u003cp>The panelists had high praise for San Francisco’s dedicated music fans, who passionately support even the most niche scenes. But Bondi also said that in the post-pandemic era of delivery services and at-home entertainment, event attendance remains inconsistent. He implored the audience: “Just go out.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If you work in tech or have a high, high six-figure salary, buy a couple of your friends tickets,” he added, “and contribute.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the second annual San Francisco Music Week Industry Summit on Feb. 27, Mayor Daniel Lurie was quick to praise independent venues for generating $1.4 billion for the city’s economy. After all, every time someone attends a show at, say, El Rio or the Chapel, they’re also spending additional cash on pre-show drinks, post-show burritos, parking, merch and maybe even a hotel room.\u003c/p>\n\u003cp>Aside from their economic impact, independent venues have shaped San Francisco’s culture and global reputation. Whether it’s the Fillmore’s post–World War II jazz clubs or Haight-Ashbury’s Summer of Love heyday, San Francisco’s music scene has inspired the city’s biggest tourist attractions.\u003c/p>\n\u003cp>Yet at the summit, panelist after panelist spoke about how San Francisco’s independent venues are struggling. Ever-rising rents, costly permits and increasing corporate control of the industry have put a strain on the mom-and-pop shops that serve as crucial proving grounds for new bands, rappers and DJs.\u003c/p>\n\u003cp>“This last year we made by far in revenue the most we’ve ever made, but at the same time the costs were unbelievably higher than they’ve ever been before,” Fred Barnes, talent buyer and general manager at Great American Music Hall, told KQED after stepping off stage at the summit.\u003c/p>\n\u003cfigure id=\"attachment_13987286\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Gabe Docto of August Hall, Fred Barnes of Great American Music Hall, Daniel Bondi of the Faight and Lynn Schwarz of Bottom of the Hill speak at the San Francisco Music Week Industry Summit on Feb. 27, 2026. \u003ccite>(Courtesy of SF Music Week)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to a recent report from the National Independent Venue Association (NIVA), independent venues generated billions for the nation’s economy in 2024, but only 36% of them were actually profitable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adding to the list of challenges, venues are no longer just competing against one another for patrons’ dollars. As Daniel Bondi, co-owner of the Faight, put it during the panel, “We’re actually just competing against TikTok and Instagram and social media. We’re competing against your will to get off the couch.”\u003c/p>\n\u003cp>With two historic venues, Thee Parkside and Bottom of the Hill, closing this year, San Francisco Music Week included a timely conversation about the health of the live music ecosystem and how local governments, fans and artists can help.\u003c/p>\n\u003ch2>Fixing a power imbalance\u003c/h2>\n\u003cp>On stage at Swedish American Hall, panelists were quick to point out the power imbalance between independent venues and Live Nation and AEG, the two largest live events companies in the country. Live Nation, which owns Ticketmaster, operates Bay Area venues including August Hall, the Fillmore and the Masonic. Goldenvoice, an AEG subsidiary, controls the Warfield and the Regency Ballroom.\u003c/p>\n\u003cp>Barnes pointed out that independent venues often lose money booking up-and-coming acts; once those acts blow up, they move on to the larger corporate venues, creating a dynamic where the small indies don’t get to profit from the hype they helped build.\u003c/p>\n\u003cp>“There’s much less risk-taking up the corporate ladder,” said Barnes. “They much prefer to just sit and wait for all of that to happen, and then just take it.”\u003c/p>\n\u003cfigure id=\"attachment_13972474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glixen, a shoegaze band, performs at Bottom of the Hill in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a possible solution, Lynn Schwarz, co-owner of Bottom of the Hill, pointed to the San Francisco Music and Entertainment Venue Recovery Fund, which was created to help venues stay afloat during pandemic closures. While the grant has already been distributed, Schwarz proposed reviving the fund to meet the current moment. She pitched the idea of putting $1 of every ticket sold at a corporate-backed concert into the fund and dividing it up among smaller venues.\u003c/p>\n\u003cp>“I think that part of it could go to a fund that was specifically earmarked to pay opening bands more, to pay local bands more,” she added. “I’ve been passionate about that.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Alcohol sales may no longer be the answer\u003c/h2>\n\u003cp>Another challenge for venues is that \u003ca href=\"https://time.com/7203140/gen-z-drinking-less-alcohol/\">Gen Z drinks less than any previous generation\u003c/a>. “Which is really great for them and really bad for us,” Schwarz said.\u003c/p>\n\u003cp>Several of the panelists lamented that their business model hinges on bar sales when music is the heart of what they do. Katie Rose, the co-owner of Kilowatt, was listening in the audience and passionately agreed. “It sucks that we have to consider art being associated with drinking,” she told KQED after the panel. “If we could find a way to change that, I think a lot of that might come with grants from the city so that music venues don’t have to make decisions based on alcohol sales.”\u003c/p>\n\u003cp>Bondi said the Faight is in the process of starting a nonprofit so that it can apply for grants to fund some of its events, which skew young, D.I.Y. and experimental. “We are first and foremost a community space,” he said. “Our whole mission is to give artists and musicians a platform to grow.”\u003c/p>\n\u003cfigure id=\"attachment_13972462\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Video Age opens for Gepgrapher at August Hall in San Francisco as part of Noise Pop on Feb. 21, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reducing city costs\u003c/h2>\n\u003cp>Venue operators praised several new programs that have cut down their operating costs in recent years. One is a relatively new Type 90 liquor license for entertainment venues. Liquor licenses used to run clubs upwards of $150,000, but the Faight got their Type 90 license for $25,000, Bondi said.\u003c/p>\n\u003cp>“It’s massive. Wouldn’t have been able to start otherwise,” he added.\u003c/p>\n\u003cp>Off stage in a follow-up conversation, Docto of August Hall gave props to a new parking permit reform in San Francisco that reduces the costs for venues to park tour buses outside their doors. Docto said August Hall anticipates saving $30,000 on parking alone this year. “It’s not breaking the bank anymore,” he said.\u003c/p>\n\u003ch2>How artists and fans can support their favorite small venues\u003c/h2>\n\u003cp>Several panelists pointed to the success of the Castro Theatre, a historic movie palace that Another Planet Entertainment recently reopened as a mixed-use entertainment venue. British hitmaker Sam Smith recently sold out a 20-show residency there.\u003c/p>\n\u003cp>“That gives them a raging start to their financial year,” Bondi said.\u003c/p>\n\u003cp>“I think artists also do have some power here, like maybe push back against the agents” who want them to play bigger clubs, he argued. “Be like, ‘No, I want to play Bottom of the Hill. I want to do a three-night run there, and we’re gonna sell the place.’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bottom of the Hill’s Schwarz said booking agents have a part to play as well. She said it’s becoming more and more common for tours to book opening acts rather than allowing independent venues like hers to add a local artist to the bill — something that would help nourish the live music ecosystem.\u003c/p>\n\u003cp>“Every time you see a two-band bill on our calendar I had a fight about it,” she said. “I had a fight and I lost.”\u003c/p>\n\u003cp>The panelists had high praise for San Francisco’s dedicated music fans, who passionately support even the most niche scenes. But Bondi also said that in the post-pandemic era of delivery services and at-home entertainment, event attendance remains inconsistent. He implored the audience: “Just go out.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you work in tech or have a high, high six-figure salary, buy a couple of your friends tickets,” he added, “and contribute.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Feb. 27, artists, venue owners, label heads and booking agents gathered at Swedish American Hall to discuss all things music in the Bay Area. This was San Francisco Music Week’s Industry Summit, and in an onstage conversation that kicked off the event, I spoke with \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\">Ruby Ibarra\u003c/a>, a talented MC from the East Bay city of San Lorenzo who won \u003ca href=\"https://www.kqed.org/arts/13976039/ruby-ibarra-npr-tiny-desk-contest-winner-bay-area\">NPR’s Tiny Desk Contest in 2025\u003c/a>.\u003c/p>\n\u003cp>At SF Music Week, Ibarra brought audiences into her mindset as a \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\">former professional scientist\u003c/a> who still meticulously crafts her multi-lingual rhymes in English, Tagalog and Bisaya. She shed light on the record label she co-founded, \u003ca href=\"https://www.bolomusicgroup.com/\">Bolo Music Group\u003c/a>, and the importance of developing music-industry infrastructure here in the Bay.\u003c/p>\n\u003cp>Ibarra also opened up about breaking barriers: She filmed her Tiny Desk submission with an intergenerational Filipino band, while she was eight-months pregnant. She shared how motherhood has changed her as an artist and as a person.\u003c/p>\n\u003cfigure id=\"attachment_13987266\" class=\"wp-caption aligncenter\" style=\"max-width: 2384px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987266\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09%E2%80%AFPM.png\" alt=\"\" width=\"2384\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM.png 2384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-2000x1126.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-1536x865.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-2048x1153.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-1200x675.png 1200w\" sizes=\"auto, (max-width: 2384px) 100vw, 2384px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra (left) speaks to KQED’s Pendarvis Harshaw onstage at SF Music Week’s Industry Summit on Feb. 27, 2026 at Swedish American Hall in San Francisco. \u003ccite>(Courtesy of SF Music Week)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s such an exciting time right now to be from the Bay,” Ibarra said to head nods and applause from the audience.\u003c/p>\n\u003cp>“I feel like this is really kind of right at the tipping-point right now,” she continued, “where the eyes are on the Bay and it really feels special to be an artist out here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the audience wished her a belated happy birthday, we jumped into our conversation. Here are a few excerpts from the 50-minute discussion, cut for length and edited for clarity.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> How are you feeling? How are you ushering in this new season?\u003c/p>\n\u003cp>\u003cstrong>Ruby Ibarra:\u003c/strong> I wouldn’t say that things have slowed down particularly, but now that I am currently off tour after last year, I’ve had those moments to sit and reflect — taking a look at the blessings that have come in my career. But also taking a look at how the music scene continues to develop and thrive here where I grew up.\u003c/p>\n\u003cp>I don’t know if y’all were out here in the Bay during Super Bowl weekend a couple weeks ago, but to see our OGs, like Too Short and E-40, celebrated, loved and amplified, I feel like that was a reminder to me to stay rooted here and continue to build community here. I feel very inspired right now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PcPS-21ZVMw\u003c/p>\n\u003cp>\u003cstrong>How do you keep in mind how important art is, given everything else going on in the world? \u003c/strong>\u003c/p>\n\u003cp>I can’t separate the politics and the social justice from the art. It’s embedded in my identity. The fact that I’m a woman and the fact that I am Filipino — even just to breathe, even just to be here is very political when there’s people telling you that you don’t belong here, when people’s families are being separated right now.\u003c/p>\n\u003cp>When I created the song “\u003ca href=\"https://www.youtube.com/watch?v=1r1NAPremho\">Bakunawa\u003c/a>,” it really was being completely unfiltered, being unapologetic and just putting forth myself 100%. And I think that’s really the way that I’ve always approached my art.\u003c/p>\n\u003cp>I also wanted to share, it was also a very unique time of also winning the Tiny Desk Contest last year in 2025. We were sent off on a ten-city tour with NPR, and our first stop was Los Angeles, and this was the time when [President Trump] \u003ca href=\"https://www.kqed.org/news/12054322/judge-rules-trump-violated-law-by-sending-troops-to-los-angeles\">brought in the National Guard\u003c/a>.\u003c/p>\n\u003cp>My band and I flew into Los Angeles, and that same evening they put a curfew on the city. And I think that really put it into perspective: People are being silenced, and if I have the privilege and the opportunity to have microphone in my hand. That means I better say something with substance, I better speak for people who don’t have a microphone in their hands.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1r1NAPremho\u003c/p>\n\u003cp>\u003cstrong>Taking a step back from the music, from the technical work, you also co-founded Bolo Music Group. What has it been like for you to be on that side of the table?\u003c/strong>\u003c/p>\n\u003cp>It’s been such a rollercoaster. It’s been so interesting. It has been so fulfilling. So, to give a little bit of context for folks that aren’t familiar with Bolo Music Group, it’s an independent record label that I co-founded with my bass player from my band, \u003ca href=\"https://lasimusic.com/about\">Angelo “LASI” Macaraeg\u003c/a>.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Really the the intent with for Bolo Music Group for us was to create a space where we’re making it easier for the next generation of artists. Because for me, this has not been an overnight thing, y’all. [aside postid='arts_13987234']\u003c/p>\n\u003cp>I think \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> might have mentioned this in an interview that I caught recently. Shoutout to LaRussell, speaking of independent artists. I think he said something along the lines of, I’m paraphrasing, “Overnight success is a long journey,” and that really holds true for me.\u003c/p>\n\u003cp>To think about how many years I put into my career, it shouldn’t take every artist so long to break through that door. It shouldn’t take the next set of artists that long to get acknowledged by a platform as big as NPR.\u003c/p>\n\u003cp>And so for Bolo, we want to ensure that we are creating a hub where we’re sharing resources. But we’re also, first and foremost, building an infrastructure so that we’re helping spread the knowledge and business acumen.\u003c/p>\n\u003cfigure id=\"attachment_13987267\" class=\"wp-caption aligncenter\" style=\"max-width: 2816px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22%E2%80%AFPM.png\" alt=\"\" width=\"2816\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM.png 2816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM-2000x1213.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM-1536x932.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM-2048x1242.png 2048w\" sizes=\"auto, (max-width: 2816px) 100vw, 2816px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra and KQED’s Pendarvis Harshaw onstage at SF Music Week 2026. \u003ccite>(Courtesy of SF Music Week)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In November of 2024, you brought a baby girl into the world. What has motherhood taught you?\u003c/strong>\u003c/p>\n\u003cp>It’s taught me everything. And what I mean by everything is, it’s taught me things that I thought I already knew about myself. I had to redefine what patience looks like for me. I had redefine what grace looks like me. I had define what being gentle with myself looks like to me.\u003c/p>\n\u003cp>I can’t even put it in words right now how much she means to me and how important she is. I finally found something, someone that I love more than music. And as y’all know, I’m super obsessed with what I do. That is how much I love her. [aside postid='arts_13987115']\u003c/p>\n\u003cp>I’m also very happy that I get to share these moments with her. I brought her to some of my tour dates last year. She’s only 15 months old. I know at the end of the day, I’m the one who’s gonna remember all of this. But to have footage and video and pictures of it, and to share those moments with her later on is what really makes me excited. And I think how it’s also changed my life as an artist, is that I’m more intentional than ever of what I talk about in my music.\u003c/p>\n\u003cp>It makes me excited to really dive into critical conversations, exploring my womanhood in my next album, for example. Because these are topics that I want to someday sit down and have conversations with her about.\u003c/p>\n\u003cp>On the studio version of “Bakunawa” we sampled her heartbeat. It’s in the outro when I do that spoken word, when the Bisaya language comes on. In one of my early appointments when I was pregnant, I took out my phone and I recorded her heartbeat when I was like six months pregnant. [aside postid='arts_13986932']\u003c/p>\n\u003cp>I want to remind folks too, that just because you’re a mother, it doesn’t mean that these things need to be separate. I can be a mother and an artist at the same time.\u003c/p>\n\u003cp>For me growing up, that’s always been the messaging that I’ve received in society, especially in Filipino culture. “Once you become a mom, you better be ready to retire everything else that you’ve got.” And I think what I want to set forth and do now in my career is be an example that, no, you can do both. Who says that you need to stop that part of yourself?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I feel like I would be doing my daughter a disservice if I were to stop doing music, if I were to stop doing the things that fulfill me. Because at the end of the day, I can’t be the best mother I can be if I cannot be my whole self.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Feb. 27, artists, venue owners, label heads and booking agents gathered at Swedish American Hall to discuss all things music in the Bay Area. This was San Francisco Music Week’s Industry Summit, and in an onstage conversation that kicked off the event, I spoke with \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\">Ruby Ibarra\u003c/a>, a talented MC from the East Bay city of San Lorenzo who won \u003ca href=\"https://www.kqed.org/arts/13976039/ruby-ibarra-npr-tiny-desk-contest-winner-bay-area\">NPR’s Tiny Desk Contest in 2025\u003c/a>.\u003c/p>\n\u003cp>At SF Music Week, Ibarra brought audiences into her mindset as a \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\">former professional scientist\u003c/a> who still meticulously crafts her multi-lingual rhymes in English, Tagalog and Bisaya. She shed light on the record label she co-founded, \u003ca href=\"https://www.bolomusicgroup.com/\">Bolo Music Group\u003c/a>, and the importance of developing music-industry infrastructure here in the Bay.\u003c/p>\n\u003cp>Ibarra also opened up about breaking barriers: She filmed her Tiny Desk submission with an intergenerational Filipino band, while she was eight-months pregnant. She shared how motherhood has changed her as an artist and as a person.\u003c/p>\n\u003cfigure id=\"attachment_13987266\" class=\"wp-caption aligncenter\" style=\"max-width: 2384px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987266\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09%E2%80%AFPM.png\" alt=\"\" width=\"2384\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM.png 2384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-2000x1126.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-1536x865.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-2048x1153.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.30.09 PM-1200x675.png 1200w\" sizes=\"auto, (max-width: 2384px) 100vw, 2384px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra (left) speaks to KQED’s Pendarvis Harshaw onstage at SF Music Week’s Industry Summit on Feb. 27, 2026 at Swedish American Hall in San Francisco. \u003ccite>(Courtesy of SF Music Week)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s such an exciting time right now to be from the Bay,” Ibarra said to head nods and applause from the audience.\u003c/p>\n\u003cp>“I feel like this is really kind of right at the tipping-point right now,” she continued, “where the eyes are on the Bay and it really feels special to be an artist out here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the audience wished her a belated happy birthday, we jumped into our conversation. Here are a few excerpts from the 50-minute discussion, cut for length and edited for clarity.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> How are you feeling? How are you ushering in this new season?\u003c/p>\n\u003cp>\u003cstrong>Ruby Ibarra:\u003c/strong> I wouldn’t say that things have slowed down particularly, but now that I am currently off tour after last year, I’ve had those moments to sit and reflect — taking a look at the blessings that have come in my career. But also taking a look at how the music scene continues to develop and thrive here where I grew up.\u003c/p>\n\u003cp>I don’t know if y’all were out here in the Bay during Super Bowl weekend a couple weeks ago, but to see our OGs, like Too Short and E-40, celebrated, loved and amplified, I feel like that was a reminder to me to stay rooted here and continue to build community here. I feel very inspired right now.\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/PcPS-21ZVMw'\n title='//www.youtube.com/embed/PcPS-21ZVMw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>How do you keep in mind how important art is, given everything else going on in the world? \u003c/strong>\u003c/p>\n\u003cp>I can’t separate the politics and the social justice from the art. It’s embedded in my identity. The fact that I’m a woman and the fact that I am Filipino — even just to breathe, even just to be here is very political when there’s people telling you that you don’t belong here, when people’s families are being separated right now.\u003c/p>\n\u003cp>When I created the song “\u003ca href=\"https://www.youtube.com/watch?v=1r1NAPremho\">Bakunawa\u003c/a>,” it really was being completely unfiltered, being unapologetic and just putting forth myself 100%. And I think that’s really the way that I’ve always approached my art.\u003c/p>\n\u003cp>I also wanted to share, it was also a very unique time of also winning the Tiny Desk Contest last year in 2025. We were sent off on a ten-city tour with NPR, and our first stop was Los Angeles, and this was the time when [President Trump] \u003ca href=\"https://www.kqed.org/news/12054322/judge-rules-trump-violated-law-by-sending-troops-to-los-angeles\">brought in the National Guard\u003c/a>.\u003c/p>\n\u003cp>My band and I flew into Los Angeles, and that same evening they put a curfew on the city. And I think that really put it into perspective: People are being silenced, and if I have the privilege and the opportunity to have microphone in my hand. That means I better say something with substance, I better speak for people who don’t have a microphone in their hands.\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/1r1NAPremho'\n title='//www.youtube.com/embed/1r1NAPremho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Taking a step back from the music, from the technical work, you also co-founded Bolo Music Group. What has it been like for you to be on that side of the table?\u003c/strong>\u003c/p>\n\u003cp>It’s been such a rollercoaster. It’s been so interesting. It has been so fulfilling. So, to give a little bit of context for folks that aren’t familiar with Bolo Music Group, it’s an independent record label that I co-founded with my bass player from my band, \u003ca href=\"https://lasimusic.com/about\">Angelo “LASI” Macaraeg\u003c/a>.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Really the the intent with for Bolo Music Group for us was to create a space where we’re making it easier for the next generation of artists. Because for me, this has not been an overnight thing, y’all. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> might have mentioned this in an interview that I caught recently. Shoutout to LaRussell, speaking of independent artists. I think he said something along the lines of, I’m paraphrasing, “Overnight success is a long journey,” and that really holds true for me.\u003c/p>\n\u003cp>To think about how many years I put into my career, it shouldn’t take every artist so long to break through that door. It shouldn’t take the next set of artists that long to get acknowledged by a platform as big as NPR.\u003c/p>\n\u003cp>And so for Bolo, we want to ensure that we are creating a hub where we’re sharing resources. But we’re also, first and foremost, building an infrastructure so that we’re helping spread the knowledge and business acumen.\u003c/p>\n\u003cfigure id=\"attachment_13987267\" class=\"wp-caption aligncenter\" style=\"max-width: 2816px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22%E2%80%AFPM.png\" alt=\"\" width=\"2816\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM.png 2816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM-2000x1213.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM-1536x932.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Screenshot-2026-03-02-at-12.28.22 PM-2048x1242.png 2048w\" sizes=\"auto, (max-width: 2816px) 100vw, 2816px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra and KQED’s Pendarvis Harshaw onstage at SF Music Week 2026. \u003ccite>(Courtesy of SF Music Week)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In November of 2024, you brought a baby girl into the world. What has motherhood taught you?\u003c/strong>\u003c/p>\n\u003cp>It’s taught me everything. And what I mean by everything is, it’s taught me things that I thought I already knew about myself. I had to redefine what patience looks like for me. I had redefine what grace looks like me. I had define what being gentle with myself looks like to me.\u003c/p>\n\u003cp>I can’t even put it in words right now how much she means to me and how important she is. I finally found something, someone that I love more than music. And as y’all know, I’m super obsessed with what I do. That is how much I love her. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m also very happy that I get to share these moments with her. I brought her to some of my tour dates last year. She’s only 15 months old. I know at the end of the day, I’m the one who’s gonna remember all of this. But to have footage and video and pictures of it, and to share those moments with her later on is what really makes me excited. And I think how it’s also changed my life as an artist, is that I’m more intentional than ever of what I talk about in my music.\u003c/p>\n\u003cp>It makes me excited to really dive into critical conversations, exploring my womanhood in my next album, for example. Because these are topics that I want to someday sit down and have conversations with her about.\u003c/p>\n\u003cp>On the studio version of “Bakunawa” we sampled her heartbeat. It’s in the outro when I do that spoken word, when the Bisaya language comes on. In one of my early appointments when I was pregnant, I took out my phone and I recorded her heartbeat when I was like six months pregnant. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I want to remind folks too, that just because you’re a mother, it doesn’t mean that these things need to be separate. I can be a mother and an artist at the same time.\u003c/p>\n\u003cp>For me growing up, that’s always been the messaging that I’ve received in society, especially in Filipino culture. “Once you become a mom, you better be ready to retire everything else that you’ve got.” And I think what I want to set forth and do now in my career is be an example that, no, you can do both. Who says that you need to stop that part of yourself?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I feel like I would be doing my daughter a disservice if I were to stop doing music, if I were to stop doing the things that fulfill me. Because at the end of the day, I can’t be the best mother I can be if I cannot be my whole self.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "too-short-blow-the-whistle-20-year-anniversary",
"title": "‘Blow the Whistle’ is 20 Years Old — and Keeps Going On and On",
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"content": "\u003cp>\u003cem>On March 3, 2006, \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> dropped “Blow The Whistle,” an addictive comeback single from the Oakland legend that to this day is played at nearly every block party and club night in the Bay Area. Despite never cracking the Billboard Hot 100 chart, it’s had enough staying power to become a nationwide classic.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Here, in an excerpt from her upcoming book \u003c/em>\u003ca href=\"https://sf-music-week.squarespace.com/calendar/music-book-club-studio-aurora-and-fault-radio-present-tamara-palmers-bay-area-rap-mixtape-book-release-party-and-movie-night\">Bay Area Rap Mixtape\u003c/a>\u003cem>, music writer \u003ca href=\"https://www.thetamarapalmer.com/\">Tamara Palmer\u003c/a> recalls the song’s video shoot in Oakland, and the new world it heralded. \u003c/em>\u003c/p>\n\u003cp>https://youtu.be/CBJtzEKetBM?si=NWSzz8Z7cLKoeCKS\u003c/p>\n\u003cp>[dropcap]F[/dropcap]our days after a riotous visit to San Quentin with KMEL and Messy Marv, I was on the phone with Too Short, conducting an interview about the Black Panthers for MTV News. At the end of the call, he invited me to the “Blow the Whistle” video shoot, taking place the next day in Oakland.\u003c/p>\n\u003cp>I’d like to say that I responded with cool nonchalance. But according to the blog post I wrote when I got home, I said, “REALLY? CAN I?!?!?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, 20 years since its release in March 2006, “Blow The Whistle” is a beloved and iconic Bay Area party and sports anthem. Short’s catalog is deep, but “Blow The Whistle” is the song of his that most people know.\u003c/p>\n\u003cp>Produced by Lil Jon, who once told me about bumping Too Short tracks while driving around in high school, “Blow The Whistle” was recorded in Atlanta and Miami and landed as part of a multi-year crunk hitmaking streak.\u003c/p>\n\u003cfigure id=\"attachment_13987149\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A clapperboard at the video shoot for Too Short’s ‘Blow the Whistle’ at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first day of the video shoot took place at Mingles Martini & Champagne Lounge, a nightclub near Jack London Square. As I stood in line and stared at the train tracks across the street, two kids behind me recalled witnessing a graphic killing outside the club.\u003c/p>\n\u003cp>The environment outside Mingles on that early afternoon included a van of youngsters who pulled up, filmed a video to a short but rowdy song — something about “Dead! Beat! Dead! Beat!” — and then peeled off as fast as they came. The Team’s Clyde Carson passed out cans of his new Grapple (grape-apple) flavored Hyphy energy drink. \u003c/p>\n\u003cp>When I finally got inside, I quickly met two women who I felt immediate care from, and for: legendary \u003ca href=\"https://www.kqed.org/arts/13951122/d-ray-bay-area-hip-hop-photographer\">Bay Area rap photographer D-Ray\u003c/a> and rapper OOO (Omolara Odofin). The energy in the room was very masculine, to put it mildly, yet they both clocked my awkwardness and took me under their wings.\u003c/p>\n\u003cfigure id=\"attachment_13987152\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Too Short (center) at the video shoot for ‘Blow the Whistle’ at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bernard Gourley was fresh off of directing his childhood friend E-40’s brilliant “Tell Me When to Go” video, which was shot in black and white. The Turf Feinz were there, ready to dance. \u003c/p>\n\u003cp>I spent nine and a half hours inside Mingles, allowed to take photos without a flash. It was one of the most enjoyable observational experiences ever. At one point, I sat directly behind the camera, on the floor, as the main dance scenes were filmed.\u003c/p>\n\u003cp>Here are three secrets from the “Blow The Whistle” music video: Short wore a “Love Is for Suckers” shirt, the nightclub scene was filmed during the afternoon, and the “DJ” didn’t actually have any equipment in front of him — he was air DJing.\u003c/p>\n\u003cp>[aside postID=arts_13927349 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-1536x864.png']So much has changed since that night in 2006. Following an accidental fatal shooting of a pregnant woman outside the club, and two additional incidents of gun violence in 2006, Mingles would permanently close six months later. Sadly, Gourley, the video’s director, died in a car accident in 2022.\u003c/p>\n\u003cp>And yet “Blow the Whistle” has endured, as well as some of its video’s stars. Last year, Kendrick Lamar incorporated the Turf Feinz into his 2025 Super Bowl performance in New Orleans — a true moment of Bay Area pride.\u003c/p>\n\u003cp>[dropcap]B[/dropcap]y May of 2006, Short was sensitive to criticism that he’d co-opted hyphy culture, but he insisted that he had a more important goal.\u003c/p>\n\u003cp>“I’m trying to be a guiding light to these youngsters,” he told me, during an interview about the crunk and hyphy movements for Atlanta’s weekly paper \u003cem>Creative Loafing\u003c/em>.\u003c/p>\n\u003cp>“I’m like, ‘Man, don’t make the wrong decisions,’” he said. “‘Don’t sign stupid contracts, don’t let nobody else get your money and jack it off.’ I’m thinking like that. Don’t turn the hyphy into a dance that comes and goes. Turn this into a business that supports families and kids and generations. It’s somebody’s kids going to go to college because of crunk music. Somebody’s kids are gonna get a trust fund because of crunk, you know what I’m saying? Let’s do that with the hyphy.”\u003c/p>\n\u003cfigure id=\"attachment_13987150\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A young attendee at Too Short’s ‘Blow the Whistle’ video shoot at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five years — until Messy Marv leaked his number and it changed — I annoyed Short by texting him every time I reviewed a concert where the DJ played “Blow the Whistle” — Janet Jackson, say, or Bell Biv DeVoe. It’s still an out-of-town DJ’s way of checking in with the Bay and paying respect. \u003c/p>\n\u003cp>In May 2013, I was visiting NYC when \u003ca href=\"https://www.kqed.org/news/10517260/growing-up-deprived-in-east-oakland\">Youth Uprising\u003c/a>’s Jacky Johnson invited me to Short’s guest appearance on \u003cem>Late Night with Jimmy Fallon\u003c/em>.\u003c/p>\n\u003cp>Short had a five-minute rehearsal of the song with The Roots before the show. Tuba Gooding Jr. took care of the bassline, and Black Thought freestyled over the top. Though the rehearsal was brief, Short and The Roots performed with the ease of longtime collaborators. “I never practice before the show,” Short said.\u003c/p>\n\u003cp>“You’re really not that short!” Fallon said to Short, as the show began.\u003c/p>\n\u003cp>The song brought the TV audience to its feet, a full seven years after “Blow the Whistle” dropped. And now, 20 years later, its relevance keeps going on and on. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book release party for Tamara Palmer’s ‘Bay Area Rap Mixtape’ takes place Sunday, March 1 at Studio Aurora (302 Valencia St., San Francisco). Admission is free; \u003ca href=\"https://sf-music-week.squarespace.com/calendar/music-book-club-studio-aurora-and-fault-radio-present-tamara-palmers-bay-area-rap-mixtape-book-release-party-and-movie-night\">more event details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>On March 3, 2006, \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> dropped “Blow The Whistle,” an addictive comeback single from the Oakland legend that to this day is played at nearly every block party and club night in the Bay Area. Despite never cracking the Billboard Hot 100 chart, it’s had enough staying power to become a nationwide classic.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Here, in an excerpt from her upcoming book \u003c/em>\u003ca href=\"https://sf-music-week.squarespace.com/calendar/music-book-club-studio-aurora-and-fault-radio-present-tamara-palmers-bay-area-rap-mixtape-book-release-party-and-movie-night\">Bay Area Rap Mixtape\u003c/a>\u003cem>, music writer \u003ca href=\"https://www.thetamarapalmer.com/\">Tamara Palmer\u003c/a> recalls the song’s video shoot in Oakland, and the new world it heralded. \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/CBJtzEKetBM'\n title='//www.youtube.com/embed/CBJtzEKetBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>our days after a riotous visit to San Quentin with KMEL and Messy Marv, I was on the phone with Too Short, conducting an interview about the Black Panthers for MTV News. At the end of the call, he invited me to the “Blow the Whistle” video shoot, taking place the next day in Oakland.\u003c/p>\n\u003cp>I’d like to say that I responded with cool nonchalance. But according to the blog post I wrote when I got home, I said, “REALLY? CAN I?!?!?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, 20 years since its release in March 2006, “Blow The Whistle” is a beloved and iconic Bay Area party and sports anthem. Short’s catalog is deep, but “Blow The Whistle” is the song of his that most people know.\u003c/p>\n\u003cp>Produced by Lil Jon, who once told me about bumping Too Short tracks while driving around in high school, “Blow The Whistle” was recorded in Atlanta and Miami and landed as part of a multi-year crunk hitmaking streak.\u003c/p>\n\u003cfigure id=\"attachment_13987149\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A clapperboard at the video shoot for Too Short’s ‘Blow the Whistle’ at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first day of the video shoot took place at Mingles Martini & Champagne Lounge, a nightclub near Jack London Square. As I stood in line and stared at the train tracks across the street, two kids behind me recalled witnessing a graphic killing outside the club.\u003c/p>\n\u003cp>The environment outside Mingles on that early afternoon included a van of youngsters who pulled up, filmed a video to a short but rowdy song — something about “Dead! Beat! Dead! Beat!” — and then peeled off as fast as they came. The Team’s Clyde Carson passed out cans of his new Grapple (grape-apple) flavored Hyphy energy drink. \u003c/p>\n\u003cp>When I finally got inside, I quickly met two women who I felt immediate care from, and for: legendary \u003ca href=\"https://www.kqed.org/arts/13951122/d-ray-bay-area-hip-hop-photographer\">Bay Area rap photographer D-Ray\u003c/a> and rapper OOO (Omolara Odofin). The energy in the room was very masculine, to put it mildly, yet they both clocked my awkwardness and took me under their wings.\u003c/p>\n\u003cfigure id=\"attachment_13987152\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Too Short (center) at the video shoot for ‘Blow the Whistle’ at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bernard Gourley was fresh off of directing his childhood friend E-40’s brilliant “Tell Me When to Go” video, which was shot in black and white. The Turf Feinz were there, ready to dance. \u003c/p>\n\u003cp>I spent nine and a half hours inside Mingles, allowed to take photos without a flash. It was one of the most enjoyable observational experiences ever. At one point, I sat directly behind the camera, on the floor, as the main dance scenes were filmed.\u003c/p>\n\u003cp>Here are three secrets from the “Blow The Whistle” music video: Short wore a “Love Is for Suckers” shirt, the nightclub scene was filmed during the afternoon, and the “DJ” didn’t actually have any equipment in front of him — he was air DJing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So much has changed since that night in 2006. Following an accidental fatal shooting of a pregnant woman outside the club, and two additional incidents of gun violence in 2006, Mingles would permanently close six months later. Sadly, Gourley, the video’s director, died in a car accident in 2022.\u003c/p>\n\u003cp>And yet “Blow the Whistle” has endured, as well as some of its video’s stars. Last year, Kendrick Lamar incorporated the Turf Feinz into his 2025 Super Bowl performance in New Orleans — a true moment of Bay Area pride.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>y May of 2006, Short was sensitive to criticism that he’d co-opted hyphy culture, but he insisted that he had a more important goal.\u003c/p>\n\u003cp>“I’m trying to be a guiding light to these youngsters,” he told me, during an interview about the crunk and hyphy movements for Atlanta’s weekly paper \u003cem>Creative Loafing\u003c/em>.\u003c/p>\n\u003cp>“I’m like, ‘Man, don’t make the wrong decisions,’” he said. “‘Don’t sign stupid contracts, don’t let nobody else get your money and jack it off.’ I’m thinking like that. Don’t turn the hyphy into a dance that comes and goes. Turn this into a business that supports families and kids and generations. It’s somebody’s kids going to go to college because of crunk music. Somebody’s kids are gonna get a trust fund because of crunk, you know what I’m saying? Let’s do that with the hyphy.”\u003c/p>\n\u003cfigure id=\"attachment_13987150\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A young attendee at Too Short’s ‘Blow the Whistle’ video shoot at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five years — until Messy Marv leaked his number and it changed — I annoyed Short by texting him every time I reviewed a concert where the DJ played “Blow the Whistle” — Janet Jackson, say, or Bell Biv DeVoe. It’s still an out-of-town DJ’s way of checking in with the Bay and paying respect. \u003c/p>\n\u003cp>In May 2013, I was visiting NYC when \u003ca href=\"https://www.kqed.org/news/10517260/growing-up-deprived-in-east-oakland\">Youth Uprising\u003c/a>’s Jacky Johnson invited me to Short’s guest appearance on \u003cem>Late Night with Jimmy Fallon\u003c/em>.\u003c/p>\n\u003cp>Short had a five-minute rehearsal of the song with The Roots before the show. Tuba Gooding Jr. took care of the bassline, and Black Thought freestyled over the top. Though the rehearsal was brief, Short and The Roots performed with the ease of longtime collaborators. “I never practice before the show,” Short said.\u003c/p>\n\u003cp>“You’re really not that short!” Fallon said to Short, as the show began.\u003c/p>\n\u003cp>The song brought the TV audience to its feet, a full seven years after “Blow the Whistle” dropped. And now, 20 years later, its relevance keeps going on and on. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book release party for Tamara Palmer’s ‘Bay Area Rap Mixtape’ takes place Sunday, March 1 at Studio Aurora (302 Valencia St., San Francisco). Admission is free; \u003ca href=\"https://sf-music-week.squarespace.com/calendar/music-book-club-studio-aurora-and-fault-radio-present-tamara-palmers-bay-area-rap-mixtape-book-release-party-and-movie-night\">more event details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Joshua Robison, the husband of conductor and music director \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a>, died in his sleep Sunday night at his apartment in San Francisco. He was 79. \u003c/p>\n\u003cp>News of Robison’s passing was confirmed by a San Francisco Symphony spokesperson. No cause of death was given. Robison had been in a long period of recovery from a spinal cord injury after suffering a fall at home last August. \u003c/p>\n\u003cp>Robison, full of energy and quick with a smile, was a constant presence at the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>, and at civic and arts events in and around San Francisco. To Thomas, he served as a creative partner and source of support.\u003c/p>\n\u003cfigure id=\"attachment_13987052\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/2324concerts_121523mttway_002.jpg\" alt=\"A group of people sit in chairs, many dressed in blue, on the sidewalk\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13987052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/2324concerts_121523mttway_002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/2324concerts_121523mttway_002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/2324concerts_121523mttway_002-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/2324concerts_121523mttway_002-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Robison, second from left, sits with Michael Tilson Thomas, Mayor London Breed, Speaker Nancy Pelosi and San Francisco Symphony Executive Director Matthew Spivey at a dedication ceremony for ‘MTT Way’ outside Davies Symphony Hall in San Francisco in Dec. 15, 2023. \u003ccite>(Courtesy San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Thomas was the music director and public face of the San Francisco Symphony from 1995–2020, “Joshua was the steady and indispensable force behind the scenes who helped make it all work,” said the Symphony’s board chair Priscilla Geeslin.\u003c/p>\n\u003cp>“Their partnership was extraordinary: Michael’s expansive artistic vision paired with Joshua’s insight, advocacy, and unwavering dedication. Joshua ensured that bold ideas became realities, that relationships were nurtured, and that the Symphony’s work resonated far beyond the stage,” Geeslin added. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Robison and Thomas met as musicians in their junior high orchestra. “We have very strong memories of making music together when we were 12 or 13 years old,” Thomas \u003ca href=\"https://www.sfgate.com/entertainment/article/38-years-together-Tilson-Thomas-and-Robison-marry-5867303.php\">once told\u003c/a> the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13975353\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080.jpg\" alt=\"A man in a blue shirt clasps his hands in appreciation next to a door as smiling friends stand close by\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Robison, second from left, leaves the stage with Michael Tilson Thomas, Edwin Outwater and Teddy Abrams at the end of Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In high school and at UC Berkeley, while Thomas continued to study music, Robison became a champion gymnast. In the 1970s, the two reunited in New York state, and were inseparable ever since.\u003c/p>\n\u003cp>In 2014, 38 years after first meeting, the two were married. In 2021, after Thomas was \u003ca href=\"https://www.kqed.org/arts/13909978/michael-tilson-thomas-goes-public-about-cancer-steps-back-from-some-engagements\">diagnosed with a brain tumor\u003c/a>, Robison provided constant care and support. \u003c/p>\n\u003cp>Last year, Robison produced an \u003ca href=\"https://www.kqed.org/arts/13975328/michael-tilson-thomas-80th-birthday-concert-symphony-review\">80th birthday concert\u003c/a> for Thomas at Davies Symphony Hall, and sat by Thomas’ side onstage for the duration of the celebration. At the concert’s end, Thomas sang along to the song “Some Other Time,” gesturing toward Robison on the lines: “There’s so much more embracing / Still to be done / But time is racing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A memorial for Robison has not yet been announced. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joshua Robison, the husband of conductor and music director \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a>, died in his sleep Sunday night at his apartment in San Francisco. He was 79. \u003c/p>\n\u003cp>News of Robison’s passing was confirmed by a San Francisco Symphony spokesperson. No cause of death was given. Robison had been in a long period of recovery from a spinal cord injury after suffering a fall at home last August. \u003c/p>\n\u003cp>Robison, full of energy and quick with a smile, was a constant presence at the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>, and at civic and arts events in and around San Francisco. To Thomas, he served as a creative partner and source of support.\u003c/p>\n\u003cfigure id=\"attachment_13987052\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/2324concerts_121523mttway_002.jpg\" alt=\"A group of people sit in chairs, many dressed in blue, on the sidewalk\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13987052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/2324concerts_121523mttway_002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/2324concerts_121523mttway_002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/2324concerts_121523mttway_002-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/2324concerts_121523mttway_002-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Robison, second from left, sits with Michael Tilson Thomas, Mayor London Breed, Speaker Nancy Pelosi and San Francisco Symphony Executive Director Matthew Spivey at a dedication ceremony for ‘MTT Way’ outside Davies Symphony Hall in San Francisco in Dec. 15, 2023. \u003ccite>(Courtesy San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Thomas was the music director and public face of the San Francisco Symphony from 1995–2020, “Joshua was the steady and indispensable force behind the scenes who helped make it all work,” said the Symphony’s board chair Priscilla Geeslin.\u003c/p>\n\u003cp>“Their partnership was extraordinary: Michael’s expansive artistic vision paired with Joshua’s insight, advocacy, and unwavering dedication. Joshua ensured that bold ideas became realities, that relationships were nurtured, and that the Symphony’s work resonated far beyond the stage,” Geeslin added. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Robison and Thomas met as musicians in their junior high orchestra. “We have very strong memories of making music together when we were 12 or 13 years old,” Thomas \u003ca href=\"https://www.sfgate.com/entertainment/article/38-years-together-Tilson-Thomas-and-Robison-marry-5867303.php\">once told\u003c/a> the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13975353\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080.jpg\" alt=\"A man in a blue shirt clasps his hands in appreciation next to a door as smiling friends stand close by\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_080-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Robison, second from left, leaves the stage with Michael Tilson Thomas, Edwin Outwater and Teddy Abrams at the end of Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In high school and at UC Berkeley, while Thomas continued to study music, Robison became a champion gymnast. In the 1970s, the two reunited in New York state, and were inseparable ever since.\u003c/p>\n\u003cp>In 2014, 38 years after first meeting, the two were married. In 2021, after Thomas was \u003ca href=\"https://www.kqed.org/arts/13909978/michael-tilson-thomas-goes-public-about-cancer-steps-back-from-some-engagements\">diagnosed with a brain tumor\u003c/a>, Robison provided constant care and support. \u003c/p>\n\u003cp>Last year, Robison produced an \u003ca href=\"https://www.kqed.org/arts/13975328/michael-tilson-thomas-80th-birthday-concert-symphony-review\">80th birthday concert\u003c/a> for Thomas at Davies Symphony Hall, and sat by Thomas’ side onstage for the duration of the celebration. At the concert’s end, Thomas sang along to the song “Some Other Time,” gesturing toward Robison on the lines: “There’s so much more embracing / Still to be done / But time is racing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A memorial for Robison has not yet been announced. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/festival-la-onda\">Festival La Onda\u003c/a>, the Latin music festival held annually in Napa since 2024, has been canceled this year. \u003c/p>\n\u003cp>“Unfortunately, the 2026 Festival La Onda will not be taking place,” reads a statement on the festival’s website. “We remain hopeful that a future Festival La Onda will be possible. Until then, we are proud of what we created together and deeply grateful to the fans who supported La Onda.”\u003c/p>\n\u003cp>The site also states that ticket buyers who purchased through the festival’s direct ticket outlet will receive “a full refund in as little as 30 days.”\u003c/p>\n\u003cp>[aside postID='arts_13959079']When contacted by KQED, a spokesperson for the festival did not give a reason for the cancellation. This year’s \u003ca href=\"https://www.kqed.org/arts/13986582/la-onda-2026-lineup-j-balvin-christian-nodal-mana-ivan-cornejo-more-in-napa\">lineup\u003c/a> had included J Balvin, Christian Nodal, Maná, Ivan Cornejo, Orishas, El Gran Combo de Puerto Rico, Los Fabulosos Cadillacs and others.\u003c/p>\n\u003cp>La Onda began in 2024, running the weekend after BottleRock and held on the same fairgrounds at the Napa Valley Expo, as a way to serve the Latino population so crucial to the region’s wine and hospitality industry. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>La Onda also extended the use of BottleRock’s existing stages, permitting and infrastructure for a second weekend, a trend in music festival promotion. Coachella in Southern California runs two weekends in a row, and last year, the promoters of Outside Lands in San Francisco added a country concert and a Grateful Dead celebration, making for \u003ca href=\"https://news.pollstar.com/2025/08/29/three-weekends-on-another-planet-dead-co-outside-lands-and-zach-bryan-take-san-frans-golden-gate-park-to-another-level/\">three weekends of music in a row\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"https://www.laondafest.com/info/\">page of frequently asked questions\u003c/a> regarding the cancellation, and when ticket buyers can expect refunds, is on La Onda’s website now. Those with further questions are encouraged to email queonda@laondafest.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/festival-la-onda\">Festival La Onda\u003c/a>, the Latin music festival held annually in Napa since 2024, has been canceled this year. \u003c/p>\n\u003cp>“Unfortunately, the 2026 Festival La Onda will not be taking place,” reads a statement on the festival’s website. “We remain hopeful that a future Festival La Onda will be possible. Until then, we are proud of what we created together and deeply grateful to the fans who supported La Onda.”\u003c/p>\n\u003cp>The site also states that ticket buyers who purchased through the festival’s direct ticket outlet will receive “a full refund in as little as 30 days.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When contacted by KQED, a spokesperson for the festival did not give a reason for the cancellation. This year’s \u003ca href=\"https://www.kqed.org/arts/13986582/la-onda-2026-lineup-j-balvin-christian-nodal-mana-ivan-cornejo-more-in-napa\">lineup\u003c/a> had included J Balvin, Christian Nodal, Maná, Ivan Cornejo, Orishas, El Gran Combo de Puerto Rico, Los Fabulosos Cadillacs and others.\u003c/p>\n\u003cp>La Onda began in 2024, running the weekend after BottleRock and held on the same fairgrounds at the Napa Valley Expo, as a way to serve the Latino population so crucial to the region’s wine and hospitality industry. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>La Onda also extended the use of BottleRock’s existing stages, permitting and infrastructure for a second weekend, a trend in music festival promotion. Coachella in Southern California runs two weekends in a row, and last year, the promoters of Outside Lands in San Francisco added a country concert and a Grateful Dead celebration, making for \u003ca href=\"https://news.pollstar.com/2025/08/29/three-weekends-on-another-planet-dead-co-outside-lands-and-zach-bryan-take-san-frans-golden-gate-park-to-another-level/\">three weekends of music in a row\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"https://www.laondafest.com/info/\">page of frequently asked questions\u003c/a> regarding the cancellation, and when ticket buyers can expect refunds, is on La Onda’s website now. Those with further questions are encouraged to email queonda@laondafest.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Oakland, Audiopharmacy’s BAMBU Sessions Offer a Party for a Purpose",
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"content": "\u003cp>Bay Area artists have long mastered the art of partying for a purpose. On Saturday, the hip-hop ensemble \u003ca href=\"https://www.audiopharmacy.com/\">Audiopharmacy\u003c/a> will throw an event that’s a celebration — as well as a call to action.\u003c/p>\n\u003cp>For the second installment of group’s quarterly \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">BAMBU Sessions\u003c/a> series, sliding-scale admission will give attendees an evening of live music, an open mic and a Lunar New Year celebration to raise funds for a musician currently in custody of U.S. Immigration and Customs Enforcement.\u003c/p>\n\u003cp>Audiopharmacy founder \u003ca href=\"https://www.instagram.com/teaosense\">Teao Sense\u003c/a> adds that the evening comes with an underlying theme of using old-fashioned human creativity to combat the prevalence of artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13986899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986899 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic.jpg\" alt=\"A collective of people performing on stage. \" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audiopharmacy rocking the stage at Summer Arts & Music Fest 2024 in Redway, CA. \u003ccite>(David Saenz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The issue that I want to address, first and foremost,” Sense tells me during a recent call, “is that we don’t know what’s AI and what’s not AI.” In turn, Sense is turning to what he calls “HI” — human intelligence. A turntablist, producer and multi-instrumentalist, Sense adds that the music recorded during these live BAMBU Sessions events is mixed, mastered and shared with the world for free on \u003ca href=\"http://www.audiopharmacy.com.\">their website\u003c/a>.\u003c/p>\n\u003cp>For more than two decades, Audiopharmacy has recorded and performed around the Bay Area and across the globe. This past December, with financial support from \u003ca href=\"https://www.zoolabs.org/\">Zoo Labs\u003c/a> and \u003ca href=\"https://theintersection.org/\">Intersection for the Arts\u003c/a>, the group opened a new recording studio, arts incubator, performance and wellness space in West Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To christen their new space, known as BAMBU Pharm, they held a series of activations, including \u003ca href=\"https://www.youtube.com/watch?v=ViTeMcO8GZk\">their inaugural BAMBU Sessions\u003c/a> event.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ViTeMcO8GZk\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first jam session was organized and hosted by Teao Sense, jo love/speak cruz, Nikila Badua aka “MamaWisdom1,” as well as Gina Madrid, Sami See, Gema Cantu, Persia Blackwell, Seiji Oda, Aya Eid, Santos S.O.U.L., Marcos Odara, Rasul Grayson, Brass Medik, Amre Leon, Keith Ebbs., poko d., and JT Teodoro. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event also featured talented artists Ian Santillano, Jumakae, Emcee Soulati, Obrayan Calderon, Yrak Saenz, ELENAH, Dani Cornejo, Smiley C, MC Persia, TSAVO, Theresa Panyawai, Razteria, and Khalil Fantauzzi. \u003c/span>\u003c/p>\n\u003cp>Recalling the night with its live percussion, multiple string instruments and jazzy saxophone, \u003ca href=\"https://persia.bandcamp.com/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGntJVx23ZLi3Yq6LFCuSLb9qJWPIFFdUd_8Cm3ePB7F0Xe6dVngZoV8lABwv4_aem_4u74nzmK1Qg_3NbuRxZZ9w\">San Jose’s veteran lyricist MC Persia\u003c/a> says the vibe was so good, she was compelled to spit a few bars.\u003c/p>\n\u003cp>A rapper since her early teenage years, MC Persia began to experience “brain fog” in her late 30s, causing her to work more behind the scenes. Audiopharmacy’s events have aided her ambition to continue performing.\u003c/p>\n\u003cp>“For the past decade, every time I’ve stepped back on a stage it’s been because of Audiopharmacy,” she tells me. “What they are building isn’t just an event. It’s medicine. Every time I stand in it, I’m reminded why I started in the first place.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GSWC0T9u2aM\u003c/p>\n\u003cp>That medicine extends beyond the music. “We’re generally raising funds for all the different things that we do,” says Sense, adding that the group regularly hosts workshops, ranging from art and music to Qigong and boxing.\u003c/p>\n\u003cp>This weekend, the group will raise funds for their friend, a Bay Area-based percussionist from Brazil named \u003ca href=\"https://www.gofundme.com/f/free-leo-from-ice-detention\">Leandro “Leo” Oliveira\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13986720']On Dec. 4, 2025, Oliveira, while seeking asylum in the U.S., was leaving a scheduled immigration appointment in San Francisco when he was detained by ICE agents and subsequently incarcerated.\u003c/p>\n\u003cp>Oliveira, who plays percussion with Audiopharmacy, as well as the Bay Area Brazilian bands \u003ca href=\"https://www.instagram.com/bateriabatuki?igshid=Y2IzZGU1MTFhOQ%3D%3D\">Batuki\u003c/a> and\u003ca href=\"https://www.instagram.com/ndlband/\"> Namorados Da Lua (NDL)\u003c/a>, has reportedly been offered documents to self-deport, but isn’t signing. Now, Audiopharmacy is raising funds for their colleague’s legal representation through what cofounder jo love/speak cruz calls “radical joy” while doing “substantive work that supports our people.”\u003c/p>\n\u003cfigure id=\"attachment_13986898\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm.jpg\" alt=\"Eight people posing for a photo outside, in front of a building with a mural painted on it.\" width=\"2000\" height=\"2411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-768x926.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-1274x1536.jpg 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-1699x2048.jpg 1699w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Audiopharmacy (Nikila Badua aka MamaWisdom1, Santos S.O.U.L., Gina Madrid, jo love/speak cruz, Teao Sense, Obrayan Calderon, Marcos Odara, Ras K’ Dee) pose for a photo outside West Oakland’s mural and museum dedicated to the women of the Black Panther Party. \u003ccite>(Sade Adeyemi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The jam session and open mic will also honor the start of the Lunar New Year. jo love/speak cruz says they’ll celebrate the Year of the Fire Horse by gifting traditional red envelopes to attendees — as well as offering free boxing lessons from \u003ca href=\"https://www.jxtheo.net/bayanihanboxing\">Jean “Jxtheo” Teodoro, owner of Bayanihan Boxing\u003c/a> to ensure the community is artistically, politically and physically empowered.\u003c/p>\n\u003cp>The Year of the Fire Horse brings a “really bold, passionate, and purposeful energy,” jo love/speak cruz attests, adding that it’s important to harness this energy in a benevolent manner. “Beyond the individual,” she says, “it’s meant to really move the collective.”\u003c/p>\n\u003cp>With that in mind, Audiopharmacy will combine music and fresh Nepali cuisine with collective meditation and the intentional usage of certain colors. As they make art and party for a purpose, while kicking off a fresh Lunar New Year, jo love/speak cruz offers a reminder: “Fire is good,” she says. “We’ve got to melt the ice.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audiopharmacy’s second installment of the \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">BAMBU Sessions\u003c/a> takes place Saturday, Feb. 21, in West Oakland. For tickets and specific event location, \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">RSVP here.\u003c/a> \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area artists have long mastered the art of partying for a purpose. On Saturday, the hip-hop ensemble \u003ca href=\"https://www.audiopharmacy.com/\">Audiopharmacy\u003c/a> will throw an event that’s a celebration — as well as a call to action.\u003c/p>\n\u003cp>For the second installment of group’s quarterly \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">BAMBU Sessions\u003c/a> series, sliding-scale admission will give attendees an evening of live music, an open mic and a Lunar New Year celebration to raise funds for a musician currently in custody of U.S. Immigration and Customs Enforcement.\u003c/p>\n\u003cp>Audiopharmacy founder \u003ca href=\"https://www.instagram.com/teaosense\">Teao Sense\u003c/a> adds that the evening comes with an underlying theme of using old-fashioned human creativity to combat the prevalence of artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13986899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986899 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic.jpg\" alt=\"A collective of people performing on stage. \" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audiopharmacy rocking the stage at Summer Arts & Music Fest 2024 in Redway, CA. \u003ccite>(David Saenz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The issue that I want to address, first and foremost,” Sense tells me during a recent call, “is that we don’t know what’s AI and what’s not AI.” In turn, Sense is turning to what he calls “HI” — human intelligence. A turntablist, producer and multi-instrumentalist, Sense adds that the music recorded during these live BAMBU Sessions events is mixed, mastered and shared with the world for free on \u003ca href=\"http://www.audiopharmacy.com.\">their website\u003c/a>.\u003c/p>\n\u003cp>For more than two decades, Audiopharmacy has recorded and performed around the Bay Area and across the globe. This past December, with financial support from \u003ca href=\"https://www.zoolabs.org/\">Zoo Labs\u003c/a> and \u003ca href=\"https://theintersection.org/\">Intersection for the Arts\u003c/a>, the group opened a new recording studio, arts incubator, performance and wellness space in West Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To christen their new space, known as BAMBU Pharm, they held a series of activations, including \u003ca href=\"https://www.youtube.com/watch?v=ViTeMcO8GZk\">their inaugural BAMBU Sessions\u003c/a> event.\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/ViTeMcO8GZk'\n title='//www.youtube.com/embed/ViTeMcO8GZk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The first jam session was organized and hosted by Teao Sense, jo love/speak cruz, Nikila Badua aka “MamaWisdom1,” as well as Gina Madrid, Sami See, Gema Cantu, Persia Blackwell, Seiji Oda, Aya Eid, Santos S.O.U.L., Marcos Odara, Rasul Grayson, Brass Medik, Amre Leon, Keith Ebbs., poko d., and JT Teodoro. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event also featured talented artists Ian Santillano, Jumakae, Emcee Soulati, Obrayan Calderon, Yrak Saenz, ELENAH, Dani Cornejo, Smiley C, MC Persia, TSAVO, Theresa Panyawai, Razteria, and Khalil Fantauzzi. \u003c/span>\u003c/p>\n\u003cp>Recalling the night with its live percussion, multiple string instruments and jazzy saxophone, \u003ca href=\"https://persia.bandcamp.com/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGntJVx23ZLi3Yq6LFCuSLb9qJWPIFFdUd_8Cm3ePB7F0Xe6dVngZoV8lABwv4_aem_4u74nzmK1Qg_3NbuRxZZ9w\">San Jose’s veteran lyricist MC Persia\u003c/a> says the vibe was so good, she was compelled to spit a few bars.\u003c/p>\n\u003cp>A rapper since her early teenage years, MC Persia began to experience “brain fog” in her late 30s, causing her to work more behind the scenes. Audiopharmacy’s events have aided her ambition to continue performing.\u003c/p>\n\u003cp>“For the past decade, every time I’ve stepped back on a stage it’s been because of Audiopharmacy,” she tells me. “What they are building isn’t just an event. It’s medicine. Every time I stand in it, I’m reminded why I started in the first place.”\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/GSWC0T9u2aM'\n title='//www.youtube.com/embed/GSWC0T9u2aM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That medicine extends beyond the music. “We’re generally raising funds for all the different things that we do,” says Sense, adding that the group regularly hosts workshops, ranging from art and music to Qigong and boxing.\u003c/p>\n\u003cp>This weekend, the group will raise funds for their friend, a Bay Area-based percussionist from Brazil named \u003ca href=\"https://www.gofundme.com/f/free-leo-from-ice-detention\">Leandro “Leo” Oliveira\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Dec. 4, 2025, Oliveira, while seeking asylum in the U.S., was leaving a scheduled immigration appointment in San Francisco when he was detained by ICE agents and subsequently incarcerated.\u003c/p>\n\u003cp>Oliveira, who plays percussion with Audiopharmacy, as well as the Bay Area Brazilian bands \u003ca href=\"https://www.instagram.com/bateriabatuki?igshid=Y2IzZGU1MTFhOQ%3D%3D\">Batuki\u003c/a> and\u003ca href=\"https://www.instagram.com/ndlband/\"> Namorados Da Lua (NDL)\u003c/a>, has reportedly been offered documents to self-deport, but isn’t signing. Now, Audiopharmacy is raising funds for their colleague’s legal representation through what cofounder jo love/speak cruz calls “radical joy” while doing “substantive work that supports our people.”\u003c/p>\n\u003cfigure id=\"attachment_13986898\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm.jpg\" alt=\"Eight people posing for a photo outside, in front of a building with a mural painted on it.\" width=\"2000\" height=\"2411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-768x926.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-1274x1536.jpg 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-1699x2048.jpg 1699w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Audiopharmacy (Nikila Badua aka MamaWisdom1, Santos S.O.U.L., Gina Madrid, jo love/speak cruz, Teao Sense, Obrayan Calderon, Marcos Odara, Ras K’ Dee) pose for a photo outside West Oakland’s mural and museum dedicated to the women of the Black Panther Party. \u003ccite>(Sade Adeyemi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The jam session and open mic will also honor the start of the Lunar New Year. jo love/speak cruz says they’ll celebrate the Year of the Fire Horse by gifting traditional red envelopes to attendees — as well as offering free boxing lessons from \u003ca href=\"https://www.jxtheo.net/bayanihanboxing\">Jean “Jxtheo” Teodoro, owner of Bayanihan Boxing\u003c/a> to ensure the community is artistically, politically and physically empowered.\u003c/p>\n\u003cp>The Year of the Fire Horse brings a “really bold, passionate, and purposeful energy,” jo love/speak cruz attests, adding that it’s important to harness this energy in a benevolent manner. “Beyond the individual,” she says, “it’s meant to really move the collective.”\u003c/p>\n\u003cp>With that in mind, Audiopharmacy will combine music and fresh Nepali cuisine with collective meditation and the intentional usage of certain colors. As they make art and party for a purpose, while kicking off a fresh Lunar New Year, jo love/speak cruz offers a reminder: “Fire is good,” she says. “We’ve got to melt the ice.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audiopharmacy’s second installment of the \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">BAMBU Sessions\u003c/a> takes place Saturday, Feb. 21, in West Oakland. For tickets and specific event location, \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">RSVP here.\u003c/a> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Bruce Springsteen Is Coming Back to the Chase Center in April",
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"content": "\u003cp>Bruce Springsteen announced \u003ca href=\"https://brucespringsteen.net/tour/\">The Land of Hope and Dreams Tour\u003c/a> on Tuesday, with a stop at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/chase-center\">Chase Center\u003c/a> right around the corner — on Monday, April 13. Tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00644CF380D93D\">go on sale\u003c/a> Friday, Feb. 20 at noon, Pacific Time. \u003c/p>\n\u003cp>Marketing materials for the tour with the E Street Band make Springsteen’s intent plain, with a tagline reading “NO KINGS.” In a statement, Springsteen said the tour stood “in defense of America — American democracy, American freedom, our American Constitution and our sacred American dream — all of which are under attack by our wannabe king and his rogue government in Washington, D.C.”\u003c/p>\n\u003cp>Springsteen is currently riding a wave from a new anti-ICE protest song, “\u003ca href=\"https://youtu.be/LoOLc18uTw8?si=Gl5J1XnnC2fN-2zM\">Streets of Minneapolis\u003c/a>“; a recent \u003ca href=\"https://brucespringsteen.store/products/tracks-ii-the-lost-albums-7cd-box-set\">box set of unreleased albums\u003c/a>; and a \u003ca href=\"https://brucespringsteen.net/news/2025/land-of-hope-dreams-ep/\">live EP recorded in England\u003c/a> with sharp between-song criticism of the Trump administration’s attack on democracy and civil rights. He was also recently the subject of \u003ca href=\"https://www.kqed.org/arts/13982780/springsteen-deliver-me-from-nowhere-movie-review\">a Hollywood film\u003c/a>.\u003c/p>\n\u003cp>There are no special credit-card presales or phone-company presale codes for tickets to Bruce Springsteen’s San Francisco show — just a simple general onsale.\u003c/p>\n\u003cp>This may seem egalitarian, but consider that when Springsteen last played the Warriors’ home arena, with two back-to-back shows in 2024, his ticket sales were subject to “\u003ca href=\"https://www.insidehook.com/music/ticketmaster-dynamic-pricing\">dynamic pricing\u003c/a>,” and fluctuated by hundreds of dollars each in real time. (The backlash was so strong that after publishing for 43 years, the \u003ca href=\"https://www.theguardian.com/music/2023/feb/05/bruce-springsteen-fanzine-backstreets-shuts-down-ticket-prices\">Bruce fan newsletter Backstreets shut down in protest\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether dynamic pricing will be in effect on Friday remains to be seen. Notable is that there’s enough space on either side of his tour schedule to add another date, which could help with supply and demand. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets go on sale Friday, Feb. 20, at noon Pacific time \u003ca href=\"https://www.ticketmaster.com/event/1C00644CF380D93D\">right here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bruce Springsteen announced \u003ca href=\"https://brucespringsteen.net/tour/\">The Land of Hope and Dreams Tour\u003c/a> on Tuesday, with a stop at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/chase-center\">Chase Center\u003c/a> right around the corner — on Monday, April 13. Tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00644CF380D93D\">go on sale\u003c/a> Friday, Feb. 20 at noon, Pacific Time. \u003c/p>\n\u003cp>Marketing materials for the tour with the E Street Band make Springsteen’s intent plain, with a tagline reading “NO KINGS.” In a statement, Springsteen said the tour stood “in defense of America — American democracy, American freedom, our American Constitution and our sacred American dream — all of which are under attack by our wannabe king and his rogue government in Washington, D.C.”\u003c/p>\n\u003cp>Springsteen is currently riding a wave from a new anti-ICE protest song, “\u003ca href=\"https://youtu.be/LoOLc18uTw8?si=Gl5J1XnnC2fN-2zM\">Streets of Minneapolis\u003c/a>“; a recent \u003ca href=\"https://brucespringsteen.store/products/tracks-ii-the-lost-albums-7cd-box-set\">box set of unreleased albums\u003c/a>; and a \u003ca href=\"https://brucespringsteen.net/news/2025/land-of-hope-dreams-ep/\">live EP recorded in England\u003c/a> with sharp between-song criticism of the Trump administration’s attack on democracy and civil rights. He was also recently the subject of \u003ca href=\"https://www.kqed.org/arts/13982780/springsteen-deliver-me-from-nowhere-movie-review\">a Hollywood film\u003c/a>.\u003c/p>\n\u003cp>There are no special credit-card presales or phone-company presale codes for tickets to Bruce Springsteen’s San Francisco show — just a simple general onsale.\u003c/p>\n\u003cp>This may seem egalitarian, but consider that when Springsteen last played the Warriors’ home arena, with two back-to-back shows in 2024, his ticket sales were subject to “\u003ca href=\"https://www.insidehook.com/music/ticketmaster-dynamic-pricing\">dynamic pricing\u003c/a>,” and fluctuated by hundreds of dollars each in real time. (The backlash was so strong that after publishing for 43 years, the \u003ca href=\"https://www.theguardian.com/music/2023/feb/05/bruce-springsteen-fanzine-backstreets-shuts-down-ticket-prices\">Bruce fan newsletter Backstreets shut down in protest\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whether dynamic pricing will be in effect on Friday remains to be seen. Notable is that there’s enough space on either side of his tour schedule to add another date, which could help with supply and demand. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets go on sale Friday, Feb. 20, at noon Pacific time \u003ca href=\"https://www.ticketmaster.com/event/1C00644CF380D93D\">right here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Van Morrison Finds His Happy Place in the Mission District",
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"content": "\u003cp>If you’d been traveling down \u003ca href=\"https://www.kqed.org/news/tag/valencia-street\">Valencia Street\u003c/a> on Monday afternoon, you might have seen a 100-boomer-long procession snaking down the sidewalk in the light drizzle, its umbrella-toting occupants looking halfway like mourners. As one among the age 50-, 60- and 70-and-up gathered, I can verify: Our line was not for a funeral.\u003c/p>\n\u003cp>Rather, it was a celebration of a living legend. Van Morrison, with a touch of the deadpan, had chosen The Chapel — a former mortuary — as the site of an invite-only run-through of his new, blues-heavy album, \u003cem>Somebody Tried to Sell Me a Bridge\u003c/em>. He’s \u003ca href=\"https://www.palaceoffinearts.org/\">in town the rest of the week over at the Palace of Fine Arts\u003c/a>, and presumably, those five shows will yield more standard-issue sets.\u003c/p>\n\u003cp>[aside postID='arts_13847949']On Monday, though, between the setlist, the 400-capacity room and the 3 p.m. start time, well, this was a one-of-a-kind Van Morrison show. That much was evident after he took the stage and — just two minutes into set opener “Kidney Stew Blues” — Morrison turned to his seven-piece band, and … \u003cem>cracked a smile and laughed\u003c/em>?!?\u003c/p>\n\u003cp>If Polymarket or Kalshi, or \u003ca href=\"https://www.nytimes.com/2026/01/22/business/prediction-markets-polymarket-kalshi.html\">whatever the world’s crypto weirdos are into\u003c/a>, took bets on events to happen at a Van Morrison show, “smiling and laughing” would pay out 500 to 1. On record, he’s \u003ca href=\"https://en.wikipedia.org/wiki/What%27s_It_Gonna_Take%3F\">complained bitterly about COVID guidelines\u003c/a>; onstage, he sometimes gets compared to Oscar the Grouch. He has lodged himself in the showbiz grump hall of fame along with \u003ca href=\"https://www.youtube.com/watch?v=O3cBp_Bf43M\">Billy Joel when he is in Russia and it is the 1980s\u003c/a>.\u003c/p>\n\u003cp>But man, give the Irish guy a small club and a bunch of blues songs from Black American artists like Willie Dixon, Sonny Terry & Brownie McGhee and Eddie “Cleanhead” Vinson, and he loosens up like a rusty bolt blasted with WD-40.\u003c/p>\n\u003cfigure id=\"attachment_13986761\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg\" alt=\"Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. The singer performed songs from his 48th album, ‘Somebody Tried to Sell Me a Bridge,’ for an invite-only crowd.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. \u003ccite>(Kathy Henson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Madame Butterfly Blues,” he jokingly “fined” keyboardist Mitch Woods with five full-finger hand signals, \u003ca href=\"https://www.reddit.com/r/todayilearned/comments/k42u89/til_that_james_brown_would_impose_fines_on_his/\">James Brown-style\u003c/a>. After the rollicking “I’m Gonna Play the Honky Tonks,” an obscurity by blues singer Marie Adams, he \u003cem>arooooo-ed\u003c/em> and \u003cem>yip yip yip yip yip yip\u003c/em>ped into the mic like an excited hound or \u003ca href=\"https://www.instagram.com/p/DSAiDHqkeAH/\">an East Bay punk singer on drugs\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the set’s most transcendent moment, Morrison reinvented Fats Domino’s “Ain’t That a Shame,” introducing new phrasing, rhythm and melody to create something hallowed and tender. That’s Van the singer; there was also Van the music director, conducting his band piece by piece — a piano chord here, a cymbal crash there. Morrison ad-libbed the phrase “stop breaking down” 17 times in a row while the band crested its long crescendo, turning the air into gold.\u003c/p>\n\u003cp>When the music writer \u003ca href=\"https://www.joelselvin.com/\">Joel Selvin\u003c/a>, a proud part-time grump himself, included droplets in his \u003cem>San Francisco Chronicle\u003c/em> columns like “\u003ca href=\"https://www.sfgate.com/entertainment/article/grammy-nominations-a-snooze-3181907.php\">Truth be told, many people in the industry don’t like the music they are making. They go home and listen to old Van Morrison records like everyone else\u003c/a>” — this is the Van Morrison he meant.\u003c/p>\n\u003cfigure id=\"attachment_13986760\" class=\"wp-caption aligncenter\" style=\"max-width: 1046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg\" alt=\"\" width=\"1046\" height=\"697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg 1046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-768x512.jpg 768w\" sizes=\"auto, (max-width: 1046px) 100vw, 1046px\">\u003cfigcaption class=\"wp-caption-text\">A marquee outside the Chapel announces Van Morrison’s afternoon set. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, over the 80-minute set, some sections lagged, with the top-notch band applying formulaic arrangements to “I’m Ready,” “Can’t Help Myself” and “Social Climbing Scene,” the latter a Morrison original about the vapid quest for clout. During his other original composition, the complainy “Somebody Tried to Sell Me a Bridge,” Morrison hunched over his printed lyrics and sang them with only a few ounces of conviction.\u003c/p>\n\u003cp>Then there was Van the perfectionist, kicking off “Rock Me Baby” after two false starts: “Too fast,” he said. During the first verse, in an agreeable tempo, he looked toward Woods: “Play!” Woods ran up and down the keys. “Not that much!” Morrison said. “Cut it in half!”\u003c/p>\n\u003cp>But the man knows what he wants, and when he gets it, everything falls into place. After an encore of Sonny Boy Williamson’s “Help Me,” the familiar three chords of “Gloria” charged in, somehow both a surprise and a foregone conclusion. For a few minutes, the crowd forgot about the troubles outside, chanting with a collective uplift of \u003cem>G-L-O-R-I-A\u003c/em>, and Morrison was in his happy place of being in a bar band again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Van Morrison performs Feb. 17, 18, 19, 23 and 24 at the Palace of Fine Arts (3301 Lyon St., San Francisco). \u003ca href=\"https://www.palaceoffinearts.org/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’d been traveling down \u003ca href=\"https://www.kqed.org/news/tag/valencia-street\">Valencia Street\u003c/a> on Monday afternoon, you might have seen a 100-boomer-long procession snaking down the sidewalk in the light drizzle, its umbrella-toting occupants looking halfway like mourners. As one among the age 50-, 60- and 70-and-up gathered, I can verify: Our line was not for a funeral.\u003c/p>\n\u003cp>Rather, it was a celebration of a living legend. Van Morrison, with a touch of the deadpan, had chosen The Chapel — a former mortuary — as the site of an invite-only run-through of his new, blues-heavy album, \u003cem>Somebody Tried to Sell Me a Bridge\u003c/em>. He’s \u003ca href=\"https://www.palaceoffinearts.org/\">in town the rest of the week over at the Palace of Fine Arts\u003c/a>, and presumably, those five shows will yield more standard-issue sets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Monday, though, between the setlist, the 400-capacity room and the 3 p.m. start time, well, this was a one-of-a-kind Van Morrison show. That much was evident after he took the stage and — just two minutes into set opener “Kidney Stew Blues” — Morrison turned to his seven-piece band, and … \u003cem>cracked a smile and laughed\u003c/em>?!?\u003c/p>\n\u003cp>If Polymarket or Kalshi, or \u003ca href=\"https://www.nytimes.com/2026/01/22/business/prediction-markets-polymarket-kalshi.html\">whatever the world’s crypto weirdos are into\u003c/a>, took bets on events to happen at a Van Morrison show, “smiling and laughing” would pay out 500 to 1. On record, he’s \u003ca href=\"https://en.wikipedia.org/wiki/What%27s_It_Gonna_Take%3F\">complained bitterly about COVID guidelines\u003c/a>; onstage, he sometimes gets compared to Oscar the Grouch. He has lodged himself in the showbiz grump hall of fame along with \u003ca href=\"https://www.youtube.com/watch?v=O3cBp_Bf43M\">Billy Joel when he is in Russia and it is the 1980s\u003c/a>.\u003c/p>\n\u003cp>But man, give the Irish guy a small club and a bunch of blues songs from Black American artists like Willie Dixon, Sonny Terry & Brownie McGhee and Eddie “Cleanhead” Vinson, and he loosens up like a rusty bolt blasted with WD-40.\u003c/p>\n\u003cfigure id=\"attachment_13986761\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg\" alt=\"Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. The singer performed songs from his 48th album, ‘Somebody Tried to Sell Me a Bridge,’ for an invite-only crowd.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. \u003ccite>(Kathy Henson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Madame Butterfly Blues,” he jokingly “fined” keyboardist Mitch Woods with five full-finger hand signals, \u003ca href=\"https://www.reddit.com/r/todayilearned/comments/k42u89/til_that_james_brown_would_impose_fines_on_his/\">James Brown-style\u003c/a>. After the rollicking “I’m Gonna Play the Honky Tonks,” an obscurity by blues singer Marie Adams, he \u003cem>arooooo-ed\u003c/em> and \u003cem>yip yip yip yip yip yip\u003c/em>ped into the mic like an excited hound or \u003ca href=\"https://www.instagram.com/p/DSAiDHqkeAH/\">an East Bay punk singer on drugs\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the set’s most transcendent moment, Morrison reinvented Fats Domino’s “Ain’t That a Shame,” introducing new phrasing, rhythm and melody to create something hallowed and tender. That’s Van the singer; there was also Van the music director, conducting his band piece by piece — a piano chord here, a cymbal crash there. Morrison ad-libbed the phrase “stop breaking down” 17 times in a row while the band crested its long crescendo, turning the air into gold.\u003c/p>\n\u003cp>When the music writer \u003ca href=\"https://www.joelselvin.com/\">Joel Selvin\u003c/a>, a proud part-time grump himself, included droplets in his \u003cem>San Francisco Chronicle\u003c/em> columns like “\u003ca href=\"https://www.sfgate.com/entertainment/article/grammy-nominations-a-snooze-3181907.php\">Truth be told, many people in the industry don’t like the music they are making. They go home and listen to old Van Morrison records like everyone else\u003c/a>” — this is the Van Morrison he meant.\u003c/p>\n\u003cfigure id=\"attachment_13986760\" class=\"wp-caption aligncenter\" style=\"max-width: 1046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg\" alt=\"\" width=\"1046\" height=\"697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg 1046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-768x512.jpg 768w\" sizes=\"auto, (max-width: 1046px) 100vw, 1046px\">\u003cfigcaption class=\"wp-caption-text\">A marquee outside the Chapel announces Van Morrison’s afternoon set. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, over the 80-minute set, some sections lagged, with the top-notch band applying formulaic arrangements to “I’m Ready,” “Can’t Help Myself” and “Social Climbing Scene,” the latter a Morrison original about the vapid quest for clout. During his other original composition, the complainy “Somebody Tried to Sell Me a Bridge,” Morrison hunched over his printed lyrics and sang them with only a few ounces of conviction.\u003c/p>\n\u003cp>Then there was Van the perfectionist, kicking off “Rock Me Baby” after two false starts: “Too fast,” he said. During the first verse, in an agreeable tempo, he looked toward Woods: “Play!” Woods ran up and down the keys. “Not that much!” Morrison said. “Cut it in half!”\u003c/p>\n\u003cp>But the man knows what he wants, and when he gets it, everything falls into place. After an encore of Sonny Boy Williamson’s “Help Me,” the familiar three chords of “Gloria” charged in, somehow both a surprise and a foregone conclusion. For a few minutes, the crowd forgot about the troubles outside, chanting with a collective uplift of \u003cem>G-L-O-R-I-A\u003c/em>, and Morrison was in his happy place of being in a bar band again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Van Morrison performs Feb. 17, 18, 19, 23 and 24 at the Palace of Fine Arts (3301 Lyon St., San Francisco). \u003ca href=\"https://www.palaceoffinearts.org/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, for the 33rd year in a row, \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> will fill the Bay Area’s clubs, art spaces, concert halls and dive bars with live music, bringing together top-tier local artists with cult-favorite touring acts. The \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">homegrown festival\u003c/a> runs Feb. 19–March 1, and features over 150 bands at 20 different venues, with Tortoise, Stephen Malkmus, Wisp and Cupcakke at the top of the lineup.\u003c/p>\n\u003cp>Unlike weekend-long fests with hefty ticket prices, Noise Pop is what you make it. Fans can purchase affordable individual tickets to one-off shows, or choose to go all in with badges that allow access to multiple concerts throughout each night.\u003c/p>\n\u003cp>The festival’s producers also work with the city to put on \u003ca href=\"https://sfmusicweek.org/\">San Francisco Music Week\u003c/a>, running Feb. 23–March 1. It overlaps with Noise Pop and features concerts as well as an industry summit, talks and workshops.\u003c/p>\n\u003cp>During a year when San Francisco is losing two beloved independent venues — the \u003ca href=\"https://www.coyotemedia.org/san-francisco-club-bottom-of-the-hill-to-close-at-the-end-of-2026/\">Bottom of the Hill\u003c/a> and \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-punk-bar-parkside-close-21322202.php\">Thee Parkside\u003c/a> — it’s as important as ever to plug in and support your local scene. Below you’ll find five Bay Area acts not to miss at the festival.\u003c/p>\n\u003cp>https://youtu.be/LfRK51Rv7x4?si=afFZixjPdK7kc43Q\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/publicsf/events/giraffage-chrome-sparks-dj-presented-by-noise-pop-festival-public-works-165121\">Giraffage\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 21, 9:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Public Works, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Giraffage emerged a decade ago with head-in-the-cloud beats evoking a hazy daydream. His most recent music (especially in his duo with Ryan Hemsworth, Bodysync) is much less cerebral. The San Jose-born electronic musician goes in on feel-good, four-on-the-floor beats that vibrate with the adrenaline-fueled energy of a ’90s jock jam. Stretching and hydrating is a must before Giraffage’s sweat-inducing set at Public Works during Noise Pop’s first weekend.\u003c/p>\n\u003cp>https://youtu.be/TOVGTxqUd00?si=MEKHEg8dk76jDW_f\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/lyrics-born-171457\">Lyrics Born\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 8 p.m.\u003c/em>\u003cbr>\n\u003cem>Gray Area, San Francisco\u003c/em>\u003c/p>\n\u003cp>Over his 30-plus-year career, Lyrics Born has cemented himself as a laid-back wordsmith whose songs are as likely to get the dance floor moving as they are to hit listeners in the heart with pieces of life wisdom. His solo debut \u003ci>Later That Day\u003c/i> made \u003cem>Rolling Stone\u003c/em>’s list of the \u003ca href=\"https://www.rollingstone.com/music/music-lists/best-hip-hop-albums-1323916/\">200 Greatest Hip-Hop Albums of All Time\u003c/a>; he’s put out no shortage of funk-drenched bangers since, most recently his 2024 album \u003ci>Goodbye, Sticky Rice\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/h0-k7vW9Xek?si=nAUpg42z9I3yvfoZ\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theuctheatre.org/shows/clipping-27-feb\">clipping.\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 7 p.m.\u003cbr>\nUC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Before he starred in \u003ci>Hamilton\u003c/i> and \u003ci>Blindspotting\u003c/i>, Daveed Diggs came up in clipping., a hip-hop trio that pairs his tongue-twisting lyricism with jagged, experimental production by William Hutson and Jonathan Snipes. clipping.’s 2025 album \u003ci>Dead Channel Sky\u003c/i> pulses with the intensity of a warehouse rave, with industrial beats that match Diggs’ careening verses. This is an album for letting go, moving your body and, who knows, maybe even hopping into the mosh pit.\u003c/p>\n\u003cp>https://youtu.be/L8zILRiE5wk?si=tlQLa7XnoZlQd0WK\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/jay-som-168945\">Jay Som\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 6:30 p.m.\u003cbr>\nGray Area, San Francisco \u003c/em>\u003c/p>\n\u003cp>Jay Som began writing songs in her suburban East Bay bedroom, and her take on indie rock — punchy yet heartrending, catchy yet off-kilter enough to make you pause and ponder — has since caught the ear of big names like Paramore’s Hayley Williams, who features on Jay Som’s 2025 album \u003ci>Belong\u003c/i>. It’s Jay Som’s first release in six years, and Noise Pop will mark a welcome return to her hometown stage.\u003c/p>\n\u003cp>https://youtu.be/7gxHJnNYTAI?si=gKPTln8IXN2mDWzx\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/hugo-de-la-lune/\">Hugo De La Lune\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 7 and 8:30 p.m.\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hugo De La Lune calls themself African Dracula, and indeed, it’s not hard to imagine their haunting, sultry vocals echoing from a dark piano bar in \u003ci>Interview with a Vampire\u003c/i>. The emerging singer-songwriter has an arresting vocal range befitting of their high-drama storytelling, which is bound to captivate listeners during their two back-to-back shows at SFJAZZ.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, for the 33rd year in a row, \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> will fill the Bay Area’s clubs, art spaces, concert halls and dive bars with live music, bringing together top-tier local artists with cult-favorite touring acts. The \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">homegrown festival\u003c/a> runs Feb. 19–March 1, and features over 150 bands at 20 different venues, with Tortoise, Stephen Malkmus, Wisp and Cupcakke at the top of the lineup.\u003c/p>\n\u003cp>Unlike weekend-long fests with hefty ticket prices, Noise Pop is what you make it. Fans can purchase affordable individual tickets to one-off shows, or choose to go all in with badges that allow access to multiple concerts throughout each night.\u003c/p>\n\u003cp>The festival’s producers also work with the city to put on \u003ca href=\"https://sfmusicweek.org/\">San Francisco Music Week\u003c/a>, running Feb. 23–March 1. It overlaps with Noise Pop and features concerts as well as an industry summit, talks and workshops.\u003c/p>\n\u003cp>During a year when San Francisco is losing two beloved independent venues — the \u003ca href=\"https://www.coyotemedia.org/san-francisco-club-bottom-of-the-hill-to-close-at-the-end-of-2026/\">Bottom of the Hill\u003c/a> and \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-punk-bar-parkside-close-21322202.php\">Thee Parkside\u003c/a> — it’s as important as ever to plug in and support your local scene. Below you’ll find five Bay Area acts not to miss at the festival.\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/LfRK51Rv7x4'\n title='//www.youtube.com/embed/LfRK51Rv7x4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/publicsf/events/giraffage-chrome-sparks-dj-presented-by-noise-pop-festival-public-works-165121\">Giraffage\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 21, 9:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Public Works, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Giraffage emerged a decade ago with head-in-the-cloud beats evoking a hazy daydream. His most recent music (especially in his duo with Ryan Hemsworth, Bodysync) is much less cerebral. The San Jose-born electronic musician goes in on feel-good, four-on-the-floor beats that vibrate with the adrenaline-fueled energy of a ’90s jock jam. Stretching and hydrating is a must before Giraffage’s sweat-inducing set at Public Works during Noise Pop’s first weekend.\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/TOVGTxqUd00'\n title='//www.youtube.com/embed/TOVGTxqUd00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/lyrics-born-171457\">Lyrics Born\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 8 p.m.\u003c/em>\u003cbr>\n\u003cem>Gray Area, San Francisco\u003c/em>\u003c/p>\n\u003cp>Over his 30-plus-year career, Lyrics Born has cemented himself as a laid-back wordsmith whose songs are as likely to get the dance floor moving as they are to hit listeners in the heart with pieces of life wisdom. His solo debut \u003ci>Later That Day\u003c/i> made \u003cem>Rolling Stone\u003c/em>’s list of the \u003ca href=\"https://www.rollingstone.com/music/music-lists/best-hip-hop-albums-1323916/\">200 Greatest Hip-Hop Albums of All Time\u003c/a>; he’s put out no shortage of funk-drenched bangers since, most recently his 2024 album \u003ci>Goodbye, Sticky Rice\u003c/i>.\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/h0-k7vW9Xek'\n title='//www.youtube.com/embed/h0-k7vW9Xek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.theuctheatre.org/shows/clipping-27-feb\">clipping.\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 7 p.m.\u003cbr>\nUC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Before he starred in \u003ci>Hamilton\u003c/i> and \u003ci>Blindspotting\u003c/i>, Daveed Diggs came up in clipping., a hip-hop trio that pairs his tongue-twisting lyricism with jagged, experimental production by William Hutson and Jonathan Snipes. clipping.’s 2025 album \u003ci>Dead Channel Sky\u003c/i> pulses with the intensity of a warehouse rave, with industrial beats that match Diggs’ careening verses. This is an album for letting go, moving your body and, who knows, maybe even hopping into the mosh pit.\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/L8zILRiE5wk'\n title='//www.youtube.com/embed/L8zILRiE5wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/jay-som-168945\">Jay Som\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 6:30 p.m.\u003cbr>\nGray Area, San Francisco \u003c/em>\u003c/p>\n\u003cp>Jay Som began writing songs in her suburban East Bay bedroom, and her take on indie rock — punchy yet heartrending, catchy yet off-kilter enough to make you pause and ponder — has since caught the ear of big names like Paramore’s Hayley Williams, who features on Jay Som’s 2025 album \u003ci>Belong\u003c/i>. It’s Jay Som’s first release in six years, and Noise Pop will mark a welcome return to her hometown stage.\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/7gxHJnNYTAI'\n title='//www.youtube.com/embed/7gxHJnNYTAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/hugo-de-la-lune/\">Hugo De La Lune\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 7 and 8:30 p.m.\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hugo De La Lune calls themself African Dracula, and indeed, it’s not hard to imagine their haunting, sultry vocals echoing from a dark piano bar in \u003ci>Interview with a Vampire\u003c/i>. The emerging singer-songwriter has an arresting vocal range befitting of their high-drama storytelling, which is bound to captivate listeners during their two back-to-back shows at SFJAZZ.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Anthony Ant spent his adult life bringing the Bay Area music scene together. On Thursday night, the scene convened at the Starry Plough in South Berkeley to dance, shout, jam and comfort each other over the shocking and sudden loss of their friend, colleague and tireless champion.\u003c/p>\n\u003cp>A powerful trumpeter versed in funk, jazz, R&B and soul, Ant, 40, was a binding force in the region’s far-flung musical community, connecting hundreds of musicians through a succession of East Bay jam sessions. He also played countless club dates, corporate gigs, weddings and parties.\u003c/p>\n\u003cp>The news of his death — Ant was \u003ca href=\"https://www.kqed.org/news/12073025/man-fatally-shot-by-alameda-county-deputies-reportedly-had-a-pipe-not-a-gun\">shot by Alameda County sheriff’s deputies in an early Monday morning confrontation\u003c/a> outside his home in San Leandro — was still raw and undigested for many. The Starry Plough, where Ant produced the weekly Free Funk Glory Jam, had already seen impromptu vigils on Tuesday and Wednesday, but Thursday’s was officially organized by his family.\u003c/p>\n\u003cp>The response was legion. At 10 p.m., fed by a steady flow of newcomers, the crowd spilled out onto Shattuck Avenue, making the corner unpassable.\u003c/p>\n\u003cfigure id=\"attachment_13986714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg\" alt=\"The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside the packed club, guitarist Stu Silverman’s Stu Crew kicked off the music after leading a call-and-response declaring love for Ant. Shortly before taking the stage, he and his bandmates praised the trumpeter, who was born Anthony Anderson and grew up in Berkeley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He did more to connect people and create happiness than anyone I know,” Silverman said. “They should name a school after him.”\u003c/p>\n\u003cp>“He was a true community musician,” added saxophonist John Palowitch. “Anthony never looked to go out on tour. He was focused on here.”\u003c/p>\n\u003cp>Ant’s adopted name was apt. Like the diminutive picnic staple, he was ubiquitous on the Bay Area stages, impossible to miss at jam sessions and shows. But his most ant-like quality was an ability to lift dozens of times his weight, carrying an entire music scene on his back.\u003c/p>\n\u003cp>“He manually sent out text messages to hundreds of people every week, so everybody would have a chance to participate, for their voices to be heard,” said Kaila Love, who helped organize the tribute.\u003c/p>\n\u003cfigure id=\"attachment_13986715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg\" alt=\"Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ant’s primary vehicle for this roiling musical democracy was the jam session, starting at The Layover in downtown Oakland in the mid-aughts. “He took over from me when I went on tour,” said bassist Stephen Paul Godwin. “When I got back, the place was packed, like 200 people. It got too big for the club.”\u003c/p>\n\u003cp>Ant organized sessions at other Oakland joints, including Legionnaire and the Starline Social Club, before settling in at the Starry Plough. “He’s been building this for 15 years,” said trumpeter Mario Silva. “Early on, it was thin, but he refused to give up.”\u003c/p>\n\u003cp>Jam sessions can be treacherous. If a player is unfamiliar with chord changes, or falls a beat behind, or simply doesn’t exude confidence, they can feel a draft of dismissal. Ant was the antidote to getting vibed. As word of his death started to circulate on social media, dozens of musicians described Ant welcoming them onto the scene. Those stories were echoed by many at the Starry Plough.\u003c/p>\n\u003cfigure id=\"attachment_13986711\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg\" alt=\"A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a high school student in San Jose, Joy Hackett was an aspiring jazz keyboardist searching for a jam session, and “this was the one that everyone talked about,” she said. “I drove up with a friend, walked in the door and my mind was blown. It was shoulder-to-shoulder, and I hear Anthony on the mic: ‘The glory!’ I made it up and took my solo, and knew I found the place I need to be.”\u003c/p>\n\u003cp>Perhaps the greatest testament to Ant’s support of the local music scene is that he literally changed people’s lives. On Thursday night, Scott Chowning recalled how he’d played French horn in a Navy band, but gave it up, and had walked away from music.\u003c/p>\n\u003cp>“Anthony heard me noodling around on keyboard and called me for a gig, my first one in 10 years,” he recalled. “Now I’m a full-time musician.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Family members are planning a memorial for Anthony Ant, with details to be announced soon; a \u003ca href=\"https://www.gofundme.com/f/honoring-anthony-support-his-family-after-tragic-shooting\">GoFundMe page\u003c/a> to support his family and funeral expenses is live now. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anthony Ant spent his adult life bringing the Bay Area music scene together. On Thursday night, the scene convened at the Starry Plough in South Berkeley to dance, shout, jam and comfort each other over the shocking and sudden loss of their friend, colleague and tireless champion.\u003c/p>\n\u003cp>A powerful trumpeter versed in funk, jazz, R&B and soul, Ant, 40, was a binding force in the region’s far-flung musical community, connecting hundreds of musicians through a succession of East Bay jam sessions. He also played countless club dates, corporate gigs, weddings and parties.\u003c/p>\n\u003cp>The news of his death — Ant was \u003ca href=\"https://www.kqed.org/news/12073025/man-fatally-shot-by-alameda-county-deputies-reportedly-had-a-pipe-not-a-gun\">shot by Alameda County sheriff’s deputies in an early Monday morning confrontation\u003c/a> outside his home in San Leandro — was still raw and undigested for many. The Starry Plough, where Ant produced the weekly Free Funk Glory Jam, had already seen impromptu vigils on Tuesday and Wednesday, but Thursday’s was officially organized by his family.\u003c/p>\n\u003cp>The response was legion. At 10 p.m., fed by a steady flow of newcomers, the crowd spilled out onto Shattuck Avenue, making the corner unpassable.\u003c/p>\n\u003cfigure id=\"attachment_13986714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg\" alt=\"The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside the packed club, guitarist Stu Silverman’s Stu Crew kicked off the music after leading a call-and-response declaring love for Ant. Shortly before taking the stage, he and his bandmates praised the trumpeter, who was born Anthony Anderson and grew up in Berkeley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He did more to connect people and create happiness than anyone I know,” Silverman said. “They should name a school after him.”\u003c/p>\n\u003cp>“He was a true community musician,” added saxophonist John Palowitch. “Anthony never looked to go out on tour. He was focused on here.”\u003c/p>\n\u003cp>Ant’s adopted name was apt. Like the diminutive picnic staple, he was ubiquitous on the Bay Area stages, impossible to miss at jam sessions and shows. But his most ant-like quality was an ability to lift dozens of times his weight, carrying an entire music scene on his back.\u003c/p>\n\u003cp>“He manually sent out text messages to hundreds of people every week, so everybody would have a chance to participate, for their voices to be heard,” said Kaila Love, who helped organize the tribute.\u003c/p>\n\u003cfigure id=\"attachment_13986715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg\" alt=\"Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ant’s primary vehicle for this roiling musical democracy was the jam session, starting at The Layover in downtown Oakland in the mid-aughts. “He took over from me when I went on tour,” said bassist Stephen Paul Godwin. “When I got back, the place was packed, like 200 people. It got too big for the club.”\u003c/p>\n\u003cp>Ant organized sessions at other Oakland joints, including Legionnaire and the Starline Social Club, before settling in at the Starry Plough. “He’s been building this for 15 years,” said trumpeter Mario Silva. “Early on, it was thin, but he refused to give up.”\u003c/p>\n\u003cp>Jam sessions can be treacherous. If a player is unfamiliar with chord changes, or falls a beat behind, or simply doesn’t exude confidence, they can feel a draft of dismissal. Ant was the antidote to getting vibed. As word of his death started to circulate on social media, dozens of musicians described Ant welcoming them onto the scene. Those stories were echoed by many at the Starry Plough.\u003c/p>\n\u003cfigure id=\"attachment_13986711\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg\" alt=\"A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a high school student in San Jose, Joy Hackett was an aspiring jazz keyboardist searching for a jam session, and “this was the one that everyone talked about,” she said. “I drove up with a friend, walked in the door and my mind was blown. It was shoulder-to-shoulder, and I hear Anthony on the mic: ‘The glory!’ I made it up and took my solo, and knew I found the place I need to be.”\u003c/p>\n\u003cp>Perhaps the greatest testament to Ant’s support of the local music scene is that he literally changed people’s lives. On Thursday night, Scott Chowning recalled how he’d played French horn in a Navy band, but gave it up, and had walked away from music.\u003c/p>\n\u003cp>“Anthony heard me noodling around on keyboard and called me for a gig, my first one in 10 years,” he recalled. “Now I’m a full-time musician.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Family members are planning a memorial for Anthony Ant, with details to be announced soon; a \u003ca href=\"https://www.gofundme.com/f/honoring-anthony-support-his-family-after-tragic-shooting\">GoFundMe page\u003c/a> to support his family and funeral expenses is live now. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Update, Feb. 24, 2026: \u003c/strong>The organizers of Festival La Onda announced today \u003ca href=\"https://www.kqed.org/arts/13987034/la-onda-music-festival-canceled-in-napa\">this year’s event has been canceled\u003c/a>. Ticket holders who bought their passes directly from the festival will receive refunds in 30 days.\u003c/p>\n\u003cp>\u003cstrong>Original story:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.laondafest.com/\">La Onda Festival\u003c/a> returns to Napa Valley Expo on May 30 and 31, this time with a stacked lineup headlined by Colombian reggaetonero J Balvin; Mexican mariacheño singer Christian Nodal; Mexican rock icons Maná and Californian música mexicana singer Ivan Cornejo.\u003c/p>\n\u003cp>One of the largest Latin music festivals in the Golden State, La Onda draws around 20,000 attendees per day to the same wine country fairgrounds that host \u003ca href=\"https://www.kqed.org/arts/13985337/bottlerock-lineup-foo-fighters-backstreet-boys-lorde-sombr-lcd-soundsystem-napa\">BottleRock the weekend prior\u003c/a>.\u003c/p>\n\u003cp>Mexican musical greats including Los Tucanes de Tijuana are prominent on the intergenerational lineup, but La Onda doesn’t limit itself to one sound or cultural niche. Also on the bill are Colombian salsa giants Grupo Niche; Cuban hip-hop group Orishas; Venezuelan rapper Danny Ocean; and El Gran Combo de Puerto Rico, whose “Un Verano en Nueva York” was sampled by \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> in his smash hit “NUEVAYoL.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The remainder of the lineup includes Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, Molotov, Hermanos Espinoza, Chiquis, El Malilla, Los Primos del Este, Kinky, Ozomatli, Daniel, Me Estás Matando, Emmanuel Cortes, Pedro Sampaio, Julio Caesar, Arath Herce, eydrey, Frater Cosmic Beats, Delilah and Dreah.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>La Onda features Latin American food and beverage offerings, artist vendors, lucha libre wrestling and more. \u003ca href=\"https://www.laondafest.com/tickets/\">Single-day and weekend tickets\u003c/a> go on sale Feb. 13 at noon.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Feb. 24, 2026: \u003c/strong>The organizers of Festival La Onda announced today \u003ca href=\"https://www.kqed.org/arts/13987034/la-onda-music-festival-canceled-in-napa\">this year’s event has been canceled\u003c/a>. Ticket holders who bought their passes directly from the festival will receive refunds in 30 days.\u003c/p>\n\u003cp>\u003cstrong>Original story:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.laondafest.com/\">La Onda Festival\u003c/a> returns to Napa Valley Expo on May 30 and 31, this time with a stacked lineup headlined by Colombian reggaetonero J Balvin; Mexican mariacheño singer Christian Nodal; Mexican rock icons Maná and Californian música mexicana singer Ivan Cornejo.\u003c/p>\n\u003cp>One of the largest Latin music festivals in the Golden State, La Onda draws around 20,000 attendees per day to the same wine country fairgrounds that host \u003ca href=\"https://www.kqed.org/arts/13985337/bottlerock-lineup-foo-fighters-backstreet-boys-lorde-sombr-lcd-soundsystem-napa\">BottleRock the weekend prior\u003c/a>.\u003c/p>\n\u003cp>Mexican musical greats including Los Tucanes de Tijuana are prominent on the intergenerational lineup, but La Onda doesn’t limit itself to one sound or cultural niche. Also on the bill are Colombian salsa giants Grupo Niche; Cuban hip-hop group Orishas; Venezuelan rapper Danny Ocean; and El Gran Combo de Puerto Rico, whose “Un Verano en Nueva York” was sampled by \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> in his smash hit “NUEVAYoL.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The remainder of the lineup includes Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, Molotov, Hermanos Espinoza, Chiquis, El Malilla, Los Primos del Este, Kinky, Ozomatli, Daniel, Me Estás Matando, Emmanuel Cortes, Pedro Sampaio, Julio Caesar, Arath Herce, eydrey, Frater Cosmic Beats, Delilah and Dreah.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>La Onda features Latin American food and beverage offerings, artist vendors, lucha libre wrestling and more. \u003ca href=\"https://www.laondafest.com/tickets/\">Single-day and weekend tickets\u003c/a> go on sale Feb. 13 at noon.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lovers Lane Unites San Francisco’s Mission District with Art and Cultura",
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"content": "\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. [aside postid='arts_13986534']\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\u003c/p>\n\u003cp>https://youtu.be/B4uF9pfu_UM?si=IHhzPPZOvNoRvxAs\u003c/p>\n\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\u003c/p>\n\u003cp>https://youtu.be/1vqzFdoo-Tk?si=yWl9ZxkdlSLLdzI9\u003c/p>\n\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\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/B4uF9pfu_UM'\n title='//www.youtube.com/embed/B4uF9pfu_UM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\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/1vqzFdoo-Tk'\n title='//www.youtube.com/embed/1vqzFdoo-Tk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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": "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.",
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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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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"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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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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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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"order": 16
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},
"science-friday": {
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