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"content": "\u003cp>A lot has happened for \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\">Tia Nomore\u003c/a> since she became a mom during the height of the pandemic — the arrival of her daughter, and a debut acting role that would challenge her to pull from the most vulnerable depths of her experience. “I feel like a portal sometimes, and that’s very much motherhood,” says the multi-hyphenate artist. “You don’t know what the fuck you’re carrying. I mean, you know, but you don’t until they’re on the other side.”\u003c/p>\n\u003cp>Nomore stars as Gia in \u003ci>Earth Mama\u003c/i>, a forthcoming A24 feature set in 2006 Oakland, directed by U.K.-born, Oakland-raised former Olympic athlete Savanah Leaf. In the film, Nomore plays Gia, a stoic, smart and resourceful single mom going through pregnancy while maintaining a relationship with her other two children in foster care, who she can only see during supervised visits.\u003c/p>\n\u003cp>“People that have seen the movie are so impressed with my performance, but I have a hard time considering it a performance because a lot of that shit was just very real for me,” says Nomore, who was born and raised in Oakland. \u003c/p>\n\u003cfigure id=\"attachment_13925625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore performs at The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nomore is best known as a rapper signed to San Francisco’s Text Me Records, and before getting tapped for \u003ci>Earth Mama\u003c/i>, she was two albums deep into her music career. Her last single, “\u003ca href=\"https://tianomore.bandcamp.com/track/drip-feat-amen\">Drip\u003c/a>” featuring Amen and Stoni, came out in 2021, and during last month’s Noise Pop festival, she opened for Junglepussy in front of hundreds of fans at the New Parish. \u003ci>Earth Mama\u003c/i> premiered at the 2023 Sundance Film Festival to glowing reviews, and has only added to her momentum. \u003c/p>\n\u003cp>When Nomore was approached to play Gia, the casting process wasn’t what she expected. She met producers at Bushrod Park in North Oakland, and though it was a familiar setting, she was somewhat skeptical. She received a callback to read for Gia over Zoom, and afterward, she heard that Leaf wanted to meet. When they connected, Nomore instantly picked up on their similarities. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13880448']“She like hella tall, lanky, has a stature of importance,” she says about Leaf. “I recognize one another in that because I’m soft, but I’m also very sharp. That was the first thing I recognized off top, and I was like, ‘I fuck with her energy.’” \u003c/p>\n\u003cp>While becoming Gia on set, Nomore was a year postpartum, still settling into her ever-changing motherhood adventure. Separately, she was training to become a doula, a third career endeavor that gave her an intimate look at other mothers’ experiences, and allowed her to see Gia’s circumstances with sensitivity and grace. Donning a prosthetic pregnancy belly, she felt a sense of clarity, as if the opportunity was sent to her by the spirits above.\u003c/p>\n\u003cfigure id=\"attachment_13925636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore in Downtown Oakland on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaf brought additional insights from her experience as a documentarian. She had her first shot at directing alongside Taylor Russell for the 2020 short documentary, \u003ci>The Heart Still Hums\u003c/i>, which followed mothers working with Sacramento’s Black Mothers United and Chicks in Crisis, which assists parents overcoming addiction, going through pregnancy without a partner and giving birth at a young age. \u003c/p>\n\u003cp>“I think for this role, for Gia in particular, I really had to tap into Savannah’s lands, because it’s a story that’s very close to home for her. It’s very personal,” Nomore says. “I had to gain a lot of understanding and empathy for a stranger quite quickly.”\u003c/p>\n\u003cp>On set, Nomore and Leaf created a bond so deep that they could look at each other, lace fingers and push against one another when things became too emotional or overwhelming. Nomore also depended on her co-stars Erika Alexander for the deeply emotional scenes, and Bokeem Woodbine for lessons on handling parenthood, artistry and getting back to herself after immersing herself in her role. \u003c/p>\n\u003cp>“I was comforted as Tia to be Gia,” Nomore says. “Like I had my community in real life that knows me from the gate to help support me in doing something so pivotal.” \u003c/p>\n\u003cfigure id=\"attachment_13925627\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore backstage at The New Parish in Oakland on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her connections with the other actors ran deep. Keta Price, who plays Mel, went to school with Nomore’s older sister, and Slim Yani, who plays Ari, and has been friends with Nomore through music since their MySpace days.\u003c/p>\n\u003cp>“It felt like home, just turf shit,” Nomore explained. “You really just had a whole cast of real Town niggas. It was real, none of us was actors.”\u003c/p>\n\u003cp>Through her role as Gia, Nomore unlocked a new creative pathway for herself — one that has allowed her to become a better person, mother and artist. She says playing Gia encouraged her to pour into her inner child, which has helped her connect with her daughter. And she’s gratified to portray the challenges of motherhood she’s seen firsthand in her work as a doula, ones that rarely get shine on screen. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hella wanted to bring this story to life for moms,” Nomore started. “Nobody fucking asks these moms how they’re doing, or how they got to where they are, or how they can be supported for real. So I had to show that shit in my performance.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot has happened for \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\">Tia Nomore\u003c/a> since she became a mom during the height of the pandemic — the arrival of her daughter, and a debut acting role that would challenge her to pull from the most vulnerable depths of her experience. “I feel like a portal sometimes, and that’s very much motherhood,” says the multi-hyphenate artist. “You don’t know what the fuck you’re carrying. I mean, you know, but you don’t until they’re on the other side.”\u003c/p>\n\u003cp>Nomore stars as Gia in \u003ci>Earth Mama\u003c/i>, a forthcoming A24 feature set in 2006 Oakland, directed by U.K.-born, Oakland-raised former Olympic athlete Savanah Leaf. In the film, Nomore plays Gia, a stoic, smart and resourceful single mom going through pregnancy while maintaining a relationship with her other two children in foster care, who she can only see during supervised visits.\u003c/p>\n\u003cp>“People that have seen the movie are so impressed with my performance, but I have a hard time considering it a performance because a lot of that shit was just very real for me,” says Nomore, who was born and raised in Oakland. \u003c/p>\n\u003cfigure id=\"attachment_13925625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore performs at The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nomore is best known as a rapper signed to San Francisco’s Text Me Records, and before getting tapped for \u003ci>Earth Mama\u003c/i>, she was two albums deep into her music career. Her last single, “\u003ca href=\"https://tianomore.bandcamp.com/track/drip-feat-amen\">Drip\u003c/a>” featuring Amen and Stoni, came out in 2021, and during last month’s Noise Pop festival, she opened for Junglepussy in front of hundreds of fans at the New Parish. \u003ci>Earth Mama\u003c/i> premiered at the 2023 Sundance Film Festival to glowing reviews, and has only added to her momentum. \u003c/p>\n\u003cp>When Nomore was approached to play Gia, the casting process wasn’t what she expected. She met producers at Bushrod Park in North Oakland, and though it was a familiar setting, she was somewhat skeptical. She received a callback to read for Gia over Zoom, and afterward, she heard that Leaf wanted to meet. When they connected, Nomore instantly picked up on their similarities. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She like hella tall, lanky, has a stature of importance,” she says about Leaf. “I recognize one another in that because I’m soft, but I’m also very sharp. That was the first thing I recognized off top, and I was like, ‘I fuck with her energy.’” \u003c/p>\n\u003cp>While becoming Gia on set, Nomore was a year postpartum, still settling into her ever-changing motherhood adventure. Separately, she was training to become a doula, a third career endeavor that gave her an intimate look at other mothers’ experiences, and allowed her to see Gia’s circumstances with sensitivity and grace. Donning a prosthetic pregnancy belly, she felt a sense of clarity, as if the opportunity was sent to her by the spirits above.\u003c/p>\n\u003cfigure id=\"attachment_13925636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore in Downtown Oakland on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaf brought additional insights from her experience as a documentarian. She had her first shot at directing alongside Taylor Russell for the 2020 short documentary, \u003ci>The Heart Still Hums\u003c/i>, which followed mothers working with Sacramento’s Black Mothers United and Chicks in Crisis, which assists parents overcoming addiction, going through pregnancy without a partner and giving birth at a young age. \u003c/p>\n\u003cp>“I think for this role, for Gia in particular, I really had to tap into Savannah’s lands, because it’s a story that’s very close to home for her. It’s very personal,” Nomore says. “I had to gain a lot of understanding and empathy for a stranger quite quickly.”\u003c/p>\n\u003cp>On set, Nomore and Leaf created a bond so deep that they could look at each other, lace fingers and push against one another when things became too emotional or overwhelming. Nomore also depended on her co-stars Erika Alexander for the deeply emotional scenes, and Bokeem Woodbine for lessons on handling parenthood, artistry and getting back to herself after immersing herself in her role. \u003c/p>\n\u003cp>“I was comforted as Tia to be Gia,” Nomore says. “Like I had my community in real life that knows me from the gate to help support me in doing something so pivotal.” \u003c/p>\n\u003cfigure id=\"attachment_13925627\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore backstage at The New Parish in Oakland on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her connections with the other actors ran deep. Keta Price, who plays Mel, went to school with Nomore’s older sister, and Slim Yani, who plays Ari, and has been friends with Nomore through music since their MySpace days.\u003c/p>\n\u003cp>“It felt like home, just turf shit,” Nomore explained. “You really just had a whole cast of real Town niggas. It was real, none of us was actors.”\u003c/p>\n\u003cp>Through her role as Gia, Nomore unlocked a new creative pathway for herself — one that has allowed her to become a better person, mother and artist. She says playing Gia encouraged her to pour into her inner child, which has helped her connect with her daughter. And she’s gratified to portray the challenges of motherhood she’s seen firsthand in her work as a doula, ones that rarely get shine on screen. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hella wanted to bring this story to life for moms,” Nomore started. “Nobody fucking asks these moms how they’re doing, or how they got to where they are, or how they can be supported for real. So I had to show that shit in my performance.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands Lineup: Kendrick Lamar, Lana Del Rey, Megan Thee Stallion, Foo Fighters and More",
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"content": "\u003cp>Now in its 15th year, the \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> music festival returns Aug. 11-13 with headliners Kendrick Lamar, Foo Fighters, Lana Del Rey, Megan Thee Stallion and more. \u003c/p>\n\u003cp>The beloved Bay Area event features multiple stages, tents and booths with an eclectic lineup that ranges from energetic alternative rock and heartracing EDM sets to soulful rap and wistful R&B vocal performances. The lineup, announced today, also includes rappers J.I.D. and Zack Fox, alternative bands Cigarettes After Sex and Inhaler, genre-blending musicians Lil Yachty and Alex G as well as South Korean girl group Aespa and indie acts Alvvays, Soccer Mommy and Grace Ives. \u003c/p>\n\u003cp>Three-day passes for the festival start at $499 plus fees, and go on sale Wednesday, March 8, at 10 a.m. \u003ca href=\"https://www.sfoutsidelands.com/tickets/\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11911968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Lana-Del-Ray-02-800x523.jpg\" alt=\"Lana del Rey performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"523\" class=\"size-medium wp-image-11911968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-960x627.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lana del Rey performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Full lineup: \u003c/h2>\n\u003cp>Kendrick Lamar\u003cbr>\nFoo Fighters\u003cbr>\nODESZA\u003cbr>\nLana Del Rey\u003cbr>\nThe 1975\u003cbr>\nMegan Thee Stallion\u003cbr>\nZedd\u003cbr>\nJanelle Monáe\u003cbr>\nMaggie Rogers\u003cbr>\nFISHER\u003cbr>\nLil Yachty\u003cbr>\nNoah Kahan\u003cbr>\nCigarettes After Sex\u003cbr>\nJ.I.D.\u003cbr>\nInterpol\u003cbr>\nWillow\u003cbr>\nFather John Misty\u003cbr>\nTobe Nwigwe\u003cbr>\nOrville Peck\u003cbr>\nAespa\u003cbr>\nbeabadoobee\u003cbr>\nL’Impératrice\u003cbr>\nCuco\u003cbr>\nNore En Pure\u003cbr>\nPoolside\u003cbr>\nAlvvays\u003cbr>\nNIKI\u003cbr>\nAlex G\u003cbr>\nSoccer Mommy\u003cbr>\nDiesel (Shaquille O’Neal)\u003cbr>\nMonolink\u003cbr>\nRaveena\u003cbr>\nTrixie Mattel\u003cbr>\nMariah The Scientist\u003cbr>\nISOxo\u003cbr>\nHolly Humberstone\u003cbr>\nLovejoy\u003cbr>\nBecky Hill\u003cbr>\nJoy Oladokun\u003cbr>\nJessie Murph\u003cbr>\nInhaler\u003cbr>\nCrumb\u003cbr>\nDope Lemon\u003cbr>\nGabriels\u003cbr>\nEthel Cain\u003cbr>\nZack Fox\u003cbr>\nCobra Man\u003cbr>\nSamia\u003cbr>\nTops\u003cbr>\nOrion Sun\u003cbr>\nThe Jungle Giants\u003cbr>\nMild Mind\u003cbr>\nYaya Bey\u003cbr>\nNation of Language\u003cbr>\nDonny Benét\u003cbr>\nEvan Giia\u003cbr>\nManila Grey\u003cbr>\nNanna\u003cbr>\nThe Dip\u003cbr>\nEddie Zuko\u003cbr>\nWild Child\u003cbr>\nNo Vacation\u003cbr>\nPretty Sick\u003cbr>\nGrace Ives\u003cbr>\nWestend\u003cbr>\nmidwxst\u003cbr>\nWednesday\u003cbr>\nUpsahl\u003cbr>\nIzzy Heltai\u003cbr>\nFake Fruit\u003cbr>\nVenus & The Flytraps \u003c/p>\n\u003cp>\u003cstrong>In the SOMA Tent:\u003c/strong>\u003cbr>\nAme b2b Trikk\u003cbr>\nBlond:ish\u003cbr>\nClaptone\u003cbr>\nCoco & Breezy\u003cbr>\nDaniel Avery\u003cbr>\nDenis Sulta\u003cbr>\nDisco Lines\u003cbr>\nEREZ\u003cbr>\nJustin Jay\u003cbr>\nKim Ann Foxman\u003cbr>\nLoverground\u003cbr>\nMISS DRE\u003cbr>\nNala\u003cbr>\nRed Axes\u003cbr>\nSama AbdulHadi\u003cbr>\nTinlicker\u003cbr>\nVNSSA\u003cbr>\nWhoMadeWho \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Janelle Monae, The 1975, J.I.D, Zack Fox, Lil Yachty, Aespa , Alvvays, Maggie Rogers, Alex G and more round out the Outside Lands lineup. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 15th year, the \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> music festival returns Aug. 11-13 with headliners Kendrick Lamar, Foo Fighters, Lana Del Rey, Megan Thee Stallion and more. \u003c/p>\n\u003cp>The beloved Bay Area event features multiple stages, tents and booths with an eclectic lineup that ranges from energetic alternative rock and heartracing EDM sets to soulful rap and wistful R&B vocal performances. The lineup, announced today, also includes rappers J.I.D. and Zack Fox, alternative bands Cigarettes After Sex and Inhaler, genre-blending musicians Lil Yachty and Alex G as well as South Korean girl group Aespa and indie acts Alvvays, Soccer Mommy and Grace Ives. \u003c/p>\n\u003cp>Three-day passes for the festival start at $499 plus fees, and go on sale Wednesday, March 8, at 10 a.m. \u003ca href=\"https://www.sfoutsidelands.com/tickets/\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11911968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Lana-Del-Ray-02-800x523.jpg\" alt=\"Lana del Rey performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"523\" class=\"size-medium wp-image-11911968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-960x627.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lana del Rey performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Full lineup: \u003c/h2>\n\u003cp>Kendrick Lamar\u003cbr>\nFoo Fighters\u003cbr>\nODESZA\u003cbr>\nLana Del Rey\u003cbr>\nThe 1975\u003cbr>\nMegan Thee Stallion\u003cbr>\nZedd\u003cbr>\nJanelle Monáe\u003cbr>\nMaggie Rogers\u003cbr>\nFISHER\u003cbr>\nLil Yachty\u003cbr>\nNoah Kahan\u003cbr>\nCigarettes After Sex\u003cbr>\nJ.I.D.\u003cbr>\nInterpol\u003cbr>\nWillow\u003cbr>\nFather John Misty\u003cbr>\nTobe Nwigwe\u003cbr>\nOrville Peck\u003cbr>\nAespa\u003cbr>\nbeabadoobee\u003cbr>\nL’Impératrice\u003cbr>\nCuco\u003cbr>\nNore En Pure\u003cbr>\nPoolside\u003cbr>\nAlvvays\u003cbr>\nNIKI\u003cbr>\nAlex G\u003cbr>\nSoccer Mommy\u003cbr>\nDiesel (Shaquille O’Neal)\u003cbr>\nMonolink\u003cbr>\nRaveena\u003cbr>\nTrixie Mattel\u003cbr>\nMariah The Scientist\u003cbr>\nISOxo\u003cbr>\nHolly Humberstone\u003cbr>\nLovejoy\u003cbr>\nBecky Hill\u003cbr>\nJoy Oladokun\u003cbr>\nJessie Murph\u003cbr>\nInhaler\u003cbr>\nCrumb\u003cbr>\nDope Lemon\u003cbr>\nGabriels\u003cbr>\nEthel Cain\u003cbr>\nZack Fox\u003cbr>\nCobra Man\u003cbr>\nSamia\u003cbr>\nTops\u003cbr>\nOrion Sun\u003cbr>\nThe Jungle Giants\u003cbr>\nMild Mind\u003cbr>\nYaya Bey\u003cbr>\nNation of Language\u003cbr>\nDonny Benét\u003cbr>\nEvan Giia\u003cbr>\nManila Grey\u003cbr>\nNanna\u003cbr>\nThe Dip\u003cbr>\nEddie Zuko\u003cbr>\nWild Child\u003cbr>\nNo Vacation\u003cbr>\nPretty Sick\u003cbr>\nGrace Ives\u003cbr>\nWestend\u003cbr>\nmidwxst\u003cbr>\nWednesday\u003cbr>\nUpsahl\u003cbr>\nIzzy Heltai\u003cbr>\nFake Fruit\u003cbr>\nVenus & The Flytraps \u003c/p>\n\u003cp>\u003cstrong>In the SOMA Tent:\u003c/strong>\u003cbr>\nAme b2b Trikk\u003cbr>\nBlond:ish\u003cbr>\nClaptone\u003cbr>\nCoco & Breezy\u003cbr>\nDaniel Avery\u003cbr>\nDenis Sulta\u003cbr>\nDisco Lines\u003cbr>\nEREZ\u003cbr>\nJustin Jay\u003cbr>\nKim Ann Foxman\u003cbr>\nLoverground\u003cbr>\nMISS DRE\u003cbr>\nNala\u003cbr>\nRed Axes\u003cbr>\nSama AbdulHadi\u003cbr>\nTinlicker\u003cbr>\nVNSSA\u003cbr>\nWhoMadeWho \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The 2023 Oscars’ Best Original Song Nominees, Cruelly Ranked",
"headTitle": "The 2023 Oscars’ Best Original Song Nominees, Cruelly Ranked | KQED",
"content": "\u003cp>This year’s crop of Oscar nominees for best original song may not have a James Bond theme or a ubiquitous Disney banger, but it’s got range: a viral dance number, a pair of ballads by major pop stars, a welcome surprise and… yes, the obligatory \u003ca href=\"https://www.npr.org/artists/127988436/diane-warren\">Diane Warren\u003c/a> track.\u003c/p>\n\u003cp>NPR has been publishing these lists for a few years now — here’s \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and it’s been a while since a best-original-song field has been this easy to rank. The best are great, as they either feature prominently in the films or reflect directly on the themes therein. The worst either roll vacantly over the closing credits, are by Diane Warren, or both. The middle… eh, we’ll get there.\u003c/p>\n\u003cp>\u003cstrong>5. “Applause,” \u003c/strong>\u003cstrong>\u003cem>Tell It Like a Woman\u003c/em>\u003c/strong>\u003cstrong>, performed by Sofia Carson (Diane Warren, songwriter)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VAHorHpPqb4&t=1s\u003c/p>\n\u003cp>Now might be a good time to note a few of the original songs that could have received Oscar nominations in 2023. Remember \u003cem>Turning Red’\u003c/em>s amazing boy-band pastiches? “\u003ca href=\"https://www.youtube.com/watch?v=DQQRjFzB8gY\">Nobody Like U\u003c/a>,” by last year’s best original song winners \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\">Billie Eilish\u003c/a> and \u003ca href=\"https://www.npr.org/artists/1045249930/finneas\">Finneas\u003c/a>, didn’t even make \u003ca href=\"https://variety.com/feature/2023-oscars-best-original-song-predictions-1235396256/\">the shortlist for the category\u003c/a> this year. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=bduECEfvCng\">On My Way\u003c/a>,” a Jennifer Lopez pop ballad from \u003cem>Marry Me\u003c/em> that was strong enough to make viewers think, “It is plausible that this fictional chart-topper could be a huge hit in real life.” \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\">Jazmine Sullivan\u003c/a>’s “\u003ca href=\"https://www.youtube.com/watch?v=YSYtUDDW1WU\">Stand Up\u003c/a>” (from \u003cem>Till\u003c/em>) was shortlisted, but not nominated, while the Will Ferrell/Ryan Reynolds musical number “\u003ca href=\"https://www.youtube.com/watch?v=OMkJIR9pX1w\">Good Afternoon\u003c/a>” (from \u003cem>Spirited\u003c/em>, also shortlisted-but-not-nominated) would have given the Oscars telecast a welcome bit of bonkers energy, but… here we are. Diane Warren. Again. Some more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Somewhere along the way, the Academy of Motion Picture Arts and Sciences went from having a Diane Warren fixation to a Diane Warren \u003cem>problem\u003c/em>. It’s one thing to nominate, say, 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=MUFasKZcH_c\">How Do I Live\u003c/a>,” which has more or less become a pop standard. But Warren’s boilerplate movie songs have been nominated for eight of the past nine years, and the past six — all from consecutive years! — could have been written by ChatGPT if it had been fed enough Diane Warren songs beforehand. All six of those songs are basically the same: lightly rousing but deliberately paced vehicles dispensing affirmation, with titles like “Stand Up for Something,” “I’ll Fight” and “I’m Standing With You,” heard by virtually no one in the world beyond the people who didn’t feel like getting up to make themselves a snack on Oscar night.\u003c/p>\n\u003cp>[aside postid='arts_13896127']The Academy’s members gave Warren an honorary award last fall, which makes a fair bit of sense, given that she’s never been far from their minds. She received her first Oscar nomination all the way back in 1988, yet she’s never won in 13 (soon to be 14) tries. That honorary award would be much more welcome if it meant that Oscar voters would \u003cem>stop feeling obligated to nominate her\u003c/em>, particularly when the songs she’s written are 1) generic to the point of self-parody; and 2) extremely obscure. This year’s nominee is derived from a movie (\u003cem>Tell It Like a Woman\u003c/em>) that not only isn’t available for screening or streaming by the viewing public, but could also theoretically be entirely made up. Couldn’t you imagine, say, \u003cem>30 Rock\u003c/em>‘s Jenna Maroney appearing in a movie called \u003cem>Tell It Like a Woman\u003c/em>?\u003c/p>\n\u003cp>Anyway, “Applause.” Look, it’s possible that Academy voters were deeply moved by the song’s instructions to, you know, stand up and give yourself some respect and whatnot. But… come on. This song is nominated because Diane Warren’s name is on it, and because Diane Warren is a veteran Hollywood songwriter — she lives there and works specifically in the movie industry — and not some pop star tossing out crumbs in the hope of getting an EGOT someday. The song genuinely \u003cem>does not matter\u003c/em>, and that’s true in more ways than one.\u003c/p>\n\u003cp>So, there you go. Be sure to watch this space next year, when “\u003ca href=\"https://www.youtube.com/watch?v=C3twMeHY5Ws\">Gonna Be You\u003c/a>” makes\u003cem> 80 for Brady\u003c/em> the Oscar nominee it was destined to be.\u003c/p>\n\u003cp>\u003cstrong>4. “Lift Me Up,” \u003c/strong>\u003cstrong>\u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/strong>\u003cstrong>, performed by Rihanna (Tems, Ludwig Göransson, Rihanna, Ryan Coogler, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mx_OexsUI2M\u003c/p>\n\u003cp>Remember that line a few sentences ago about “some pop star tossing out crumbs in the hope of getting an EGOT someday”? Meet \u003ca href=\"https://www.npr.org/artists/15757248/rihanna\">Rihanna’\u003c/a>s “Lift Me Up,” a ballad that barely merited a shrug when it came out last fall, even though it was 1) from the dizzily anticipated blockbuster \u003cem>Black Panther: Wakanda Forever\u003c/em>; and 2) the singer’s first piece of new music in more than six years. Revisiting the song months later, that shrug persists: Rihanna lends it a clear, emotive, luminous vocal, and it’s a more-or-less effective sonic bridge between \u003cem>Black Panther: Wakanda Forever\u003c/em> and its bonus scene, but the song could have been dropped onto the closing credits of just about any movie without the words needing to change.\u003c/p>\n\u003cp>Think about the emotional weight of the first \u003cem>Black Panther\u003c/em> movie to appear following the death of Chadwick Boseman. Now take a peek at this song’s lyric sheet: “Lift me up / Hold me down / Keep me close / Safe and sound.” There’s virtually nothing here beyond boilerplate requests for support, all the way down. Swap Rihanna’s name for that of, say, Sofia Carson, and ask yourself: Would “Lift Me Up” have even made the shortlist in this category?\u003c/p>\n\u003cp>\u003cstrong>3. “Hold My Hand,” \u003c/strong>\u003cstrong>\u003cem>Top Gun: Maverick\u003c/em>\u003c/strong>\u003cstrong>, performed by Lady Gaga (Lady Gaga and BloodPop, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O2CIAKVTOrc\u003c/p>\n\u003cp>\u003cem>Top Gun: Maverick\u003c/em> doesn’t squander many opportunities to recapture the high-flying grandeur of its 1986 predecessor. But it falls a little short in the songs department, even with the passing nod to \u003ca href=\"https://www.npr.org/artists/1140355932/kenny-loggins\">Kenny Loggins\u003c/a>’ “\u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\">Danger Zone\u003c/a>” that pops up in the film’s opening moments. The original \u003cem>Top Gun\u003c/em> was packed with hits — including “Danger Zone,” Berlin’s Oscar-winning “\u003ca href=\"https://www.youtube.com/watch?v=Bx51eegLTY8\">Take My Breath Away\u003c/a>” and Loverboy’s “\u003ca href=\"https://www.youtube.com/watch?v=3_nvASTXl-Y\">Heaven in Your Eyes\u003c/a>” — but \u003cem>Top Gun: Maverick\u003c/em> largely skimps on the original songs, with just OneRepublic’s forgettable “\u003ca href=\"https://www.youtube.com/watch?v=mNEUkkoUoIA\">I Ain’t Worried\u003c/a>” and Lady Gaga’s power ballad “Hold My Hand” to show for 36 years of buildup.\u003c/p>\n\u003cp>Where the latter song doesn’t skimp is in the sheer exertion of it all: Lady Gaga gives “Hold My Hand” every ounce of the fists-plunged-heavenward, writhing-atop-a-piano-on-a-lonely-airstrip grandeur it requires, and then some. Lyrically, it doesn’t add up to a whole lot — “I know you’re scared and your pain is imperfect / But don’t you give up on yourself” — but damned if it doesn’t pair effectively with images of planes whooshing ominously and rulebooks getting tossed into trash cans. This is Lady Gaga’s third Oscar nomination in this category alone (she won for “Shallow” in 2019), so she knows her way around a movie moment.\u003c/p>\n\u003cp>\u003cstrong>2. “This Is a Life,” \u003c/strong>\u003cstrong>\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/strong>\u003cstrong>, performed by Ryan Lott, David Byrne and Mitski (Ryan Lott, David Byrne and Mitski, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzxsTXNmVm0\u003c/p>\n\u003cp>Just based on degree-of-difficulty alone, this one deserves a lofty ranking: \u003ca href=\"https://www.npr.org/artists/92313933/son-lux\">Son Lux\u003c/a>’s Ryan Lott (also rightly nominated for best original score) helped synthesize the themes of \u003cem>Everything Everywhere All at Once\u003c/em> — of which there are many — into a singular, graceful song that mirrors the film’s grand, humanistic sweep. “This Is a Life” simply operates on another level from the other closing-credits fare on this list, in part because it fits alongside no movie but this one. It’s a song about “many lives that could have been,” about “the weight of eternity at the speed of light,” and about the impossible knot of outcomes the film has spent two-plus hours endeavoring to untangle.\u003c/p>\n\u003cp>It’s also exquisitely performed. Lott uses the orchestra at his disposal sparingly, as it slides in at key moments alongside the ideal pairing of singers \u003ca href=\"https://www.npr.org/artists/468710961/mitski\">Mitski\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15320822/david-byrne\">David Byrne\u003c/a> — two voices that know their way around the search for meaning and wonder. Each contributes mightily to the song’s (and the film’s) warm, openhearted embrace of a world defined by endless possibility.\u003c/p>\n\u003cp>\u003cstrong>1. “Naatu Naatu” \u003c/strong>\u003cstrong>\u003cem>RRR\u003c/em>\u003c/strong>\u003cstrong>, performed by Kaala Bhairava and Rahul Sipligunj (M.M. Keeravaani and Chandrabose, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4_eEgJhsBMo\u003c/p>\n\u003cp>\u003cem>RRR\u003c/em> is an absolute meal of a movie: Three hours of grand, epic spectacle, punctuated by brutal violence and none-too-subtle messaging that combines anti-colonialism with ultranationalism. You might love it, you might not, but let’s see if we can’t gather together in celebration of its greatest moment: A viral dance number called “Naatu Naatu,” in which the film’s impossibly telegenic stars (Ram Charan and N.T. Rama Rao Jr.) dance their hearts out while lip-syncing for their lives.\u003c/p>\n\u003cp>[aside postid='arts_13925431']Placing “Naatu Naatu” and “Applause” in the same field of nominees is like declaring that \u003ca href=\"https://www.smithsonianmag.com/smart-news/in-defense-of-the-blobfish-why-the-worlds-ugliest-animal-isnt-as-ugly-as-you-think-it-is-6676336/\">the humble, misunderstood blobfish\u003c/a> is visually akin to Ram Charan because they’re both living organisms. Every second of this thing is \u003cem>electric\u003c/em>: a song-and-dance number for which watching qualifies as aerobic exercise, in part because dancing along is essentially involuntary.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s honestly a shame that the credits at the top of this ranking can only note performers and songwriters, because a healthy share of the credit also belongs to \u003cem>RRR’\u003c/em>s leads. Their commitment to the bit, and to Prem Rakshith’s impeccably synchronized choreography, makes “Naatu Naatu” one of the season’s biggest Oscar slam dunks. It should win, it almost certainly \u003cem>will\u003c/em> win, and the fact that it’s being performed on the telecast means we \u003cem>all\u003c/em> win.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2023+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s crop of Oscar nominees for best original song may not have a James Bond theme or a ubiquitous Disney banger, but it’s got range: a viral dance number, a pair of ballads by major pop stars, a welcome surprise and… yes, the obligatory \u003ca href=\"https://www.npr.org/artists/127988436/diane-warren\">Diane Warren\u003c/a> track.\u003c/p>\n\u003cp>NPR has been publishing these lists for a few years now — here’s \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and it’s been a while since a best-original-song field has been this easy to rank. The best are great, as they either feature prominently in the films or reflect directly on the themes therein. The worst either roll vacantly over the closing credits, are by Diane Warren, or both. The middle… eh, we’ll get there.\u003c/p>\n\u003cp>\u003cstrong>5. “Applause,” \u003c/strong>\u003cstrong>\u003cem>Tell It Like a Woman\u003c/em>\u003c/strong>\u003cstrong>, performed by Sofia Carson (Diane Warren, songwriter)\u003c/strong>\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/VAHorHpPqb4'\n title='//www.youtube.com/embed/VAHorHpPqb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now might be a good time to note a few of the original songs that could have received Oscar nominations in 2023. Remember \u003cem>Turning Red’\u003c/em>s amazing boy-band pastiches? “\u003ca href=\"https://www.youtube.com/watch?v=DQQRjFzB8gY\">Nobody Like U\u003c/a>,” by last year’s best original song winners \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\">Billie Eilish\u003c/a> and \u003ca href=\"https://www.npr.org/artists/1045249930/finneas\">Finneas\u003c/a>, didn’t even make \u003ca href=\"https://variety.com/feature/2023-oscars-best-original-song-predictions-1235396256/\">the shortlist for the category\u003c/a> this year. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=bduECEfvCng\">On My Way\u003c/a>,” a Jennifer Lopez pop ballad from \u003cem>Marry Me\u003c/em> that was strong enough to make viewers think, “It is plausible that this fictional chart-topper could be a huge hit in real life.” \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\">Jazmine Sullivan\u003c/a>’s “\u003ca href=\"https://www.youtube.com/watch?v=YSYtUDDW1WU\">Stand Up\u003c/a>” (from \u003cem>Till\u003c/em>) was shortlisted, but not nominated, while the Will Ferrell/Ryan Reynolds musical number “\u003ca href=\"https://www.youtube.com/watch?v=OMkJIR9pX1w\">Good Afternoon\u003c/a>” (from \u003cem>Spirited\u003c/em>, also shortlisted-but-not-nominated) would have given the Oscars telecast a welcome bit of bonkers energy, but… here we are. Diane Warren. Again. Some more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Somewhere along the way, the Academy of Motion Picture Arts and Sciences went from having a Diane Warren fixation to a Diane Warren \u003cem>problem\u003c/em>. It’s one thing to nominate, say, 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=MUFasKZcH_c\">How Do I Live\u003c/a>,” which has more or less become a pop standard. But Warren’s boilerplate movie songs have been nominated for eight of the past nine years, and the past six — all from consecutive years! — could have been written by ChatGPT if it had been fed enough Diane Warren songs beforehand. All six of those songs are basically the same: lightly rousing but deliberately paced vehicles dispensing affirmation, with titles like “Stand Up for Something,” “I’ll Fight” and “I’m Standing With You,” heard by virtually no one in the world beyond the people who didn’t feel like getting up to make themselves a snack on Oscar night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Academy’s members gave Warren an honorary award last fall, which makes a fair bit of sense, given that she’s never been far from their minds. She received her first Oscar nomination all the way back in 1988, yet she’s never won in 13 (soon to be 14) tries. That honorary award would be much more welcome if it meant that Oscar voters would \u003cem>stop feeling obligated to nominate her\u003c/em>, particularly when the songs she’s written are 1) generic to the point of self-parody; and 2) extremely obscure. This year’s nominee is derived from a movie (\u003cem>Tell It Like a Woman\u003c/em>) that not only isn’t available for screening or streaming by the viewing public, but could also theoretically be entirely made up. Couldn’t you imagine, say, \u003cem>30 Rock\u003c/em>‘s Jenna Maroney appearing in a movie called \u003cem>Tell It Like a Woman\u003c/em>?\u003c/p>\n\u003cp>Anyway, “Applause.” Look, it’s possible that Academy voters were deeply moved by the song’s instructions to, you know, stand up and give yourself some respect and whatnot. But… come on. This song is nominated because Diane Warren’s name is on it, and because Diane Warren is a veteran Hollywood songwriter — she lives there and works specifically in the movie industry — and not some pop star tossing out crumbs in the hope of getting an EGOT someday. The song genuinely \u003cem>does not matter\u003c/em>, and that’s true in more ways than one.\u003c/p>\n\u003cp>So, there you go. Be sure to watch this space next year, when “\u003ca href=\"https://www.youtube.com/watch?v=C3twMeHY5Ws\">Gonna Be You\u003c/a>” makes\u003cem> 80 for Brady\u003c/em> the Oscar nominee it was destined to be.\u003c/p>\n\u003cp>\u003cstrong>4. “Lift Me Up,” \u003c/strong>\u003cstrong>\u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/strong>\u003cstrong>, performed by Rihanna (Tems, Ludwig Göransson, Rihanna, Ryan Coogler, songwriters)\u003c/strong>\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/Mx_OexsUI2M'\n title='//www.youtube.com/embed/Mx_OexsUI2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remember that line a few sentences ago about “some pop star tossing out crumbs in the hope of getting an EGOT someday”? Meet \u003ca href=\"https://www.npr.org/artists/15757248/rihanna\">Rihanna’\u003c/a>s “Lift Me Up,” a ballad that barely merited a shrug when it came out last fall, even though it was 1) from the dizzily anticipated blockbuster \u003cem>Black Panther: Wakanda Forever\u003c/em>; and 2) the singer’s first piece of new music in more than six years. Revisiting the song months later, that shrug persists: Rihanna lends it a clear, emotive, luminous vocal, and it’s a more-or-less effective sonic bridge between \u003cem>Black Panther: Wakanda Forever\u003c/em> and its bonus scene, but the song could have been dropped onto the closing credits of just about any movie without the words needing to change.\u003c/p>\n\u003cp>Think about the emotional weight of the first \u003cem>Black Panther\u003c/em> movie to appear following the death of Chadwick Boseman. Now take a peek at this song’s lyric sheet: “Lift me up / Hold me down / Keep me close / Safe and sound.” There’s virtually nothing here beyond boilerplate requests for support, all the way down. Swap Rihanna’s name for that of, say, Sofia Carson, and ask yourself: Would “Lift Me Up” have even made the shortlist in this category?\u003c/p>\n\u003cp>\u003cstrong>3. “Hold My Hand,” \u003c/strong>\u003cstrong>\u003cem>Top Gun: Maverick\u003c/em>\u003c/strong>\u003cstrong>, performed by Lady Gaga (Lady Gaga and BloodPop, songwriters)\u003c/strong>\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/O2CIAKVTOrc'\n title='//www.youtube.com/embed/O2CIAKVTOrc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Top Gun: Maverick\u003c/em> doesn’t squander many opportunities to recapture the high-flying grandeur of its 1986 predecessor. But it falls a little short in the songs department, even with the passing nod to \u003ca href=\"https://www.npr.org/artists/1140355932/kenny-loggins\">Kenny Loggins\u003c/a>’ “\u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\">Danger Zone\u003c/a>” that pops up in the film’s opening moments. The original \u003cem>Top Gun\u003c/em> was packed with hits — including “Danger Zone,” Berlin’s Oscar-winning “\u003ca href=\"https://www.youtube.com/watch?v=Bx51eegLTY8\">Take My Breath Away\u003c/a>” and Loverboy’s “\u003ca href=\"https://www.youtube.com/watch?v=3_nvASTXl-Y\">Heaven in Your Eyes\u003c/a>” — but \u003cem>Top Gun: Maverick\u003c/em> largely skimps on the original songs, with just OneRepublic’s forgettable “\u003ca href=\"https://www.youtube.com/watch?v=mNEUkkoUoIA\">I Ain’t Worried\u003c/a>” and Lady Gaga’s power ballad “Hold My Hand” to show for 36 years of buildup.\u003c/p>\n\u003cp>Where the latter song doesn’t skimp is in the sheer exertion of it all: Lady Gaga gives “Hold My Hand” every ounce of the fists-plunged-heavenward, writhing-atop-a-piano-on-a-lonely-airstrip grandeur it requires, and then some. Lyrically, it doesn’t add up to a whole lot — “I know you’re scared and your pain is imperfect / But don’t you give up on yourself” — but damned if it doesn’t pair effectively with images of planes whooshing ominously and rulebooks getting tossed into trash cans. This is Lady Gaga’s third Oscar nomination in this category alone (she won for “Shallow” in 2019), so she knows her way around a movie moment.\u003c/p>\n\u003cp>\u003cstrong>2. “This Is a Life,” \u003c/strong>\u003cstrong>\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/strong>\u003cstrong>, performed by Ryan Lott, David Byrne and Mitski (Ryan Lott, David Byrne and Mitski, songwriters)\u003c/strong>\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/EzxsTXNmVm0'\n title='//www.youtube.com/embed/EzxsTXNmVm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just based on degree-of-difficulty alone, this one deserves a lofty ranking: \u003ca href=\"https://www.npr.org/artists/92313933/son-lux\">Son Lux\u003c/a>’s Ryan Lott (also rightly nominated for best original score) helped synthesize the themes of \u003cem>Everything Everywhere All at Once\u003c/em> — of which there are many — into a singular, graceful song that mirrors the film’s grand, humanistic sweep. “This Is a Life” simply operates on another level from the other closing-credits fare on this list, in part because it fits alongside no movie but this one. It’s a song about “many lives that could have been,” about “the weight of eternity at the speed of light,” and about the impossible knot of outcomes the film has spent two-plus hours endeavoring to untangle.\u003c/p>\n\u003cp>It’s also exquisitely performed. Lott uses the orchestra at his disposal sparingly, as it slides in at key moments alongside the ideal pairing of singers \u003ca href=\"https://www.npr.org/artists/468710961/mitski\">Mitski\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15320822/david-byrne\">David Byrne\u003c/a> — two voices that know their way around the search for meaning and wonder. Each contributes mightily to the song’s (and the film’s) warm, openhearted embrace of a world defined by endless possibility.\u003c/p>\n\u003cp>\u003cstrong>1. “Naatu Naatu” \u003c/strong>\u003cstrong>\u003cem>RRR\u003c/em>\u003c/strong>\u003cstrong>, performed by Kaala Bhairava and Rahul Sipligunj (M.M. Keeravaani and Chandrabose, songwriters)\u003c/strong>\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/4_eEgJhsBMo'\n title='//www.youtube.com/embed/4_eEgJhsBMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>RRR\u003c/em> is an absolute meal of a movie: Three hours of grand, epic spectacle, punctuated by brutal violence and none-too-subtle messaging that combines anti-colonialism with ultranationalism. You might love it, you might not, but let’s see if we can’t gather together in celebration of its greatest moment: A viral dance number called “Naatu Naatu,” in which the film’s impossibly telegenic stars (Ram Charan and N.T. Rama Rao Jr.) dance their hearts out while lip-syncing for their lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Placing “Naatu Naatu” and “Applause” in the same field of nominees is like declaring that \u003ca href=\"https://www.smithsonianmag.com/smart-news/in-defense-of-the-blobfish-why-the-worlds-ugliest-animal-isnt-as-ugly-as-you-think-it-is-6676336/\">the humble, misunderstood blobfish\u003c/a> is visually akin to Ram Charan because they’re both living organisms. Every second of this thing is \u003cem>electric\u003c/em>: a song-and-dance number for which watching qualifies as aerobic exercise, in part because dancing along is essentially involuntary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s honestly a shame that the credits at the top of this ranking can only note performers and songwriters, because a healthy share of the credit also belongs to \u003cem>RRR’\u003c/em>s leads. Their commitment to the bit, and to Prem Rakshith’s impeccably synchronized choreography, makes “Naatu Naatu” one of the season’s biggest Oscar slam dunks. It should win, it almost certainly \u003cem>will\u003c/em> win, and the fact that it’s being performed on the telecast means we \u003cem>all\u003c/em> win.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2023+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "De La Soul on Streaming: Your Guide to a Legendary Hip-Hop Catalog",
"headTitle": "De La Soul on Streaming: Your Guide to a Legendary Hip-Hop Catalog | KQED",
"content": "\u003cp>Streaming platforms were initially sold as an all-encompassing music library — every song at one’s fingertips! — yet there are inevitable gaps within their discographies. For hip-hop fans, few omissions have been more grievous than the missing catalog of De La Soul. One of the giants of hip-hop’s “golden era” of the late ’80s through mid ’90s, De La’s penchant for playful creativity would go on to influence everyone from the Pharcyde to OutKast, Kanye West to Childish Gambino. Despite this, almost all of their most important albums have been missing from (legal) streaming services. When founding member Trugoy the Dove \u003ca href=\"https://www.npr.org/2023/02/13/1156489848/dave-jolicoeur-de-la-soul-trugoy-the-dove-obituary\">unexpectedly passed away\u003c/a> last month, anyone seeking to revisit most of De La Soul’s best known works would have been left empty-handed and confused. We now take for granted that our favorite artists have their catalogs readily available to us yet when in a time of grief over Trugoy’s death, new and old fans were met with a deafening silence of options to revisit his musical legacy. \u003c/p>\n\u003cp>What kept De La’s tunes out of rotation was a frustrating morass of outdated contracts and record label parsimony. It got so bad that in 2014, the group put their entire catalog on their website to download for free for a day. As they told \u003cem>Rolling Stone \u003c/em>at the time, “We’ve been blessed to be in the Library of Congress, but we can’t even have our music on iTunes.” Likewise, there was an attempt in 2019 by Tommy Boy Records, which owns the rights to De La’s music, to put them on streaming but the terms of that deal were so unfavorable to the group that\u003ca href=\"https://www.complex.com/music/2019/02/de-la-soul-calls-out-former-record-label-over-unfair-streaming-deal\"> public outrage\u003c/a> forced Tommy Boy to abandon their plans.\u003c/p>\n\u003cp>None of these are just business concerns. Our social awareness of music has always been tied to how songs and albums are distributed. Much like the proverbial tree falling in the woods without a witness, if an artist has recorded the greatest album of all time, does it really matter if no one has the means to hear it? De La may have sold millions of physical cassettes, CDs and vinyl records in the past but how many households have the means to play any of those formats? De La’s absence from streaming sites has effectively erased their presence from the contemporary musical landscape \u003cem>and \u003c/em>threatens to minimize their historical import. It’s not just the artist who loses out; we, as listeners, are left poorer too.\u003c/p>\n\u003cp>All this has finally been rectified. The group’s most important recordings are now legally available on the internet. Given how long it’s taken for this music to arrive, we thought it necessary to revisit this storied catalog and its restored legacy, to help new fans familiarize themselves with the memorable (and singular) arc of their career and give veteran listeners a reintroduction to their most influential work.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Souls Who Flaunt Styles: \u003c/strong>\u003cem>\u003cstrong>3 Feet High and Rising \u003c/strong>\u003c/em>\u003cstrong>(1989)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>De La Soul’s debut reshaped the public imagination of what hip-hop could be. The core trio — Posdnuos, Trugoy and DJ Pasemaster Mase — assisted by mentor/producer Prince Paul all came straight outta the wilds of suburban Long Island, rapping about advice-spouting crocodiles, Martian transmissions, and an artistic meta-concept they dubbed The D.A.I.S.Y. (Da Inner Soul, Y’all) Age.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7GOdFpyX7aUbHOaYt7mwyP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La were part of the Native Tongues, a collective of like-minded artists that included the Jungle Brothers, A Tribe Called Quest and Queen Latifah, among others. Promoting Afrocentric positivity, they purposefully set themselves to contrast against the boisterous brio exemplified by such icons of the era as LL Cool J, NWA or Big Daddy Kane. De La Soul, especially, became smart, sardonic avatars for Black misfits and nerds, mining the sublime from the absurd. On the album, this is partly showcased in their songcraft, especially the humorous skits peppered throughout that turned the format into a rap album staple. There was also the consistently irreverent ways in which Pos and Trugoy adroitly rapped on everything from the garishness of consumer culture (“Take It Off”) to sexy flirtations (“Buddy”) to personal hygiene (\u003cstrong>“A Little Bit of Soap”\u003c/strong>). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6zgClTCI7zRqQLf148Sozu?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>The group would prove too clever by half, however, at least for the mainstream music media who were quick to dub them “hip-hop hippies.” That encouraged their label, Tommy Boy, to lean further into the aesthetic by creating artwork doused in day-glo colors and cartoon daisies. De La had to refute this characterization in real time; on the album’s big radio hit, \u003cstrong>“Me, Myself and I,”\u003c/strong> Pos (aka Plug One) insists, “You say Plug One and Two are hippies / No we’re not / That’s pure plug bull.”\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/792UwI6utk5DMQUT1KXa5E?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Despite these grumblings, \u003cem>3 Feet High \u003c/em>still brimmed in mirth, including on the musical side, overseen by Prince Paul and including contributions by the entire group. Sample-hungry rap producers had spent the previous few years mining the James Brown and P-Funk catalogs and though De La sampled from both on their debut, they were more likely to create memorable musical moments from children’s television songs (“The Magic Number”), obscure doo-wop singles (“Plug Tunin'”) and classic ’80s pop hits (“Say No Go”). Similar to how their DJ, PA Mase, could expertly splice up a dizzying number of snippets on a song like \u003cstrong>“Cool Breeze on the Rocks,”\u003c/strong> the group collectively embraced unfettered sampling as a calling card, a way to demonstrate how drawing upon “found sounds” could create new sounds. Ironically though, their love for sampling is one reason why it took so long for their music to make it to streaming; no one wanted to foot the bill to properly clear all those samples. In fact, the version of the track that appears on streaming is completely reimagined.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5iYjvQbLvISapScuxb4XTo?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Even 30+ years later, \u003cem>3 Feet High\u003c/em> still sounds wondrous and weird, even compared to their later albums, let alone the rest of the hip-hop landscape. Scores of other artists have tried to be clever but few, if any, have embodied a creative impulse as irrepressible and risk-taking. De La’s debut was a proof of concept that the right combination of ingenuity and frivolity could create something indelibly, impossibly hip. (Just don’t call them hippies.)\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Time For Heads To Get Flown: \u003c/strong>\u003cem>\u003cstrong>De La Soul Is Dead\u003c/strong>\u003c/em>\u003cstrong> (1991)\u003c/strong>\u003c/p>\n\u003cp>Imagine debuting with a gold record, lauded as darlings of “alternative” rap, and then using your follow-up LP to unceremoniously kill off that gilded goose. If the title, \u003cem>De La Soul Is Dead,\u003c/em> wasn’t enough of an announcement of intent, the album’s cover removed any lingering ambiguity: a broken pot of daisies, knocked upon its side.\u003c/p>\n\u003cp>\u003cem>3 Feet High \u003c/em>felt like a kaleidoscope of colorful ideas splashed against a wall and the group’s sophomore effort was equally intentional but with a darker palette. Consider this LP’s recurring skits: all meta-level self-deprecation where we overhear a pack of misanthropes listening to the album in real time, trashing the group and its pretensions at every opportunity.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4YxeQH9KdAp0JRyD5YQAFP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La also dabbled in heavier social commentary, whether mocking the violent posturing of gangsta rappers (“Afro Connections at the Hi 5”), addressing the trauma of drug addiction (“My Brother’s a Basehead”) or most surprisingly, turning a story about familial sexual abuse (\u003cstrong>“Millie Pulled a Pistol on Santa”\u003c/strong>) into a commercial single (and one of the most depressing holiday songs ever). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7HuylwCfdFfEH5Qc9MZ7dT?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Yet, De La’s symbolic death and reinvention wasn’t nearly as dramatic as fans might have feared. Though the trio puffed their chests out a bit further and their humor leaned a touch darker, the album still brimmed with a similar exuberance to \u003cem>3 Feet High\u003c/em>. The LP’s lead single, \u003cstrong>“Ring Ring Ring (Ha Ha Hey),”\u003c/strong> braided together various threads of the group’s evolving attitude: on the one hand, it was a lamentation on the exhausting nature of stardom, where De La complains about the parade of aspiring acts hounding them with demos in hand. On the other, the song’s playful post-disco groove injected a sonic ebullience that balanced the weary cynicism lining the group’s lyrics.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/43intIKOsACYuCBGtAix43?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It seemed as if the success of \u003cem>3 Feet High \u003c/em>gave the group license to go deeper into their artistic bag: more eclectic samples, more risk-taking (and less commercial) song concepts, and just plain more of everything; the CD version had 26 tracks and all but completely filled the standard 74 minute limit. Combine the album’s density with its wild, creative swings and \u003cem>Dead \u003c/em>can be a rather disjointed \u003cem>linear \u003c/em>listen if you’re simply going end to end. However, a random shuffle will likely land you onto one of the album’s many excellent songs.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1Chs3yVLdqewaHtmYjdN19?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>That includes their summer-in-the-park party anthem \u003cstrong>“A Roller Skating Jam Named ‘Saturdays’,”\u003c/strong> as well as a Stevie Wonder-inspired reflection on relationship rancor, “Talkin’ Bout Hey Love.” Meanwhile, on the humorous tip, \u003cstrong>“Bitties in the BK Lounge”\u003c/strong> might be the group’s funniest track. Leave it to De La to elevate a routine fast food encounter into an epic clash of the dozens between a bored cashier and snarky customer.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0cD0uNbIzZPCX6HX22mAi5?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s hard to overstate how creatively sprawling this album was, even within an era where hip-hop artists were experimenting with all kinds of new styles and modes. Especially in a time when hip-hop still felt deep in a fertile, “anything goes” state of imaginative possibility, De La continued to lead the vanguard of artists searching for the cutting edge.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>F__ Being Hard, De La Soul Is Complicated: \u003c/strong>\u003cem>\u003cstrong>Buhloone Mindstate\u003c/strong>\u003c/em>\u003cstrong> (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Buhloone Mindstate\u003c/em> is arguably the most “concept album-y” title of all of De La’s releases but the joke is that whatever the album’s concept was, the group seemed content to keep it to themselves. It’s as if De La, with its well-established ire towards the recording industry, decided to just forgo any pretense of commercial accessibility in favor of being “just weird, lost in the woods,” according to Pitchfork’s Andrew Nosnitsky, who also lauded \u003cem>Buhloone \u003c/em>as “notoriously and proudly inaccessible.”\u003c/p>\n\u003cp>This may not sound like a selling point but despite feeling crafted like a puzzle box, it’s a pleasantly compact one — just 10 full-length songs — coming after its two behemoth predecessors. With practically no filler on \u003cem>Buhloone \u003c/em>besides its assorted, anticipated skits, the album’s hit/miss ratio is as good as the group has ever delivered and it’s no surprise that hardcore De La fans have long insisted it is the most complete work.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1bJqruJ4gXeIqpFsyPqHF1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>There’s a distinctively urgent energy to much of the album, with the group mining their deep trove of jazz, blues, rock and funk samples to power the propulsion on songs like “Eye Patch” and \u003cstrong>“En Focus,”\u003c/strong> or the back-half standout, \u003cstrong>“In The Woods,”\u003c/strong> featuring Shortie No Mas whose piercing ad-libs dot the LP. Three albums — and \u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\">one lawsuit\u003c/a> — into their career and the group seemed undeterred in repurposing samples that spanned from Michael Jackson hits to forgotten electro singles to classic soul-jazz sides.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6fnCrJKX2kw5Roh8LjCm4D?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>As tense as much of the album can be elsewhere, one of the few times where the group winds things down to a more contemplative groove is on the LP standout, \u003cstrong>“I Am, I Be.”\u003c/strong> The song features a particularly poignant set of verses by Pos who both opens and closes the track. By this point in the ’90s, he had already established himself as one of hip-hop’s most thoughtful lyricists, and here he pens a brilliant set of philosophical musings on everything from the challenges of parenthood to dissolving friendships to record label servitude: \u003c/p>\n\u003cblockquote>\u003cp>\nI am Posdnuos\u003cbr>I be the new generation of slaves\u003cbr>Here to make papes to buy a record exec rakes\u003cbr>The pile of revenue I create\u003cbr>But I guess I don’t get a cut ’cause my rent’s a month late\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5v125GhjtJgappJWdNDTV2?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s all done over a haunting, melancholy track featuring no less than seven different samples, most notably an anchoring Lou Rawls loop. The group took such a shine to the song that they recorded an instrumental version for the album as well and invited funk pioneer Maceo Parker to play his saxophone over it.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4WKEvBiDnakwRImM41yZXC?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>However frustrated De La may have been with the rap industry, it’s also clear they have tremendous love for the rap community. Comedic hip-hop legend Biz Markie, who De La later hired as a tour DJ, features on the closing track, “Stone Age,” while the single, \u003cstrong>“Ego Trippin’ [Part Two]”\u003c/strong> doesn’t just nod to the Ultramagnetics’ 1986 song of the same name, but is filled with easter eggs for their heroes and peers by quoting and re-using famous lines from Pete Rock and CL Smooth (“When I Reminisce Over You”), Big Daddy Kane (“Ain’t No Half Steppin'”) and Run DMC (“Sucker MCs”).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3I7Mq9ieKF1Eeq9mlZTUad?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Fans wouldn’t have known it at the time but \u003cem>Buhloone Mindstate \u003c/em>also marked an end to a particular era for the group. The maniacal mind of producer Prince Paul had guided each of De La’s first three albums but at some point post-\u003cem>Buhloone\u003c/em>, the group decided to amicably break ties with their mentor and take greater creative control over their subsequent releases. By De La’s next album, they were prepared to reintroduce themselves, no longer as youthful rebels but now as hip-hop doyen, intent on defending the culture’s moral center.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>No Offense To A Player But They Don’t Play: \u003c/strong>\u003cem>\u003cstrong>Stakes Is High \u003c/strong>\u003c/em>\u003cstrong>(1996)\u003c/strong>\u003c/p>\n\u003cp>The three years since \u003cem>Buhloone Mindstate \u003c/em>had yielded a sea-change within hip-hop. The rise and dominance of artists like Dr. Dre, Snoop Dogg, Mobb Deep and the Notorious B.I.G. — among many others — eschewed the Afrocentric positivity that De La’s Native Tongues Family had ushered in less than a decade prior, supplanting it with lurid, violent tales of the rich and infamous.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6j4aQL66B36i6OcU8fOEHJ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Hip-hop’s culture war had already been brewing across the ’90s, with artists like Masta Ace, Common and De La themselves mocking what they saw as a cynical embrace of gang-banging and drug-slanging posturing. But few albums drew a line in the sand as conspicuous as \u003cem>Stakes Is High. \u003c/em>The album’s very title was part of that manifesto, an insistence that nihilism shouldn’t be a form of entertainment. As Trugoy rhymes on the title track, he was “sick of swoll head rappers with their sickening raps / Clappers of gats, making the whole sick world collapse.” Elsewhere, he and Pos poke fun at wannabe gangsters idolizing the mafia — “Why you acting all spicy and sheisty / The only Italians you knew was icees” (“Itsoweezee”) — and empty slogans — “You cry ‘keeping it real’ but you should try keeping it right” (“The Bizness”). Not all their finger-wagging was so direct; after previously decrying R&B as “rhythm and b*******,” De La cook up a crossover parody with the hilariously titled\u003cstrong> “Baby Baby Baby Baby Ooh Baby”\u003c/strong> which nails the generic sound of mid-90s hip-hop/R&B songs so well that with slightly less sarcasm salted in, Tommy Boy could have legitimately released this as a radio single.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0wgRcYqvlkLondVqD5Pgmn?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Along those lines: The overall sonic feel of \u003cem>Stakes Is High \u003c/em>is playful and easy-going. Whatever fears fans may have had about the absence of Prince Paul, De La proved more than capable of maintaining without him (with a few assists by the likes of Spearhead X and then-newcomer Jay Dee/J-Dilla). Befitting an album released in early July of 1996, there’s a downright summery vibe to much of \u003cem>Stakes \u003c/em>thanks to a prevalence of mid-tempo beats and filtered sampling techniques; alongside OutKast’s \u003cem>ATLiens, \u003c/em>De La may have assembled one of the best backyard BBQ soundtracks of that year.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0zikBNHRf92YezkmmfEiSE?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>After the relative minimalism of \u003cem>Buhloone Mindstate\u003c/em>, \u003cem>Stakes Is High \u003c/em>moved back towards super-size, with 17 song-length tracks (though, notably, no more skits). For all their targeted barbs at the rest of the rap world, much of the album is just Trugoy and Posdnuos at their best, mixing clever braggadocio and heartfelt sentiment in their songwriting. It’s a more grounded effort compared to the zany eccentricity of some of their early releases, reflecting the maturity of the group itself. They weren’t a trio of Long Island naifs anymore; they had reached the upper tier of hip-hop’s hierarchy and \u003cem>Stakes Is High \u003c/em>demonstrated the seriousness of that stature — but not without its occasional winks and chuckles.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/135z3i5CjKr3H4BCT4lGPg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Certified Rhyme Meadows: \u003c/strong>\u003cem>\u003cstrong>Art Official Intelligence: Mosaic Thump \u003c/strong>\u003c/em>\u003cstrong>(2000) \u003c/strong>\u003cem>\u003cstrong>& Bionix \u003c/strong>\u003c/em>\u003cstrong>(2001)\u003c/strong>\u003c/p>\n\u003cp>In 1999, De La Soul and their label, Tommy Boy, had announced plans for \u003cem>Art Official Intelligence \u003c/em>as three albums, to be released several months apart. In reality, only the first two installments — \u003cem>Mosaic Thump\u003c/em> and \u003cem>Bionix\u003c/em> — came out, six months apart, marking the first new major set of De La material in four years. Unlike their previous albums, the \u003cem>AOI \u003c/em>volumes didn’t have a unifying concept driving them. According to Maseo, the goal behind them was to release, “just some … real good songs, working with a lot of people that we respect in the music industry.” He wasn’t kidding; the two discs featured over 20 guests, equivalent to all the guests on their first four albums combined.\u003c/p>\n\u003cp>Of all the albums now made available on streaming, the \u003cem>AOI \u003c/em>pair were the most conventional-sounding relative to music of the time. While De La would never have embraced the excesses of the shiny suit era in the late ’90s, their \u003cem>AOI \u003c/em>output was decidedly more radio-friendly: slower grooves, melodic hooks, love/sex themes, plus a slew of R&B features including Chaka Khan (“All Good?”), Glenn Lewis (“Am I Worth You?”) and Emily “yummy” Bingham (\u003cstrong>“Special”\u003c/strong>). The level of craftsmanship was still high but some of their younger, oppositional spirit now seemed replaced by a lighter, feel-good demeanor. De La at middle age (in rap years) seemed like some chill dudes.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7IanAuGaHmsRBDqdwrq1x4?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Then again, with 35 songs split between the two discs, there was still plenty of material for long-time fans. Songs like “Declaration,” “View” (both on \u003cem>Mosaic Thump) \u003c/em>and “Held Down” (\u003cem>Bionix\u003c/em>) continued Posdnuos’ 10+ year reign as one of the hip-hop’s most underrated lyricists while singles like \u003cstrong>“Oooh”\u003c/strong> and “Thru Ya City” (both on \u003cem>Mosaic Thump\u003c/em>) have bouncy club appeal, only on the group’s terms (unlike their first hit from 1989, “Me, Myself and I,” which De La have publicly disavowed at their own shows).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0m1EDSjYlgZ3OQteqhP0XR?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s a long-standing rumor that De La Soul wanted to wheel out so much music, all at once, in part to complete all obligations to Tommy Boy after years of frustration with the label. This may be apocryphal but if accurate, the cruel irony is that Tommy Boy beat the group to the punch: Before the third installment of \u003cem>AOI \u003c/em>could come out in 2001, the label underwent a corporate restructuring that orphaned a range of intended projects, \u003cem>AOI\u003c/em> included. Either way, the members of De La were finally, after 13 years, able to find a new path for their careers. The product of those new efforts was 2004’s \u003cem>The Grind Date\u003c/em>, a semi-independent release that became the group’s most celebrated album since \u003cem>Stakes Is High\u003c/em>; it has \u003cem>already \u003c/em>been on streaming services for years. Finally, that album’s older siblings get to join the party, and we’re all left richer for it. The D.A.I.S.Y. Age may be long over, but long live the De La Age. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+La+Soul+Is+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Streaming platforms were initially sold as an all-encompassing music library — every song at one’s fingertips! — yet there are inevitable gaps within their discographies. For hip-hop fans, few omissions have been more grievous than the missing catalog of De La Soul. One of the giants of hip-hop’s “golden era” of the late ’80s through mid ’90s, De La’s penchant for playful creativity would go on to influence everyone from the Pharcyde to OutKast, Kanye West to Childish Gambino. Despite this, almost all of their most important albums have been missing from (legal) streaming services. When founding member Trugoy the Dove \u003ca href=\"https://www.npr.org/2023/02/13/1156489848/dave-jolicoeur-de-la-soul-trugoy-the-dove-obituary\">unexpectedly passed away\u003c/a> last month, anyone seeking to revisit most of De La Soul’s best known works would have been left empty-handed and confused. We now take for granted that our favorite artists have their catalogs readily available to us yet when in a time of grief over Trugoy’s death, new and old fans were met with a deafening silence of options to revisit his musical legacy. \u003c/p>\n\u003cp>What kept De La’s tunes out of rotation was a frustrating morass of outdated contracts and record label parsimony. It got so bad that in 2014, the group put their entire catalog on their website to download for free for a day. As they told \u003cem>Rolling Stone \u003c/em>at the time, “We’ve been blessed to be in the Library of Congress, but we can’t even have our music on iTunes.” Likewise, there was an attempt in 2019 by Tommy Boy Records, which owns the rights to De La’s music, to put them on streaming but the terms of that deal were so unfavorable to the group that\u003ca href=\"https://www.complex.com/music/2019/02/de-la-soul-calls-out-former-record-label-over-unfair-streaming-deal\"> public outrage\u003c/a> forced Tommy Boy to abandon their plans.\u003c/p>\n\u003cp>None of these are just business concerns. Our social awareness of music has always been tied to how songs and albums are distributed. Much like the proverbial tree falling in the woods without a witness, if an artist has recorded the greatest album of all time, does it really matter if no one has the means to hear it? De La may have sold millions of physical cassettes, CDs and vinyl records in the past but how many households have the means to play any of those formats? De La’s absence from streaming sites has effectively erased their presence from the contemporary musical landscape \u003cem>and \u003c/em>threatens to minimize their historical import. It’s not just the artist who loses out; we, as listeners, are left poorer too.\u003c/p>\n\u003cp>All this has finally been rectified. The group’s most important recordings are now legally available on the internet. Given how long it’s taken for this music to arrive, we thought it necessary to revisit this storied catalog and its restored legacy, to help new fans familiarize themselves with the memorable (and singular) arc of their career and give veteran listeners a reintroduction to their most influential work.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Souls Who Flaunt Styles: \u003c/strong>\u003cem>\u003cstrong>3 Feet High and Rising \u003c/strong>\u003c/em>\u003cstrong>(1989)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De La Soul’s debut reshaped the public imagination of what hip-hop could be. The core trio — Posdnuos, Trugoy and DJ Pasemaster Mase — assisted by mentor/producer Prince Paul all came straight outta the wilds of suburban Long Island, rapping about advice-spouting crocodiles, Martian transmissions, and an artistic meta-concept they dubbed The D.A.I.S.Y. (Da Inner Soul, Y’all) Age.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7GOdFpyX7aUbHOaYt7mwyP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La were part of the Native Tongues, a collective of like-minded artists that included the Jungle Brothers, A Tribe Called Quest and Queen Latifah, among others. Promoting Afrocentric positivity, they purposefully set themselves to contrast against the boisterous brio exemplified by such icons of the era as LL Cool J, NWA or Big Daddy Kane. De La Soul, especially, became smart, sardonic avatars for Black misfits and nerds, mining the sublime from the absurd. On the album, this is partly showcased in their songcraft, especially the humorous skits peppered throughout that turned the format into a rap album staple. There was also the consistently irreverent ways in which Pos and Trugoy adroitly rapped on everything from the garishness of consumer culture (“Take It Off”) to sexy flirtations (“Buddy”) to personal hygiene (\u003cstrong>“A Little Bit of Soap”\u003c/strong>). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6zgClTCI7zRqQLf148Sozu?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>The group would prove too clever by half, however, at least for the mainstream music media who were quick to dub them “hip-hop hippies.” That encouraged their label, Tommy Boy, to lean further into the aesthetic by creating artwork doused in day-glo colors and cartoon daisies. De La had to refute this characterization in real time; on the album’s big radio hit, \u003cstrong>“Me, Myself and I,”\u003c/strong> Pos (aka Plug One) insists, “You say Plug One and Two are hippies / No we’re not / That’s pure plug bull.”\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/792UwI6utk5DMQUT1KXa5E?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Despite these grumblings, \u003cem>3 Feet High \u003c/em>still brimmed in mirth, including on the musical side, overseen by Prince Paul and including contributions by the entire group. Sample-hungry rap producers had spent the previous few years mining the James Brown and P-Funk catalogs and though De La sampled from both on their debut, they were more likely to create memorable musical moments from children’s television songs (“The Magic Number”), obscure doo-wop singles (“Plug Tunin'”) and classic ’80s pop hits (“Say No Go”). Similar to how their DJ, PA Mase, could expertly splice up a dizzying number of snippets on a song like \u003cstrong>“Cool Breeze on the Rocks,”\u003c/strong> the group collectively embraced unfettered sampling as a calling card, a way to demonstrate how drawing upon “found sounds” could create new sounds. Ironically though, their love for sampling is one reason why it took so long for their music to make it to streaming; no one wanted to foot the bill to properly clear all those samples. In fact, the version of the track that appears on streaming is completely reimagined.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5iYjvQbLvISapScuxb4XTo?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Even 30+ years later, \u003cem>3 Feet High\u003c/em> still sounds wondrous and weird, even compared to their later albums, let alone the rest of the hip-hop landscape. Scores of other artists have tried to be clever but few, if any, have embodied a creative impulse as irrepressible and risk-taking. De La’s debut was a proof of concept that the right combination of ingenuity and frivolity could create something indelibly, impossibly hip. (Just don’t call them hippies.)\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Time For Heads To Get Flown: \u003c/strong>\u003cem>\u003cstrong>De La Soul Is Dead\u003c/strong>\u003c/em>\u003cstrong> (1991)\u003c/strong>\u003c/p>\n\u003cp>Imagine debuting with a gold record, lauded as darlings of “alternative” rap, and then using your follow-up LP to unceremoniously kill off that gilded goose. If the title, \u003cem>De La Soul Is Dead,\u003c/em> wasn’t enough of an announcement of intent, the album’s cover removed any lingering ambiguity: a broken pot of daisies, knocked upon its side.\u003c/p>\n\u003cp>\u003cem>3 Feet High \u003c/em>felt like a kaleidoscope of colorful ideas splashed against a wall and the group’s sophomore effort was equally intentional but with a darker palette. Consider this LP’s recurring skits: all meta-level self-deprecation where we overhear a pack of misanthropes listening to the album in real time, trashing the group and its pretensions at every opportunity.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4YxeQH9KdAp0JRyD5YQAFP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La also dabbled in heavier social commentary, whether mocking the violent posturing of gangsta rappers (“Afro Connections at the Hi 5”), addressing the trauma of drug addiction (“My Brother’s a Basehead”) or most surprisingly, turning a story about familial sexual abuse (\u003cstrong>“Millie Pulled a Pistol on Santa”\u003c/strong>) into a commercial single (and one of the most depressing holiday songs ever). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7HuylwCfdFfEH5Qc9MZ7dT?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Yet, De La’s symbolic death and reinvention wasn’t nearly as dramatic as fans might have feared. Though the trio puffed their chests out a bit further and their humor leaned a touch darker, the album still brimmed with a similar exuberance to \u003cem>3 Feet High\u003c/em>. The LP’s lead single, \u003cstrong>“Ring Ring Ring (Ha Ha Hey),”\u003c/strong> braided together various threads of the group’s evolving attitude: on the one hand, it was a lamentation on the exhausting nature of stardom, where De La complains about the parade of aspiring acts hounding them with demos in hand. On the other, the song’s playful post-disco groove injected a sonic ebullience that balanced the weary cynicism lining the group’s lyrics.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/43intIKOsACYuCBGtAix43?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It seemed as if the success of \u003cem>3 Feet High \u003c/em>gave the group license to go deeper into their artistic bag: more eclectic samples, more risk-taking (and less commercial) song concepts, and just plain more of everything; the CD version had 26 tracks and all but completely filled the standard 74 minute limit. Combine the album’s density with its wild, creative swings and \u003cem>Dead \u003c/em>can be a rather disjointed \u003cem>linear \u003c/em>listen if you’re simply going end to end. However, a random shuffle will likely land you onto one of the album’s many excellent songs.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1Chs3yVLdqewaHtmYjdN19?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>That includes their summer-in-the-park party anthem \u003cstrong>“A Roller Skating Jam Named ‘Saturdays’,”\u003c/strong> as well as a Stevie Wonder-inspired reflection on relationship rancor, “Talkin’ Bout Hey Love.” Meanwhile, on the humorous tip, \u003cstrong>“Bitties in the BK Lounge”\u003c/strong> might be the group’s funniest track. Leave it to De La to elevate a routine fast food encounter into an epic clash of the dozens between a bored cashier and snarky customer.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0cD0uNbIzZPCX6HX22mAi5?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s hard to overstate how creatively sprawling this album was, even within an era where hip-hop artists were experimenting with all kinds of new styles and modes. Especially in a time when hip-hop still felt deep in a fertile, “anything goes” state of imaginative possibility, De La continued to lead the vanguard of artists searching for the cutting edge.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>F__ Being Hard, De La Soul Is Complicated: \u003c/strong>\u003cem>\u003cstrong>Buhloone Mindstate\u003c/strong>\u003c/em>\u003cstrong> (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Buhloone Mindstate\u003c/em> is arguably the most “concept album-y” title of all of De La’s releases but the joke is that whatever the album’s concept was, the group seemed content to keep it to themselves. It’s as if De La, with its well-established ire towards the recording industry, decided to just forgo any pretense of commercial accessibility in favor of being “just weird, lost in the woods,” according to Pitchfork’s Andrew Nosnitsky, who also lauded \u003cem>Buhloone \u003c/em>as “notoriously and proudly inaccessible.”\u003c/p>\n\u003cp>This may not sound like a selling point but despite feeling crafted like a puzzle box, it’s a pleasantly compact one — just 10 full-length songs — coming after its two behemoth predecessors. With practically no filler on \u003cem>Buhloone \u003c/em>besides its assorted, anticipated skits, the album’s hit/miss ratio is as good as the group has ever delivered and it’s no surprise that hardcore De La fans have long insisted it is the most complete work.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1bJqruJ4gXeIqpFsyPqHF1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>There’s a distinctively urgent energy to much of the album, with the group mining their deep trove of jazz, blues, rock and funk samples to power the propulsion on songs like “Eye Patch” and \u003cstrong>“En Focus,”\u003c/strong> or the back-half standout, \u003cstrong>“In The Woods,”\u003c/strong> featuring Shortie No Mas whose piercing ad-libs dot the LP. Three albums — and \u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\">one lawsuit\u003c/a> — into their career and the group seemed undeterred in repurposing samples that spanned from Michael Jackson hits to forgotten electro singles to classic soul-jazz sides.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6fnCrJKX2kw5Roh8LjCm4D?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>As tense as much of the album can be elsewhere, one of the few times where the group winds things down to a more contemplative groove is on the LP standout, \u003cstrong>“I Am, I Be.”\u003c/strong> The song features a particularly poignant set of verses by Pos who both opens and closes the track. By this point in the ’90s, he had already established himself as one of hip-hop’s most thoughtful lyricists, and here he pens a brilliant set of philosophical musings on everything from the challenges of parenthood to dissolving friendships to record label servitude: \u003c/p>\n\u003cblockquote>\u003cp>\nI am Posdnuos\u003cbr>I be the new generation of slaves\u003cbr>Here to make papes to buy a record exec rakes\u003cbr>The pile of revenue I create\u003cbr>But I guess I don’t get a cut ’cause my rent’s a month late\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5v125GhjtJgappJWdNDTV2?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s all done over a haunting, melancholy track featuring no less than seven different samples, most notably an anchoring Lou Rawls loop. The group took such a shine to the song that they recorded an instrumental version for the album as well and invited funk pioneer Maceo Parker to play his saxophone over it.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4WKEvBiDnakwRImM41yZXC?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>However frustrated De La may have been with the rap industry, it’s also clear they have tremendous love for the rap community. Comedic hip-hop legend Biz Markie, who De La later hired as a tour DJ, features on the closing track, “Stone Age,” while the single, \u003cstrong>“Ego Trippin’ [Part Two]”\u003c/strong> doesn’t just nod to the Ultramagnetics’ 1986 song of the same name, but is filled with easter eggs for their heroes and peers by quoting and re-using famous lines from Pete Rock and CL Smooth (“When I Reminisce Over You”), Big Daddy Kane (“Ain’t No Half Steppin'”) and Run DMC (“Sucker MCs”).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3I7Mq9ieKF1Eeq9mlZTUad?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Fans wouldn’t have known it at the time but \u003cem>Buhloone Mindstate \u003c/em>also marked an end to a particular era for the group. The maniacal mind of producer Prince Paul had guided each of De La’s first three albums but at some point post-\u003cem>Buhloone\u003c/em>, the group decided to amicably break ties with their mentor and take greater creative control over their subsequent releases. By De La’s next album, they were prepared to reintroduce themselves, no longer as youthful rebels but now as hip-hop doyen, intent on defending the culture’s moral center.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>No Offense To A Player But They Don’t Play: \u003c/strong>\u003cem>\u003cstrong>Stakes Is High \u003c/strong>\u003c/em>\u003cstrong>(1996)\u003c/strong>\u003c/p>\n\u003cp>The three years since \u003cem>Buhloone Mindstate \u003c/em>had yielded a sea-change within hip-hop. The rise and dominance of artists like Dr. Dre, Snoop Dogg, Mobb Deep and the Notorious B.I.G. — among many others — eschewed the Afrocentric positivity that De La’s Native Tongues Family had ushered in less than a decade prior, supplanting it with lurid, violent tales of the rich and infamous.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6j4aQL66B36i6OcU8fOEHJ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Hip-hop’s culture war had already been brewing across the ’90s, with artists like Masta Ace, Common and De La themselves mocking what they saw as a cynical embrace of gang-banging and drug-slanging posturing. But few albums drew a line in the sand as conspicuous as \u003cem>Stakes Is High. \u003c/em>The album’s very title was part of that manifesto, an insistence that nihilism shouldn’t be a form of entertainment. As Trugoy rhymes on the title track, he was “sick of swoll head rappers with their sickening raps / Clappers of gats, making the whole sick world collapse.” Elsewhere, he and Pos poke fun at wannabe gangsters idolizing the mafia — “Why you acting all spicy and sheisty / The only Italians you knew was icees” (“Itsoweezee”) — and empty slogans — “You cry ‘keeping it real’ but you should try keeping it right” (“The Bizness”). Not all their finger-wagging was so direct; after previously decrying R&B as “rhythm and b*******,” De La cook up a crossover parody with the hilariously titled\u003cstrong> “Baby Baby Baby Baby Ooh Baby”\u003c/strong> which nails the generic sound of mid-90s hip-hop/R&B songs so well that with slightly less sarcasm salted in, Tommy Boy could have legitimately released this as a radio single.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0wgRcYqvlkLondVqD5Pgmn?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Along those lines: The overall sonic feel of \u003cem>Stakes Is High \u003c/em>is playful and easy-going. Whatever fears fans may have had about the absence of Prince Paul, De La proved more than capable of maintaining without him (with a few assists by the likes of Spearhead X and then-newcomer Jay Dee/J-Dilla). Befitting an album released in early July of 1996, there’s a downright summery vibe to much of \u003cem>Stakes \u003c/em>thanks to a prevalence of mid-tempo beats and filtered sampling techniques; alongside OutKast’s \u003cem>ATLiens, \u003c/em>De La may have assembled one of the best backyard BBQ soundtracks of that year.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0zikBNHRf92YezkmmfEiSE?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>After the relative minimalism of \u003cem>Buhloone Mindstate\u003c/em>, \u003cem>Stakes Is High \u003c/em>moved back towards super-size, with 17 song-length tracks (though, notably, no more skits). For all their targeted barbs at the rest of the rap world, much of the album is just Trugoy and Posdnuos at their best, mixing clever braggadocio and heartfelt sentiment in their songwriting. It’s a more grounded effort compared to the zany eccentricity of some of their early releases, reflecting the maturity of the group itself. They weren’t a trio of Long Island naifs anymore; they had reached the upper tier of hip-hop’s hierarchy and \u003cem>Stakes Is High \u003c/em>demonstrated the seriousness of that stature — but not without its occasional winks and chuckles.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/135z3i5CjKr3H4BCT4lGPg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Certified Rhyme Meadows: \u003c/strong>\u003cem>\u003cstrong>Art Official Intelligence: Mosaic Thump \u003c/strong>\u003c/em>\u003cstrong>(2000) \u003c/strong>\u003cem>\u003cstrong>& Bionix \u003c/strong>\u003c/em>\u003cstrong>(2001)\u003c/strong>\u003c/p>\n\u003cp>In 1999, De La Soul and their label, Tommy Boy, had announced plans for \u003cem>Art Official Intelligence \u003c/em>as three albums, to be released several months apart. In reality, only the first two installments — \u003cem>Mosaic Thump\u003c/em> and \u003cem>Bionix\u003c/em> — came out, six months apart, marking the first new major set of De La material in four years. Unlike their previous albums, the \u003cem>AOI \u003c/em>volumes didn’t have a unifying concept driving them. According to Maseo, the goal behind them was to release, “just some … real good songs, working with a lot of people that we respect in the music industry.” He wasn’t kidding; the two discs featured over 20 guests, equivalent to all the guests on their first four albums combined.\u003c/p>\n\u003cp>Of all the albums now made available on streaming, the \u003cem>AOI \u003c/em>pair were the most conventional-sounding relative to music of the time. While De La would never have embraced the excesses of the shiny suit era in the late ’90s, their \u003cem>AOI \u003c/em>output was decidedly more radio-friendly: slower grooves, melodic hooks, love/sex themes, plus a slew of R&B features including Chaka Khan (“All Good?”), Glenn Lewis (“Am I Worth You?”) and Emily “yummy” Bingham (\u003cstrong>“Special”\u003c/strong>). The level of craftsmanship was still high but some of their younger, oppositional spirit now seemed replaced by a lighter, feel-good demeanor. De La at middle age (in rap years) seemed like some chill dudes.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7IanAuGaHmsRBDqdwrq1x4?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Then again, with 35 songs split between the two discs, there was still plenty of material for long-time fans. Songs like “Declaration,” “View” (both on \u003cem>Mosaic Thump) \u003c/em>and “Held Down” (\u003cem>Bionix\u003c/em>) continued Posdnuos’ 10+ year reign as one of the hip-hop’s most underrated lyricists while singles like \u003cstrong>“Oooh”\u003c/strong> and “Thru Ya City” (both on \u003cem>Mosaic Thump\u003c/em>) have bouncy club appeal, only on the group’s terms (unlike their first hit from 1989, “Me, Myself and I,” which De La have publicly disavowed at their own shows).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0m1EDSjYlgZ3OQteqhP0XR?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a long-standing rumor that De La Soul wanted to wheel out so much music, all at once, in part to complete all obligations to Tommy Boy after years of frustration with the label. This may be apocryphal but if accurate, the cruel irony is that Tommy Boy beat the group to the punch: Before the third installment of \u003cem>AOI \u003c/em>could come out in 2001, the label underwent a corporate restructuring that orphaned a range of intended projects, \u003cem>AOI\u003c/em> included. Either way, the members of De La were finally, after 13 years, able to find a new path for their careers. The product of those new efforts was 2004’s \u003cem>The Grind Date\u003c/em>, a semi-independent release that became the group’s most celebrated album since \u003cem>Stakes Is High\u003c/em>; it has \u003cem>already \u003c/em>been on streaming services for years. Finally, that album’s older siblings get to join the party, and we’re all left richer for it. The D.A.I.S.Y. Age may be long over, but long live the De La Age. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+La+Soul+Is+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Surprising Coherence of 'Qamp II: An Album Created In 3 Days'",
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"content": "\u003cp>\u003cem>Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\">Pass the Aux\u003c/a>, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>If an entire album — songwriting, production, engineering, recording and mixing — is entirely made from scratch in just three days by a group of first-time collaborators, can it be any good?\u003c/p>\n\u003cp>That’s the question that East Bay rap artists \u003ca href=\"https://www.instagram.com/caseycopesodope/?hl=en\">Casey Cope\u003c/a> and \u003ca href=\"https://www.instagram.com/marquitoooo_/?hl=en\">Marquito\u003c/a> set out to answer last year when they invited 20 of their favorite artists from around the region to camp at their studio for a weekend to see what magic emerged. With virtually no budget, and nothing more than studio equipment and sheer talent, the result was orchestral — a surprisingly harmonious kaleidoscope of vocalists, pianists, producers, DJs, rappers, trombonists and general tinkerers.\u003c/p>\n\u003cp>Cope and Marquito released the project as \u003ca href=\"https://open.spotify.com/album/71qltt1sDnXXH04Ed6HmiT\">\u003cem>Qamp\u003c/em>\u003c/a>, an \u003ca href=\"https://open.spotify.com/album/71qltt1sDnXXH04Ed6HmiT\">audio\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=LMzNcrRH4tc\">documentary\u003c/a> project with eccentric flair. Fast-forward a year later, and the two reenacted the scenario with an entirely new group of “Qampers” — birthing the recently released \u003ca href=\"https://open.spotify.com/album/436Pv7KQh5nNoRxf0ggqJj\">\u003cem>Qamp II: An Album Created in 3 Days\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/lSR5cyL7-5E\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re not trying to make anything specific,” says Cope, who curates the lineup of participants and co-manages the space with Marquito at Studio Q in Berkeley. “We spend the whole year going to shows, clicking on links, listening to tons of albums, and just being music geeks. It’s like, ‘You’re good and you’re good, so we hope you work well together.’”\u003c/p>\n\u003cp>The recurring \u003cem>Qamp\u003c/em> theme is a clear play on the idea of a summer camp, which Cope grew up attending, and where he first learned how to play guitar, from a camp counselor. It’s a feeling he’s been chasing after ever since. From \u003cem>Qamp\u003c/em>, without any pre-planning or overt direction, the artists simply create art. In unison.\u003c/p>\n\u003cp>As much a social experiment as a weekend-long jam session, \u003cem>Qamp II\u003c/em> delivers with a quality sound that reflects the talented pool of participants and their ability to be “seamless” and “[come] together.” Tracks like “Mullet” bring the hard-hitting bass line of a polished trap anthem with reserved quips from rappers like Pandaraps, who brags about “feeling free” and not having to “talk shit.” Other songs, such as “out of sight / out of mind” featuring the rising singer Nüxia, provide a gentle breeze of harmonized vocals.\u003c/p>\n\u003cp>No matter the song, it all sounds freshly spontaneous, with a sound that’s slightly matured over \u003cem>Qamp\u003c/em>’s first installment from last year – but just as experimental.\u003c/p>\n\u003cfigure id=\"attachment_13925794\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/image1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Xäe plays drums during the making of ‘Qamp II.’ \u003ccite>(Vita Hewitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We want people to roam where they roam,” Cope reflects on the three-day process. “That’s how the accidents and combinations we would’ve never thought about actually happen.”\u003c/p>\n\u003cp>In one room, a singer could work with a guitarist on a funky track like “Gorgeous” while the producer quietly makes tweaks to the verses. Simultaneously, next door, a lyricist might rehearse a bar while a keyboardist lays down the smooth foundation for a song like “off / on.” And downstairs, you could find the mingling chill spot, where freestyles, jokes and ideas are exchanged.\u003c/p>\n\u003cp>A variegated range of contributors — including the “buttery” keyboardist and producer \u003ca href=\"https://www.instagram.com/hokagesimon/?hl=en\">Hokage Simon\u003c/a>, the poet and vocal rapper \u003ca href=\"https://www.instagram.com/artistnamedyou/?hl=en\">Artist Named You\u003c/a>, producer \u003ca href=\"https://www.instagram.com/itstope/?hl=en\">Tope\u003c/a>, and synth master \u003ca href=\"https://www.instagram.com/surfer_dave_forever/?hl=en\">Surfer Dave\u003c/a> — makes for a layered, and surprisingly coherent, soundscape.\u003c/p>\n\u003cp>“My goal is to just build more camaraderie in the Bay Area,” says Cope. “There’s not enough spaces actively doing that in music, and there is so much talent in so many avenues here, and all of it needs to shine. It’s simpler, more fun, and easier to just package that all in one album. We’re on a mission together.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Qamp II’ the album is currently available on all streaming platforms. The accompanying documentary debuts at a viewing party on Saturday, March 18, at Studio Q (707 Park Way, Berkeley), at 7 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\">Pass the Aux\u003c/a>, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>If an entire album — songwriting, production, engineering, recording and mixing — is entirely made from scratch in just three days by a group of first-time collaborators, can it be any good?\u003c/p>\n\u003cp>That’s the question that East Bay rap artists \u003ca href=\"https://www.instagram.com/caseycopesodope/?hl=en\">Casey Cope\u003c/a> and \u003ca href=\"https://www.instagram.com/marquitoooo_/?hl=en\">Marquito\u003c/a> set out to answer last year when they invited 20 of their favorite artists from around the region to camp at their studio for a weekend to see what magic emerged. With virtually no budget, and nothing more than studio equipment and sheer talent, the result was orchestral — a surprisingly harmonious kaleidoscope of vocalists, pianists, producers, DJs, rappers, trombonists and general tinkerers.\u003c/p>\n\u003cp>Cope and Marquito released the project as \u003ca href=\"https://open.spotify.com/album/71qltt1sDnXXH04Ed6HmiT\">\u003cem>Qamp\u003c/em>\u003c/a>, an \u003ca href=\"https://open.spotify.com/album/71qltt1sDnXXH04Ed6HmiT\">audio\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=LMzNcrRH4tc\">documentary\u003c/a> project with eccentric flair. Fast-forward a year later, and the two reenacted the scenario with an entirely new group of “Qampers” — birthing the recently released \u003ca href=\"https://open.spotify.com/album/436Pv7KQh5nNoRxf0ggqJj\">\u003cem>Qamp II: An Album Created in 3 Days\u003c/em>\u003c/a>.\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/lSR5cyL7-5E'\n title='//www.youtube.com/embed/lSR5cyL7-5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re not trying to make anything specific,” says Cope, who curates the lineup of participants and co-manages the space with Marquito at Studio Q in Berkeley. “We spend the whole year going to shows, clicking on links, listening to tons of albums, and just being music geeks. It’s like, ‘You’re good and you’re good, so we hope you work well together.’”\u003c/p>\n\u003cp>The recurring \u003cem>Qamp\u003c/em> theme is a clear play on the idea of a summer camp, which Cope grew up attending, and where he first learned how to play guitar, from a camp counselor. It’s a feeling he’s been chasing after ever since. From \u003cem>Qamp\u003c/em>, without any pre-planning or overt direction, the artists simply create art. In unison.\u003c/p>\n\u003cp>As much a social experiment as a weekend-long jam session, \u003cem>Qamp II\u003c/em> delivers with a quality sound that reflects the talented pool of participants and their ability to be “seamless” and “[come] together.” Tracks like “Mullet” bring the hard-hitting bass line of a polished trap anthem with reserved quips from rappers like Pandaraps, who brags about “feeling free” and not having to “talk shit.” Other songs, such as “out of sight / out of mind” featuring the rising singer Nüxia, provide a gentle breeze of harmonized vocals.\u003c/p>\n\u003cp>No matter the song, it all sounds freshly spontaneous, with a sound that’s slightly matured over \u003cem>Qamp\u003c/em>’s first installment from last year – but just as experimental.\u003c/p>\n\u003cfigure id=\"attachment_13925794\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/image1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/image1.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Xäe plays drums during the making of ‘Qamp II.’ \u003ccite>(Vita Hewitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We want people to roam where they roam,” Cope reflects on the three-day process. “That’s how the accidents and combinations we would’ve never thought about actually happen.”\u003c/p>\n\u003cp>In one room, a singer could work with a guitarist on a funky track like “Gorgeous” while the producer quietly makes tweaks to the verses. Simultaneously, next door, a lyricist might rehearse a bar while a keyboardist lays down the smooth foundation for a song like “off / on.” And downstairs, you could find the mingling chill spot, where freestyles, jokes and ideas are exchanged.\u003c/p>\n\u003cp>A variegated range of contributors — including the “buttery” keyboardist and producer \u003ca href=\"https://www.instagram.com/hokagesimon/?hl=en\">Hokage Simon\u003c/a>, the poet and vocal rapper \u003ca href=\"https://www.instagram.com/artistnamedyou/?hl=en\">Artist Named You\u003c/a>, producer \u003ca href=\"https://www.instagram.com/itstope/?hl=en\">Tope\u003c/a>, and synth master \u003ca href=\"https://www.instagram.com/surfer_dave_forever/?hl=en\">Surfer Dave\u003c/a> — makes for a layered, and surprisingly coherent, soundscape.\u003c/p>\n\u003cp>“My goal is to just build more camaraderie in the Bay Area,” says Cope. “There’s not enough spaces actively doing that in music, and there is so much talent in so many avenues here, and all of it needs to shine. It’s simpler, more fun, and easier to just package that all in one album. We’re on a mission together.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Qamp II’ the album is currently available on all streaming platforms. The accompanying documentary debuts at a viewing party on Saturday, March 18, at Studio Q (707 Park Way, Berkeley), at 7 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wayne Shorter, whose colorful compositional style and searching improvisations on the tenor saxophone altered the direction of jazz, died in Los Angeles on Thursday. He was 89 years old. \u003c/p>\n\u003cp>Known for his time performing in the Miles Davis Quintet, Weather Report and Art Blakey’s Jazz Messengers, Shorter was a commanding presence on stage and on record. But it was his compositions, such as his trademark tune “Footprints,” which pulled jazz into new realms.\u003c/p>\n\u003cp>Born in New Jersey, Shorter began making a noticeable mark on jazz in the 1960s, when he joined Blakey’s group. After the dissolution of Davis’ “first great quintet” with John Coltrane, Shorter joined the enigmatic trumpeter in 1964, the same year he recorded a trio of classic albums — \u003cem>Speak No Evil\u003c/em>, \u003cem>Juju\u003c/em> and \u003cem>Night Dreamer\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13925783\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg\" alt=\"\" width=\"599\" height=\"600\" class=\"size-full wp-image-13925783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377-160x160.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter’s 1964 album ‘Speak No Evil,’ which featured his first wife, Teruko Nakagami, on the cover. \u003ccite>(Blue Note Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playing alongside Davis, as well as bassist Ron Carter, drummer Tony Williams and pianist Herbie Hancock, Shorter was able to bring his intellectual confidence and philosophical background to jazz’s most high-profile group. \u003c/p>\n\u003cp>This manifested not just in his flowery playing but his writing, with more angular tunes like “E.S.P.,” “Nefertiti,” and “Footprints.” While others left Davis when he went in new directions with early-fusion albums like \u003cem>Bitches Brew\u003c/em>, Shorter stayed on for the ride. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pxb7pNXJvng\u003c/p>\n\u003cp>In the 1970s, Shorter joined Weather Report, the groundbreaking electric fusion band, with Joe Zawinul and Jaco Pastorius. He also collaborated with rock icons like Joni Mitchell and Steely Dan, playing on recording like \u003cem>Mingus\u003c/em> and \u003cem>Aja\u003c/em>. \u003c/p>\n\u003cp>Age did not thwart Shorter’s imagination. In his late 60s, he formed a quartet with pianist Danilo Perez, bassist John Patitucci and drummer Brian Blade that pushed the borders of jazz yet again, winning a Grammy Award for Best Instrumental Jazz album in 2005. \u003c/p>\n\u003cp>During 15 years away from the studio, Shorter stayed busy, collaborating with the bassist Esperanza Spalding and performing at numerous tributes, including an 80th birthday celebration that filled the Hollywood Bowl in Los Angeles. At 85, Shorter released the massive undertaking \u003cem>Emanon\u003c/em>, a three-disc set that also won a Grammy Award. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In his own spiritual life, Shorter was devoted to Nichiren Buddhism. In 2013, speaking with NPR, Shorter gave advice drawn from the religion: “Put 100 percent into the moment that you’re in, because the present moment is the only time when you can change the past and the future.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wayne Shorter, whose colorful compositional style and searching improvisations on the tenor saxophone altered the direction of jazz, died in Los Angeles on Thursday. He was 89 years old. \u003c/p>\n\u003cp>Known for his time performing in the Miles Davis Quintet, Weather Report and Art Blakey’s Jazz Messengers, Shorter was a commanding presence on stage and on record. But it was his compositions, such as his trademark tune “Footprints,” which pulled jazz into new realms.\u003c/p>\n\u003cp>Born in New Jersey, Shorter began making a noticeable mark on jazz in the 1960s, when he joined Blakey’s group. After the dissolution of Davis’ “first great quintet” with John Coltrane, Shorter joined the enigmatic trumpeter in 1964, the same year he recorded a trio of classic albums — \u003cem>Speak No Evil\u003c/em>, \u003cem>Juju\u003c/em> and \u003cem>Night Dreamer\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13925783\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg\" alt=\"\" width=\"599\" height=\"600\" class=\"size-full wp-image-13925783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377-160x160.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter’s 1964 album ‘Speak No Evil,’ which featured his first wife, Teruko Nakagami, on the cover. \u003ccite>(Blue Note Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playing alongside Davis, as well as bassist Ron Carter, drummer Tony Williams and pianist Herbie Hancock, Shorter was able to bring his intellectual confidence and philosophical background to jazz’s most high-profile group. \u003c/p>\n\u003cp>This manifested not just in his flowery playing but his writing, with more angular tunes like “E.S.P.,” “Nefertiti,” and “Footprints.” While others left Davis when he went in new directions with early-fusion albums like \u003cem>Bitches Brew\u003c/em>, Shorter stayed on for the ride. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>Magic Mike is a Bay Area legend. In the early 1980s, before record label contracts were feasible for rap artists, Magic Mike and his partner Calvin T made their own homemade tapes and sold them on the street. What \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">Too Short and Freddy B were to Oakland\u003c/a>, Magic Mike and Calvin T were to Richmond. \u003c/p>\n\u003cp>When we decided to \u003ca href=\"https://www.kqed.org/arts/13923938/thats-my-word-intro\">spend a year chronicling Bay Area hip-hop history for our series \u003cem>That’s My Word\u003c/em>\u003c/a>, we knew Magic Mike had to be in the mix. Thankfully, our compatriot in Bay Area history \u003ca href=\"https://www.instagram.com/dregs_one/\">Dregs One\u003c/a> recently sat down with Magic Mike for an in-depth interview for his \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">\u003cem>History of the Bay\u003c/em> podcast\u003c/a>, which you can watch above. \u003c/p>\n\u003cp>What follows is a frank, honest discussion about rapping, hustling, pimping, prison, and the sometimes violent world of the streets in the 1980s. Years before N.W.A. and the rise of “reality rap,” Magic Mike and Calvin T put it all on tape, right here in the Bay Area.\u003c/p>\n\u003cp>As Magic Mike explains, he has regrets, especially around his treatment of women. While Too Short rapped about what he was seeing; Magic Mike rapped about what he was living. And, at a pivotal time when other rappers from the Bay Area were getting signed to major label deals, Magic Mike and Calvin T’s chances were repeatedly derailed by incarceration. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watch the interview above, and find select excerpts below, edited for length and clarity.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/MagicMike.MAIN_-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13925763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Magic Mike, interviewed by Dregs One, in a February 2023 podcast episode of ‘History of the Bay.’ \u003ccite>(Courtesy Dregs One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>DREGS ONE: What made you run away from home when you were 14?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>MAGIC MIKE\u003c/b>: I ran away from my mother’s house, two weeks before my 14th birthday, and started pimping. My mama came home one night and find a female in the house, and she said, “Get this tramp out my house.” I’m like, “Mama, she ain’t a tramp, she a young lady.” And she was just, “Get this tramp about my house.” I was gonna walk her home. “She live across the tracks, it’s dark, mama!” My mama said, “You leave out this house, boy, don’t come back.”\u003c/p>\n\u003cp>I’m a Capricorn. I’m stubborn. I never came back, bro. And before she died, she told me I broke her heart because I never came back. \u003c/p>\n\u003cp>\u003cstrong>So you left home that night with your female friend.\u003c/strong>\u003c/p>\n\u003cp>And never came back. I started stayin’ with her and her mama until that played out, and then I told her, like, “We need some money.”\u003c/p>\n\u003cp>I was the youngest pimp from Richmond ever. Let’s put it like that. We ain’t talking about hanging around pimps — we’re talking about a 14-year old \u003cem>child\u003c/em> sending out grown whores. That’s how I got turned out. \u003c/p>\n\u003cp>\u003cstrong>And you became a little heartless after that.\u003c/strong>\u003c/p>\n\u003cp>Completely. Completely heartless. Like, \u003cem>completely\u003c/em> heartless. I’m not gonna sugar-coat it.\u003c/p>\n\u003cp>And then older dudes took a liking to me. They like, “You raw, we like you, Magic! And you’s rappin’ this shit too? Come on an’ ride with us, boy — get you somethin’ else to rap about!” ‘Cause me and Calvin T, all we’re doin’ is rapping what we livin’ and what we seein’ — we’re around pimps and hustlers and dope boys. So that’s all we rappin’ about, from 1982 on up, when we were in Juvenile Hall together. And by 1983, Calvin T and Magic Mike tapes was circulating.\u003c/p>\n\u003cfigure id=\"attachment_13925767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/MagicMike.inline-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13925767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Magic Mike, interviewed by Dregs One, 2023. \u003ccite>(Courtesy Dregs One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When you and Calvin T were in Juvenile Hall together, did you make a plan for when you got out?\u003c/strong>\u003c/p>\n\u003cp>Calvin T went home before me. We had all this planned. “I’m going to continue to write in here, I’m going to mail it to you, spit this shit and get ’em used to it.” That lasted for like two months. And when I came home, Calvin had it crackin’. He had a little equipment with the little Casio keyboard, the beat machine, and the cassette tape for dubbing. He was ready! In Juvenile Hall, we was just spittin’ acapella. But when I came home, he already had the old-school Casio beats.\u003c/p>\n\u003cp>\u003cstrong>So y’all figure, “Alright, we’re gonna record tapes and start slangin’ ’em.” How does that idea come?\u003c/strong>\u003c/p>\n\u003cp>At first we dubbed just four or five tapes. Calvin’s house was on the hill, and we walked down the hill, three or four blocks to the little gas station in South Richmond — we didn’t even get past the gas station. The tapes was gone. So we had to bust a U and walk right back up the hill and dub some more tapes. So now we’re like, “We’ll do 10-15 tapes.”\u003c/p>\n\u003cp>\u003cstrong>So those tapes was movin’ from Richmond to Vallejo, to Oakland…\u003c/strong>\u003c/p>\n\u003cp>To everywhere! Pimp C, Rest in Peace — Bun B once said Magic Mike and Calvin T was one of UGK’s first influences [in Texas]. Cats was going to the military, to Germany, takin’ tapes with ’em. Or one dope boy would go to Vallejo to serve another dope boy, like “What you listenin’ to?” “That’s that Magic Mike and Calvin T!” They stealin’ that, and they gonna dub it. So young Mac Malls, and young Mac Dres, and young E-40s and B-Legits is hearin’ it. Those tapes went everywhere, man.\u003c/p>\n\u003cp>\u003cstrong>So in 1989, on your first official tape, you have the tracks “\u003ca href=\"https://youtu.be/P4H1pYVuFjM\">Nine Hoes Deep\u003c/a>,” “Pimp Pimp,” and “Get With My Pimpin’, Bitch.”\u003c/strong>\u003c/p>\n\u003cp>If you listen to that shit, bro, that’s how I was livin’. Man, I go back and listen to that, I’m like, “I don’t want my son to hear this shit.” \u003c/p>\n\u003cp>It was the devil. Don’t get it twisted. We proclaimed it to be game, but that ain’t game, man. Any time you gotta abuse anything, that ain’t game. I was wildin’ out, I was rebelling. Anything a grown man was doin’ in the ’80s, my young ass was doin’. Fifths of Hennessy, motel rooms, hot tubs, cocaine, weed, everything… at 14-15 years old. I’m like, “the fuck?”\u003c/p>\n\u003cp>\u003cstrong>But that’s what makes it raw. Even though you can make it sound fun and entertaining on a record, it’s still comin’ from a real place. \u003c/strong>\u003c/p>\n\u003cp>But see, now, fast-forward 40 years later, I’m in a dilemma. Because part of my fanbase wants me to be OG Magic Mike and spit that pimp shit. But \u003cem>this\u003c/em> Magic Mike in 2023 been married for 19 years, and got daughters and granddaughters. You feel me? I’m not livin’ that. It wouldn’t be authentic. \u003c/p>\n\u003cp>\u003cstrong>What do you think the most important lesson you learned from the pimp game would be?\u003c/strong>\u003c/p>\n\u003cp>If I knew then what I know now, I would have \u003cem>never\u003c/em> been in that phase. I would have never abused a woman, put my hands on a woman, manipulated a woman — never. Because I realize that a woman, that’s our bone, that’s my life, that’s my breath… I wish I never would have abused a woman, ’cause now I look back and a woman is all I got. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-medium wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>Magic Mike is a Bay Area legend. In the early 1980s, before record label contracts were feasible for rap artists, Magic Mike and his partner Calvin T made their own homemade tapes and sold them on the street. What \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">Too Short and Freddy B were to Oakland\u003c/a>, Magic Mike and Calvin T were to Richmond. \u003c/p>\n\u003cp>When we decided to \u003ca href=\"https://www.kqed.org/arts/13923938/thats-my-word-intro\">spend a year chronicling Bay Area hip-hop history for our series \u003cem>That’s My Word\u003c/em>\u003c/a>, we knew Magic Mike had to be in the mix. Thankfully, our compatriot in Bay Area history \u003ca href=\"https://www.instagram.com/dregs_one/\">Dregs One\u003c/a> recently sat down with Magic Mike for an in-depth interview for his \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">\u003cem>History of the Bay\u003c/em> podcast\u003c/a>, which you can watch above. \u003c/p>\n\u003cp>What follows is a frank, honest discussion about rapping, hustling, pimping, prison, and the sometimes violent world of the streets in the 1980s. Years before N.W.A. and the rise of “reality rap,” Magic Mike and Calvin T put it all on tape, right here in the Bay Area.\u003c/p>\n\u003cp>As Magic Mike explains, he has regrets, especially around his treatment of women. While Too Short rapped about what he was seeing; Magic Mike rapped about what he was living. And, at a pivotal time when other rappers from the Bay Area were getting signed to major label deals, Magic Mike and Calvin T’s chances were repeatedly derailed by incarceration. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch the interview above, and find select excerpts below, edited for length and clarity.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/MagicMike.MAIN_-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13925763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Magic Mike, interviewed by Dregs One, in a February 2023 podcast episode of ‘History of the Bay.’ \u003ccite>(Courtesy Dregs One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>DREGS ONE: What made you run away from home when you were 14?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>MAGIC MIKE\u003c/b>: I ran away from my mother’s house, two weeks before my 14th birthday, and started pimping. My mama came home one night and find a female in the house, and she said, “Get this tramp out my house.” I’m like, “Mama, she ain’t a tramp, she a young lady.” And she was just, “Get this tramp about my house.” I was gonna walk her home. “She live across the tracks, it’s dark, mama!” My mama said, “You leave out this house, boy, don’t come back.”\u003c/p>\n\u003cp>I’m a Capricorn. I’m stubborn. I never came back, bro. And before she died, she told me I broke her heart because I never came back. \u003c/p>\n\u003cp>\u003cstrong>So you left home that night with your female friend.\u003c/strong>\u003c/p>\n\u003cp>And never came back. I started stayin’ with her and her mama until that played out, and then I told her, like, “We need some money.”\u003c/p>\n\u003cp>I was the youngest pimp from Richmond ever. Let’s put it like that. We ain’t talking about hanging around pimps — we’re talking about a 14-year old \u003cem>child\u003c/em> sending out grown whores. That’s how I got turned out. \u003c/p>\n\u003cp>\u003cstrong>And you became a little heartless after that.\u003c/strong>\u003c/p>\n\u003cp>Completely. Completely heartless. Like, \u003cem>completely\u003c/em> heartless. I’m not gonna sugar-coat it.\u003c/p>\n\u003cp>And then older dudes took a liking to me. They like, “You raw, we like you, Magic! And you’s rappin’ this shit too? Come on an’ ride with us, boy — get you somethin’ else to rap about!” ‘Cause me and Calvin T, all we’re doin’ is rapping what we livin’ and what we seein’ — we’re around pimps and hustlers and dope boys. So that’s all we rappin’ about, from 1982 on up, when we were in Juvenile Hall together. And by 1983, Calvin T and Magic Mike tapes was circulating.\u003c/p>\n\u003cfigure id=\"attachment_13925767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/MagicMike.inline-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13925767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/MagicMike.inline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Magic Mike, interviewed by Dregs One, 2023. \u003ccite>(Courtesy Dregs One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When you and Calvin T were in Juvenile Hall together, did you make a plan for when you got out?\u003c/strong>\u003c/p>\n\u003cp>Calvin T went home before me. We had all this planned. “I’m going to continue to write in here, I’m going to mail it to you, spit this shit and get ’em used to it.” That lasted for like two months. And when I came home, Calvin had it crackin’. He had a little equipment with the little Casio keyboard, the beat machine, and the cassette tape for dubbing. He was ready! In Juvenile Hall, we was just spittin’ acapella. But when I came home, he already had the old-school Casio beats.\u003c/p>\n\u003cp>\u003cstrong>So y’all figure, “Alright, we’re gonna record tapes and start slangin’ ’em.” How does that idea come?\u003c/strong>\u003c/p>\n\u003cp>At first we dubbed just four or five tapes. Calvin’s house was on the hill, and we walked down the hill, three or four blocks to the little gas station in South Richmond — we didn’t even get past the gas station. The tapes was gone. So we had to bust a U and walk right back up the hill and dub some more tapes. So now we’re like, “We’ll do 10-15 tapes.”\u003c/p>\n\u003cp>\u003cstrong>So those tapes was movin’ from Richmond to Vallejo, to Oakland…\u003c/strong>\u003c/p>\n\u003cp>To everywhere! Pimp C, Rest in Peace — Bun B once said Magic Mike and Calvin T was one of UGK’s first influences [in Texas]. Cats was going to the military, to Germany, takin’ tapes with ’em. Or one dope boy would go to Vallejo to serve another dope boy, like “What you listenin’ to?” “That’s that Magic Mike and Calvin T!” They stealin’ that, and they gonna dub it. So young Mac Malls, and young Mac Dres, and young E-40s and B-Legits is hearin’ it. Those tapes went everywhere, man.\u003c/p>\n\u003cp>\u003cstrong>So in 1989, on your first official tape, you have the tracks “\u003ca href=\"https://youtu.be/P4H1pYVuFjM\">Nine Hoes Deep\u003c/a>,” “Pimp Pimp,” and “Get With My Pimpin’, Bitch.”\u003c/strong>\u003c/p>\n\u003cp>If you listen to that shit, bro, that’s how I was livin’. Man, I go back and listen to that, I’m like, “I don’t want my son to hear this shit.” \u003c/p>\n\u003cp>It was the devil. Don’t get it twisted. We proclaimed it to be game, but that ain’t game, man. Any time you gotta abuse anything, that ain’t game. I was wildin’ out, I was rebelling. Anything a grown man was doin’ in the ’80s, my young ass was doin’. Fifths of Hennessy, motel rooms, hot tubs, cocaine, weed, everything… at 14-15 years old. I’m like, “the fuck?”\u003c/p>\n\u003cp>\u003cstrong>But that’s what makes it raw. Even though you can make it sound fun and entertaining on a record, it’s still comin’ from a real place. \u003c/strong>\u003c/p>\n\u003cp>But see, now, fast-forward 40 years later, I’m in a dilemma. Because part of my fanbase wants me to be OG Magic Mike and spit that pimp shit. But \u003cem>this\u003c/em> Magic Mike in 2023 been married for 19 years, and got daughters and granddaughters. You feel me? I’m not livin’ that. It wouldn’t be authentic. \u003c/p>\n\u003cp>\u003cstrong>What do you think the most important lesson you learned from the pimp game would be?\u003c/strong>\u003c/p>\n\u003cp>If I knew then what I know now, I would have \u003cem>never\u003c/em> been in that phase. I would have never abused a woman, put my hands on a woman, manipulated a woman — never. Because I realize that a woman, that’s our bone, that’s my life, that’s my breath… I wish I never would have abused a woman, ’cause now I look back and a woman is all I got. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Stoni, COMMANDO and Others Serve Excellence at Noise Pop 2023",
"headTitle": "Stoni, COMMANDO and Others Serve Excellence at Noise Pop 2023 | KQED",
"content": "\u003cp>\u003cstrong>Update, Feb. 28, 2023: \u003c/strong>According to a statement from the New Parish, the Junglepussy concert on Feb. 26 ended early because of technical difficulties. Ticketholders can redeem tickets to a future concert at the venue by emailing info@thenewparish.com.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 27, 2023:\u003c/strong>\u003c/p>\n\u003cp>Beloved music festival \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> celebrated its 30th anniversary Feb. 20–26 with headlining sets from Yo La Tengo, Boy Harsher and Duster. A wealth of performances by hip-hop artists, cumbia bands and punk outfits at venues across the Bay Area reminded show-goers that nothing can replace witnessing musical excellence live on stage. The KQED Arts & Culture team hopped around the concerts for a week, and were left with a renewed appreciation for the craft and creativity that abounds in our local live music scene. Here’s what we saw.\u003c/p>\n\u003cfigure id=\"attachment_13925545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO at Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Queer Mosh Pit for COMMANDO\u003c/h2>\n\u003cp>Tuesday night at San Francisco’s Bottom of the Hill, \u003ca href=\"https://commandothebando.bandcamp.com/album/commando-2\">COMMANDO\u003c/a> emerged on stage like a dazzling rock ’n’ roll chimera. The supergroup brought together seven completely different veteran musicians, and their exuberant performance celebrated queerness in all its forms.\u003c/p>\n\u003cp>Juba Kalamka (formerly of the 2000s hip-hop crew Deep Dickollective) opened the show with “Meatswinga (Morello Muh Mello),” his low voice revving like an engine as the band members thrust their hips towards the audience. As nu-metal guitar by Principal Dammit and Van Jackson-Weaver and Andy Meyerson’s powerful rhythm section set the energy in the room ablaze, Honey Mahogany delivered operatic high notes, and Drew Arriola-Sands detonated screamo growls. Lynnee Breedlove (of revered early-’90s queercore band Tribe8) commanded the mic with a punk swagger, and surprised the audience with a tender spoken-word homage to Prince’s genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13925547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>COMMANDO sets out to be the queer role models the band members never had growing up, and at Bottom of the Hill that vision came to life. Trans and gender non-conforming teens with Xs on their hands, too young to drink, moshed in the front to lyrics about punching Nazis. And after witnessing seven diverse, skilled musicians owning their personal power on stage, everyone else set off into the night carrying a little piece of COMMANDO’s boldness with them. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: ovrkast., Michael Sneed and demahjiae perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ovrkast., Michael Sneed and demahjiae Transmit Love Through Soulful Raps\u003c/h2>\n\u003cp>On Wednesday evening, Oakland artists \u003ca href=\"https://itsovrkast.bandcamp.com/\">ovrkast.\u003c/a>, \u003ca href=\"https://demahjiae.bandcamp.com/\">demahjiae\u003c/a> and \u003ca href=\"https://michaelsneed.bandcamp.com/track/blame-sumer-ft-molly-arizona\">Michael Sneed\u003c/a> electrified Brick and Mortar Music Hall’s small San Francisco stage, connecting heart-to-heart with an eager crowd of hip-hop lovers. As ovrkast. performed his 2020 single “Try Again,” the audience scooted closer while he rapped about feelings of inadequacy and picking himself back up. His voice sounded raw, capturing a desperation that resonated with the crowd as voices chanted along to the hook: “You can’t win, you ain’t shit / Try again, try again / Do it all over, try again.”\u003c/p>\n\u003cfigure id=\"attachment_13925559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed, ovrkast., demahjiae and their live band backstage at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ovrkast. outside of Brick and Mortar Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each artist brought a different energy: as Sneed performed his 2019 track “Reinvent,” he mirrored a crescendo of instrumentation — yelling out as he neared the edge of the stage, playing with flow and encouraging the crowd to get loud. demahjiae slowed the pace, sauntering as he rapped songs off of his 2020 project \u003cem>And, Such is Life\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Together, the three artists were in complete sync, supporting one another with harmonies and on-the-spot improvisations. After demahjiae performed one of his latest tracks, “Hold Me Down,” the trio embraced, expressing that the show was ultimately about love and gratitude for everyone involved. “To know my brothers are behind me backing me up is the most beautiful thing I could ask for,” said demahjiae. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">demahjiae, ovrkast. and Michael Sneed perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg\" alt=\"\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ritmos Tropicosmos headlines the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ritmos Tropicosmos and Combo Tezeta’s Mystical Cumbia\u003c/h2>\n\u003cp>On a frigid Friday night, a tropical cumbia dance party kept Albany’s Ivy Room nice and toasty. Oakland six-piece \u003ca href=\"https://combotezeta.bandcamp.com/album/la-danza-del-camale-n-la-reina-nocturna\">Combo Tezeta\u003c/a> kicked off the baile with a garage-band take on ’60s and ’70s classics and originals, with distorted guitars and jangly synths layering psychedelic ooze onto timbales and güiras. The musician’s solos revealed hard-won skills, but the band members looked remarkably chill as they played together fluidly.\u003c/p>\n\u003cfigure id=\"attachment_13925585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Combo Tezeta plays at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ritmostropicosmos.bandcamp.com/\">Ritmos Tropicosmos\u003c/a> brought playful energy to their experimental cumbia, with vocalist Eli Reyes embodying a mystical master of ceremonies as haunted circus melodies swirled. With lyrics about mummies, ancestors and legends like La Llorona (“This one will test your Spanish,” Reyes said from the stage), the band created an otherworldly atmosphere that inspired people to dance and rejoice in community — how you might imagine a party in the underworld. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>L.A. Witch’s Magic Transcends a Crowded Bar\u003c/h2>\n\u003cp>The popular Mission dive bar Kilowatt returned as a Noise Pop venue for the first time in 25 years. After hosting concerts between ’94 and ’98, Kilowatt long ago replaced its soundboard with dart boards.\u003c/p>\n\u003cp>Friday night’s \u003ca href=\"https://lawitches.bandcamp.com/album/one-way-or-the-highway\">L.A. Witch\u003c/a> show, the first of their two Noise Pop performances, was only the venue’s second attempt at hosting live music since new ownership took over — and you could tell. Overcrowding marred the entire evening, an issue further complicated by the fact that the Kilowatt bathrooms now live behind the stage and were impossible to access. (Folks had to resort to running across the street to use Delirium’s facilities.)\u003c/p>\n\u003cfigure id=\"attachment_13925598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch backstage at Kilowatt Bar in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But L.A. Witch made the claustrophobic conditions worth it. The charismatic trio sounds like The Jesus and Mary Chain and Mazzy Star birthed a love child back in the ’90s that’s now all grown up and inviting you on an ill-advised road trip. That reverb-drenched adventure was consistently alluring. Frontwoman Sade Sanchez was unflappably cool throughout the night, and the set itself was pure magic, making you want to drown your sorrows one moment and twist like Mia Wallace the next. If only there was enough space in Kilowatt to do so. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Stoni Makes Her Mark\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/callherstoni/\">Stoni\u003c/a> makes waves whenever she posts a car freestyle or hops on a track with one of her fellow Text Me Records artists. But the Oakland MC has spent years quietly training in her dojo, and still has yet to drop a debut album (although we hear it’s finally coming this year). Her masterful set Sunday night at Oakland’s New Parish, opening for Junglepussy, showed it’ll be worth the wait.\u003c/p>\n\u003cp>Stoni rapped with infectious confidence and laser-beam precision, and the audience gasped and cheered at every smack-talking bar — each one more audacious than the last. But the wildest part of the show was during a song about getting one over on a rich dude, when actors joined her on stage and enacted a full-scale performance of a robbery. Then, one of the masked “assailants” removed her mask, and it turned out to be fellow Oakland MC Fijiana, who joined Stoni for the next track.\u003c/p>\n\u003cfigure id=\"attachment_13925620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925620\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’ve never seen the audience demand an encore from the first opening act, but it happened at New Parish Sunday night. The venue cut Stoni’s mic when she tried to come back, but she returned during Tia Nomore’s also excellent performance with a live band. Unfortunately, the celebratory close to Noise Pop came to an abrupt ending — headliner Junglepussy left the stage without an explanation after three tracks. “So sorry to my fans, blame @noisepop,” she wrote on her Instagram story. KQED has reached out to Junglepussy’s team and Noise Pop for comment, and will update this story if we hear back. \u003ci>— Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13925625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore performs at The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Wavey performs at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1536x964.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines The Chapel in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925531\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Backup dancer crowd surfs during Strfkr’s set at The UC Theatre in Berkeley at Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AP Tobler performs at Bottom of the Hill in San Francisco on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Brick and Mortar Music Hall in San Francisco at Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The festival took over venues across the Bay Area Feb. 20–26 for its 30th anniversary. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Feb. 28, 2023: \u003c/strong>According to a statement from the New Parish, the Junglepussy concert on Feb. 26 ended early because of technical difficulties. Ticketholders can redeem tickets to a future concert at the venue by emailing info@thenewparish.com.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 27, 2023:\u003c/strong>\u003c/p>\n\u003cp>Beloved music festival \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> celebrated its 30th anniversary Feb. 20–26 with headlining sets from Yo La Tengo, Boy Harsher and Duster. A wealth of performances by hip-hop artists, cumbia bands and punk outfits at venues across the Bay Area reminded show-goers that nothing can replace witnessing musical excellence live on stage. The KQED Arts & Culture team hopped around the concerts for a week, and were left with a renewed appreciation for the craft and creativity that abounds in our local live music scene. Here’s what we saw.\u003c/p>\n\u003cfigure id=\"attachment_13925545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO at Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Queer Mosh Pit for COMMANDO\u003c/h2>\n\u003cp>Tuesday night at San Francisco’s Bottom of the Hill, \u003ca href=\"https://commandothebando.bandcamp.com/album/commando-2\">COMMANDO\u003c/a> emerged on stage like a dazzling rock ’n’ roll chimera. The supergroup brought together seven completely different veteran musicians, and their exuberant performance celebrated queerness in all its forms.\u003c/p>\n\u003cp>Juba Kalamka (formerly of the 2000s hip-hop crew Deep Dickollective) opened the show with “Meatswinga (Morello Muh Mello),” his low voice revving like an engine as the band members thrust their hips towards the audience. As nu-metal guitar by Principal Dammit and Van Jackson-Weaver and Andy Meyerson’s powerful rhythm section set the energy in the room ablaze, Honey Mahogany delivered operatic high notes, and Drew Arriola-Sands detonated screamo growls. Lynnee Breedlove (of revered early-’90s queercore band Tribe8) commanded the mic with a punk swagger, and surprised the audience with a tender spoken-word homage to Prince’s genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13925547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>COMMANDO sets out to be the queer role models the band members never had growing up, and at Bottom of the Hill that vision came to life. Trans and gender non-conforming teens with Xs on their hands, too young to drink, moshed in the front to lyrics about punching Nazis. And after witnessing seven diverse, skilled musicians owning their personal power on stage, everyone else set off into the night carrying a little piece of COMMANDO’s boldness with them. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: ovrkast., Michael Sneed and demahjiae perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ovrkast., Michael Sneed and demahjiae Transmit Love Through Soulful Raps\u003c/h2>\n\u003cp>On Wednesday evening, Oakland artists \u003ca href=\"https://itsovrkast.bandcamp.com/\">ovrkast.\u003c/a>, \u003ca href=\"https://demahjiae.bandcamp.com/\">demahjiae\u003c/a> and \u003ca href=\"https://michaelsneed.bandcamp.com/track/blame-sumer-ft-molly-arizona\">Michael Sneed\u003c/a> electrified Brick and Mortar Music Hall’s small San Francisco stage, connecting heart-to-heart with an eager crowd of hip-hop lovers. As ovrkast. performed his 2020 single “Try Again,” the audience scooted closer while he rapped about feelings of inadequacy and picking himself back up. His voice sounded raw, capturing a desperation that resonated with the crowd as voices chanted along to the hook: “You can’t win, you ain’t shit / Try again, try again / Do it all over, try again.”\u003c/p>\n\u003cfigure id=\"attachment_13925559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed, ovrkast., demahjiae and their live band backstage at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ovrkast. outside of Brick and Mortar Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each artist brought a different energy: as Sneed performed his 2019 track “Reinvent,” he mirrored a crescendo of instrumentation — yelling out as he neared the edge of the stage, playing with flow and encouraging the crowd to get loud. demahjiae slowed the pace, sauntering as he rapped songs off of his 2020 project \u003cem>And, Such is Life\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Together, the three artists were in complete sync, supporting one another with harmonies and on-the-spot improvisations. After demahjiae performed one of his latest tracks, “Hold Me Down,” the trio embraced, expressing that the show was ultimately about love and gratitude for everyone involved. “To know my brothers are behind me backing me up is the most beautiful thing I could ask for,” said demahjiae. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">demahjiae, ovrkast. and Michael Sneed perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg\" alt=\"\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ritmos Tropicosmos headlines the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ritmos Tropicosmos and Combo Tezeta’s Mystical Cumbia\u003c/h2>\n\u003cp>On a frigid Friday night, a tropical cumbia dance party kept Albany’s Ivy Room nice and toasty. Oakland six-piece \u003ca href=\"https://combotezeta.bandcamp.com/album/la-danza-del-camale-n-la-reina-nocturna\">Combo Tezeta\u003c/a> kicked off the baile with a garage-band take on ’60s and ’70s classics and originals, with distorted guitars and jangly synths layering psychedelic ooze onto timbales and güiras. The musician’s solos revealed hard-won skills, but the band members looked remarkably chill as they played together fluidly.\u003c/p>\n\u003cfigure id=\"attachment_13925585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Combo Tezeta plays at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ritmostropicosmos.bandcamp.com/\">Ritmos Tropicosmos\u003c/a> brought playful energy to their experimental cumbia, with vocalist Eli Reyes embodying a mystical master of ceremonies as haunted circus melodies swirled. With lyrics about mummies, ancestors and legends like La Llorona (“This one will test your Spanish,” Reyes said from the stage), the band created an otherworldly atmosphere that inspired people to dance and rejoice in community — how you might imagine a party in the underworld. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>L.A. Witch’s Magic Transcends a Crowded Bar\u003c/h2>\n\u003cp>The popular Mission dive bar Kilowatt returned as a Noise Pop venue for the first time in 25 years. After hosting concerts between ’94 and ’98, Kilowatt long ago replaced its soundboard with dart boards.\u003c/p>\n\u003cp>Friday night’s \u003ca href=\"https://lawitches.bandcamp.com/album/one-way-or-the-highway\">L.A. Witch\u003c/a> show, the first of their two Noise Pop performances, was only the venue’s second attempt at hosting live music since new ownership took over — and you could tell. Overcrowding marred the entire evening, an issue further complicated by the fact that the Kilowatt bathrooms now live behind the stage and were impossible to access. (Folks had to resort to running across the street to use Delirium’s facilities.)\u003c/p>\n\u003cfigure id=\"attachment_13925598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch backstage at Kilowatt Bar in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But L.A. Witch made the claustrophobic conditions worth it. The charismatic trio sounds like The Jesus and Mary Chain and Mazzy Star birthed a love child back in the ’90s that’s now all grown up and inviting you on an ill-advised road trip. That reverb-drenched adventure was consistently alluring. Frontwoman Sade Sanchez was unflappably cool throughout the night, and the set itself was pure magic, making you want to drown your sorrows one moment and twist like Mia Wallace the next. If only there was enough space in Kilowatt to do so. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Stoni Makes Her Mark\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/callherstoni/\">Stoni\u003c/a> makes waves whenever she posts a car freestyle or hops on a track with one of her fellow Text Me Records artists. But the Oakland MC has spent years quietly training in her dojo, and still has yet to drop a debut album (although we hear it’s finally coming this year). Her masterful set Sunday night at Oakland’s New Parish, opening for Junglepussy, showed it’ll be worth the wait.\u003c/p>\n\u003cp>Stoni rapped with infectious confidence and laser-beam precision, and the audience gasped and cheered at every smack-talking bar — each one more audacious than the last. But the wildest part of the show was during a song about getting one over on a rich dude, when actors joined her on stage and enacted a full-scale performance of a robbery. Then, one of the masked “assailants” removed her mask, and it turned out to be fellow Oakland MC Fijiana, who joined Stoni for the next track.\u003c/p>\n\u003cfigure id=\"attachment_13925620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925620\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve never seen the audience demand an encore from the first opening act, but it happened at New Parish Sunday night. The venue cut Stoni’s mic when she tried to come back, but she returned during Tia Nomore’s also excellent performance with a live band. Unfortunately, the celebratory close to Noise Pop came to an abrupt ending — headliner Junglepussy left the stage without an explanation after three tracks. “So sorry to my fans, blame @noisepop,” she wrote on her Instagram story. KQED has reached out to Junglepussy’s team and Noise Pop for comment, and will update this story if we hear back. \u003ci>— Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13925625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore performs at The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Wavey performs at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1536x964.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines The Chapel in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925531\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Backup dancer crowd surfs during Strfkr’s set at The UC Theatre in Berkeley at Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AP Tobler performs at Bottom of the Hill in San Francisco on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Brick and Mortar Music Hall in San Francisco at Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Senators Are Calling on the Justice Department to Look Into Ticketmaster’s Practices",
"headTitle": "Senators Are Calling on the Justice Department to Look Into Ticketmaster’s Practices | KQED",
"content": "\u003cp>Almost exactly one month after senators \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">held a hearing\u003c/a> on issues in the ticketing industry, they are calling on the U.S. Department of Justice to continue examining what they call the “anticompetitive conduct” of Ticketmaster and its parent company, Live Nation.\u003c/p>\n\u003cp>The ticketing giant came under renewed scrutiny after the \u003ca href=\"https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee\">Taylor Swift presale debacle\u003c/a> in November, which prompted widespread accusations of monopolistic behavior (as well as several state consumer protection investigations and a fan-led \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">antitrust lawsuit\u003c/a>).\u003c/p>\n\u003cp>[aside postid='arts_13921777']The Justice Department had \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">reportedly opened\u003c/a> an antitrust investigation into the company even before that ill-fated sale. NPR has reached out to Justice Department for comment.\u003c/p>\n\u003cp>Live Nation has acknowledged areas of improvement, especially when it comes to bots and scalpers, but has repeatedly — both in \u003ca href=\"https://www.livenationentertainment.com/2022/11/a-statement-from-live-nation-entertainment-2/\">written statements\u003c/a> and congressional testimony — denied engaging in behavior that would justify antitrust litigation or changes to its business practices.\u003c/p>\n\u003cp>On Thursday, the company issued a \u003ca href=\"https://www.livenationentertainment.com/2023/02/statement-from-live-nation-entertainment/\">new statement\u003c/a> urging people to “focus on the facts.” Live Nation has submitted “more than 35 pages of information” in recent weeks in an effort to provide context and transparency to policymakers “on the realities of the industry,” it said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We believe that policymakers would benefit from asking more questions about the chaos caused by scalpers and the resale-first side of the industry,” the statement added.\u003c/p>\n\u003cp>The company says it supports reforms to ticketing practices, including those it has outlined in \u003ca href=\"https://www.livenationentertainment.com/2023/02/live-nation-entertainment-announces-support-for-a-fair-ticketing-act/\">a proposal it called the “FAIR Ticketing Act.”\u003c/a>\u003c/p>\n\u003cp>Live Nation’s efforts have evidently done little to assuage the concerns of lawmakers on both sides of the aisle who have demanded answers and now say they aren’t satisfied with what they’ve gotten so far.\u003c/p>\n\u003cfigure id=\"attachment_13925511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg\" alt=\"A man with a receding hairline smiles and leans to the right towards a smiling woman wearing a pink suit. She has a small microphone in front of her and a sign that reads 'Ms. Klobuchar.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sen. Mike Lee, R-Utah speaks with Sen. Amy Klobuchar, D-Minn., during a Senate Judiciary Committee hearing to examine promoting competition and protecting consumers in live entertainment on Capitol Hill in Washington, Tuesday, Jan. 24, 2023. \u003ccite>(AP Photo/Andrew Harnik))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sens. Amy Klobuchar, D-Minn., and Mike Lee, R-Utah — who lead the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights — \u003ca href=\"https://www.klobuchar.senate.gov/public/_cache/files/4/5/45fa9671-39a0-4749-bb9c-184e44196d42/74F90B7BF1BDBE3A06829530913FB8A3.klobuchar-lee-letter.pdf\">sent a letter\u003c/a> on Wednesday to the Justice Department presenting evidence from the January hearing and urging it to follow up on unanswered questions.\u003c/p>\n\u003cp>Writing to Jonathan Kanter, the assistant attorney general for the Antitrust Division, the senators stressed that all of the witnesses except for Live Nation’s president had testified that the company’s practices harm the music industry. And they said Live Nation hasn’t sufficiently responded to all of their questions, both at the hearing and after.\u003c/p>\n\u003cp>“Live Nation’s responses amount to ‘trust us.’ We believe that is wholly insufficient,” they wrote. “We thank you for your prompt attention to these matters and encourage the Antitrust Division to take action if it finds that Ticketmaster has walled itself off from competitive pressure at the expense of the industry and fans.”\u003c/p>\n\u003ch3>These are the questions that lawmakers want answered\u003c/h3>\n\u003cp>The senators’ letter is divided into two main lists: allegations against Ticketmaster and follow-up questions to which they found the company’s response lacking.\u003c/p>\n\u003cp>[aside postid='arts_13923059']The hearing featured testimony from antitrust experts, entertainment company executives and a musician, who collectively painted a picture of an industry that is dominated by one oversized company at the expense of fans, venues and artists.\u003c/p>\n\u003cp>Some of the issues they raised involved Live Nation’s pricing models and fees, increasingly long contracts with competitors and alleged retaliatory behavior against artists and venues that don’t want to work with it.\u003c/p>\n\u003cp>Lawmakers in the room seemed to agree that the company’s dominance poses a problem in the industry, even if they had different ideas for how to address it. After the hearing, the subcommittee leaders sent Live Nation \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=153645B0-39D9-45A0-A3DA-A5BAAC487D6E\">a letter\u003c/a> with seven additional questions, requesting a response by Feb. 15.\u003c/p>\n\u003cp>“As the hearing demonstrated, there is a strong bipartisan consensus about taking steps to improve the way America’s ticketing industry functions,” they wrote. “We must ensure that we have competition in the market to drive down prices, encourage companies to innovate, and give consumers choice.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.livenationentertainment.com/wp-content/uploads/2023/02/Response-to-Senate-Judiciary-Written-Questions-2.14.23-FINAL1.pdf\">a 38-page response dated Feb. 14\u003c/a>, Live Nation claimed that both primary and secondary ticketing markets are “highly competitive.”\u003c/p>\n\u003cp>“Ticketmaster remains the largest primary ticketing company, but it has steadily lost market share and has lowered pricing despite having by far the best product in the industry — sure signs that it is not the monopolist that some claim,” it said.\u003c/p>\n\u003cp>The letter, signed by executive vice president for corporate and regulatory affairs Daniel Wall, also urged Congress to take action against bots, to ban fraudulent resale practices and to mandate the ability for artists and other event providers to set their own resale terms on all ticketing websites.\u003c/p>\n\u003cp>[aside postid='arts_13861791']But Klobuchar and Lee say Live Nation “largely failed” to answer lawmakers’ questions.\u003c/p>\n\u003cp>Senators asked how many concerts each year were promoted by Live Nation and ticketed by Ticketmaster. It says the company said it was “unable to determine” the answer “in the time available” but did not ask for an extension.\u003c/p>\n\u003cp>They also asked Live Nation if it would commit to having third-party audits to confirm that it isn’t retaliating, in threat or actuality, against venues that pursue other ticketing providers.\u003c/p>\n\u003cp>Lawmakers say Live Nation refused, responding: “Live Nation does not need to be subject to a consent decree or any similar legal obligation to refrain from retaliating against a venue for using another company’s ticketing services, and from threatening to retaliate for such choosing of another ticketing company.”\u003c/p>\n\u003cp>There are also several questions that senators say Live Nation didn’t answer at all, including about how many of the top 100 arenas it provides ticketing services for and whether it’s entered into any agreements with venues where the contract term for ticketing services is longer than five years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Justice Department has not confirmed or commented publicly on a potential antitrust investigation into Live Nation, though Klobuchar and other senators have said that the evidence gathered at their recent hearing could be useful for such a probe — as well as for passing legislation in this area.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Senators+are+calling+on+the+Justice+Department+to+look+into+Ticketmaster%27s+practices+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost exactly one month after senators \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">held a hearing\u003c/a> on issues in the ticketing industry, they are calling on the U.S. Department of Justice to continue examining what they call the “anticompetitive conduct” of Ticketmaster and its parent company, Live Nation.\u003c/p>\n\u003cp>The ticketing giant came under renewed scrutiny after the \u003ca href=\"https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee\">Taylor Swift presale debacle\u003c/a> in November, which prompted widespread accusations of monopolistic behavior (as well as several state consumer protection investigations and a fan-led \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">antitrust lawsuit\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Justice Department had \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">reportedly opened\u003c/a> an antitrust investigation into the company even before that ill-fated sale. NPR has reached out to Justice Department for comment.\u003c/p>\n\u003cp>Live Nation has acknowledged areas of improvement, especially when it comes to bots and scalpers, but has repeatedly — both in \u003ca href=\"https://www.livenationentertainment.com/2022/11/a-statement-from-live-nation-entertainment-2/\">written statements\u003c/a> and congressional testimony — denied engaging in behavior that would justify antitrust litigation or changes to its business practices.\u003c/p>\n\u003cp>On Thursday, the company issued a \u003ca href=\"https://www.livenationentertainment.com/2023/02/statement-from-live-nation-entertainment/\">new statement\u003c/a> urging people to “focus on the facts.” Live Nation has submitted “more than 35 pages of information” in recent weeks in an effort to provide context and transparency to policymakers “on the realities of the industry,” it said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We believe that policymakers would benefit from asking more questions about the chaos caused by scalpers and the resale-first side of the industry,” the statement added.\u003c/p>\n\u003cp>The company says it supports reforms to ticketing practices, including those it has outlined in \u003ca href=\"https://www.livenationentertainment.com/2023/02/live-nation-entertainment-announces-support-for-a-fair-ticketing-act/\">a proposal it called the “FAIR Ticketing Act.”\u003c/a>\u003c/p>\n\u003cp>Live Nation’s efforts have evidently done little to assuage the concerns of lawmakers on both sides of the aisle who have demanded answers and now say they aren’t satisfied with what they’ve gotten so far.\u003c/p>\n\u003cfigure id=\"attachment_13925511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg\" alt=\"A man with a receding hairline smiles and leans to the right towards a smiling woman wearing a pink suit. She has a small microphone in front of her and a sign that reads 'Ms. Klobuchar.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sen. Mike Lee, R-Utah speaks with Sen. Amy Klobuchar, D-Minn., during a Senate Judiciary Committee hearing to examine promoting competition and protecting consumers in live entertainment on Capitol Hill in Washington, Tuesday, Jan. 24, 2023. \u003ccite>(AP Photo/Andrew Harnik))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sens. Amy Klobuchar, D-Minn., and Mike Lee, R-Utah — who lead the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights — \u003ca href=\"https://www.klobuchar.senate.gov/public/_cache/files/4/5/45fa9671-39a0-4749-bb9c-184e44196d42/74F90B7BF1BDBE3A06829530913FB8A3.klobuchar-lee-letter.pdf\">sent a letter\u003c/a> on Wednesday to the Justice Department presenting evidence from the January hearing and urging it to follow up on unanswered questions.\u003c/p>\n\u003cp>Writing to Jonathan Kanter, the assistant attorney general for the Antitrust Division, the senators stressed that all of the witnesses except for Live Nation’s president had testified that the company’s practices harm the music industry. And they said Live Nation hasn’t sufficiently responded to all of their questions, both at the hearing and after.\u003c/p>\n\u003cp>“Live Nation’s responses amount to ‘trust us.’ We believe that is wholly insufficient,” they wrote. “We thank you for your prompt attention to these matters and encourage the Antitrust Division to take action if it finds that Ticketmaster has walled itself off from competitive pressure at the expense of the industry and fans.”\u003c/p>\n\u003ch3>These are the questions that lawmakers want answered\u003c/h3>\n\u003cp>The senators’ letter is divided into two main lists: allegations against Ticketmaster and follow-up questions to which they found the company’s response lacking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hearing featured testimony from antitrust experts, entertainment company executives and a musician, who collectively painted a picture of an industry that is dominated by one oversized company at the expense of fans, venues and artists.\u003c/p>\n\u003cp>Some of the issues they raised involved Live Nation’s pricing models and fees, increasingly long contracts with competitors and alleged retaliatory behavior against artists and venues that don’t want to work with it.\u003c/p>\n\u003cp>Lawmakers in the room seemed to agree that the company’s dominance poses a problem in the industry, even if they had different ideas for how to address it. After the hearing, the subcommittee leaders sent Live Nation \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=153645B0-39D9-45A0-A3DA-A5BAAC487D6E\">a letter\u003c/a> with seven additional questions, requesting a response by Feb. 15.\u003c/p>\n\u003cp>“As the hearing demonstrated, there is a strong bipartisan consensus about taking steps to improve the way America’s ticketing industry functions,” they wrote. “We must ensure that we have competition in the market to drive down prices, encourage companies to innovate, and give consumers choice.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.livenationentertainment.com/wp-content/uploads/2023/02/Response-to-Senate-Judiciary-Written-Questions-2.14.23-FINAL1.pdf\">a 38-page response dated Feb. 14\u003c/a>, Live Nation claimed that both primary and secondary ticketing markets are “highly competitive.”\u003c/p>\n\u003cp>“Ticketmaster remains the largest primary ticketing company, but it has steadily lost market share and has lowered pricing despite having by far the best product in the industry — sure signs that it is not the monopolist that some claim,” it said.\u003c/p>\n\u003cp>The letter, signed by executive vice president for corporate and regulatory affairs Daniel Wall, also urged Congress to take action against bots, to ban fraudulent resale practices and to mandate the ability for artists and other event providers to set their own resale terms on all ticketing websites.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Klobuchar and Lee say Live Nation “largely failed” to answer lawmakers’ questions.\u003c/p>\n\u003cp>Senators asked how many concerts each year were promoted by Live Nation and ticketed by Ticketmaster. It says the company said it was “unable to determine” the answer “in the time available” but did not ask for an extension.\u003c/p>\n\u003cp>They also asked Live Nation if it would commit to having third-party audits to confirm that it isn’t retaliating, in threat or actuality, against venues that pursue other ticketing providers.\u003c/p>\n\u003cp>Lawmakers say Live Nation refused, responding: “Live Nation does not need to be subject to a consent decree or any similar legal obligation to refrain from retaliating against a venue for using another company’s ticketing services, and from threatening to retaliate for such choosing of another ticketing company.”\u003c/p>\n\u003cp>There are also several questions that senators say Live Nation didn’t answer at all, including about how many of the top 100 arenas it provides ticketing services for and whether it’s entered into any agreements with venues where the contract term for ticketing services is longer than five years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Justice Department has not confirmed or commented publicly on a potential antitrust investigation into Live Nation, though Klobuchar and other senators have said that the evidence gathered at their recent hearing could be useful for such a probe — as well as for passing legislation in this area.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Senators+are+calling+on+the+Justice+Department+to+look+into+Ticketmaster%27s+practices+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Feb. 2, a historic convergence of street dance practitioners took over KQED’s event space, The Commons, for a night of boogaloo, robotting, strutting, turfing and more.\u003c/p>\n\u003cp>The night featured original pioneers of Bay Area street dance, who defined urban youth culture before hip-hop had a name, as well as the next generation adding their own stylistic innovations.\u003c/p>\n\u003cp>Hosted by \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener\">\u003cem>Rightnowish\u003c/em>\u003c/a>’s Pendarvis Harshaw with additional MCing by Eric K. Arnold, the night included performances by \u003ca href=\"http://www.iamtracibartlow.com/\">Traci Bartlow\u003c/a>, \u003ca href=\"http://www.thestruttersroom.com/\">Lonnie “PopTart” Green\u003c/a>, \u003ca href=\"https://www.instagram.com/dat_nigga_dav/?hl=en\">Davin Ray “Davvybo” Packnett\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=g2J_xGPGHjI\">Ronski and Show Banga\u003c/a>, \u003ca href=\"https://www.ironlotus.dance/\">Iron Lotus\u003c/a>, and \u003ca href=\"https://www.daveyd.com/\">Davey D\u003c/a> on the ones and twos — as well as audience participation galore, including a “\u003ca href=\"https://californiarevealed.org/islandora/object/cavpp%3A22055\">Jay Payton Line\u003c/a>” at the end.\u003c/p>\n\u003cp>Watch it all unfold above (the action starts at \u003ca href=\"https://www.youtube.com/live/B7aexHse3pc?feature=share&t=1125\">18:45\u003c/a>) as part of our year-long exploration of Bay Area hip-hop, \u003ca href=\"https://www.kqed.org/bayareahiphop\">\u003cem>That’s My Word\u003c/em>\u003c/a>, and keep your eye out for future \u003ca href=\"https://www.kqed.org/events\">KQED Live events\u003c/a>. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Relive the Beastie Boys’ Legendary Tibetan Freedom Concert in SF",
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"content": "\u003cp>\u003cstrong>Update, Feb. 26, 2023: Noise Pop’s scheduled screening of\u003cem> Free Tibet\u003c/em> at The Cut Outdoor Cinema has been postponed until June 15, 2023, due to poor weather conditions.\u003c/strong>\u003c/p>\n\u003cp>Back in 1996, Beastie Boys’ Adam “MCA” Yauch was going through a spiritual awakening. He had recently converted to Buddhism after years of studying the religion and Tibetan culture. Yauch had attended lessons by the Dalai Lama and spent time with the monk \u003ca href=\"https://www.nytimes.com/2018/12/07/obituaries/palden-gyatso-dead.html\">Palden Gyatso\u003c/a>, who had survived torture and imprisonment in Chinese camps for 33 years.\u003c/p>\n\u003cp>As Yauch embraced Tibetan ideologies, he felt compelled to do something to help the people of the region who had been living under Chinese occupation since 1949.\u003c/p>\n\u003cp>[aside postid='arts_13921900']“There’s really only a couple of years left that Tibetan culture is gonna survive unless something starts changing,” Yauch told \u003cem>Inside Edition\u003c/em> at the time. “At the rate that their culture is being destroyed, there’s very little time left. I think we all have a responsibility because it’s part of our world. To ignore it is to contribute to it.”\u003c/p>\n\u003cp>What Yauch came up with to assist the Tibetan people was the biggest benefit concert since 1985’s transatlantic Live Aid event. The two-day Tibetan Freedom concert in Golden Gate Park’s Polo Field ended up attracting more than 100,000 fans and raising $800,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s no surprise that the lineup featured a lot of the biggest alternative acts of the day. On Saturday, June 15, 1996, Beastie Boys, the Smashing Pumpkins, Foo Fighters, A Tribe Called Quest, Pavement, Cibo Matto, Biz Markie, Richie Havens and John Lee Hooker all performed. The following day, Red Hot Chili Peppers, Rage Against the Machine, Sonic Youth, Beck, Björk, Yoko Ono, De La Soul, Fugees, Buddy Guy and Skatalites hit the stage.\u003c/p>\n\u003cfigure id=\"attachment_13924959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg\" alt=\"A fresh-faced woman with dirty blond hair sits calmly next to a man with a shaved head wearing a buttoned up shirt. She is wearing a puffy white winter coat.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk and Adam ’MCA‘ Yauch hang out backstage at the Tibetan Freedom Concert, San Francisco, June 1996. \u003ccite>(Tim Mosenfelder/CORBIS/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shows were a huge deal at the time, and two years later resulted in a concert documentary directed by Sarah Pirozek titled \u003cem>Free Tibet\u003c/em>. The movie is a mashup of live sets, crowd footage and interviews, plus historical context about the occupation of Tibet. It’s far from a perfect film — at the time, \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/library/film/091198tibet-film-review.html\">one \u003cem>New York Times\u003c/em> review\u003c/a> despaired at the “well-meaning musicians who … display a woeful lack of eloquence and coherence when given the opportunity on film to rally support.”\u003c/p>\n\u003cp>But the film does preserve footage from a significant day in San Francisco music history. It is peak-’90s viewing — the music, the fashion, the pre-cellphone mosh pits, the slackerdom. (“I care, you know,” one kid says, “but short attention span.”) Though several sets from the weekend are available to watch now on YouTube — \u003ca href=\"https://www.youtube.com/watch?v=fefr8RLwxeU&t=854s\">Rage Against the Machine\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=0kPweqWXyDw&t=806s\">Björk\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kXf9F_UpCbE\">Smashing Pumpkins\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=-ffrdwAz_z8\">Pavement\u003c/a> — the quality of those is decidedly grainy.\u003c/p>\n\u003cp>[aside postid='arts_13925249']The \u003cem>Free Tibet\u003c/em> documentary has been lost to time in a lot of ways — there is no trailer online, and it’s not available to stream anywhere. Unless you’re willing to invest in a DVD or VHS purchase, it’s likely you’ll never see it. That is, unless you head to The Cut Outdoor Cinema on Feb. 26.\u003c/p>\n\u003cp>\u003cem>Free Tibet\u003c/em> is screening as part of this year’s \u003ca href=\"https://www.kqed.org/arts/13925249/noise-pop-2023-guide-5-must-see-bay-area-artists\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> festival, and marks the movie’s 25th anniversary. The screening will also feature a Q&A with Deyden Tethong of the \u003ca href=\"https://en.wikipedia.org/wiki/Milarepa_Fund\">Milarepa Fund\u003c/a> — the nonprofit co-founded by Yauch to raise funds and awareness for the Tibetan cause — and Stacy Horne, the Noise Pop producer who helped plan the original Tibetan Freedom concerts with Yauch.\u003c/p>\n\u003cp>Sure, the movie doesn’t know if it wants to be a concert film or a rallying cry. But in many ways, that reflects the Tibetan Freedom concert itself — and much of the 1990s musical landscape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\" rel=\"noopener\">Free Tibet\u003c/a>\u003cem> is showing at The Cut Outdoor Cinema (250 Main St., San Francisco) on Thursday, June. 15 at 7:30 p.m. \u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Feb. 26, 2023: Noise Pop’s scheduled screening of\u003cem> Free Tibet\u003c/em> at The Cut Outdoor Cinema has been postponed until June 15, 2023, due to poor weather conditions.\u003c/strong>\u003c/p>\n\u003cp>Back in 1996, Beastie Boys’ Adam “MCA” Yauch was going through a spiritual awakening. He had recently converted to Buddhism after years of studying the religion and Tibetan culture. Yauch had attended lessons by the Dalai Lama and spent time with the monk \u003ca href=\"https://www.nytimes.com/2018/12/07/obituaries/palden-gyatso-dead.html\">Palden Gyatso\u003c/a>, who had survived torture and imprisonment in Chinese camps for 33 years.\u003c/p>\n\u003cp>As Yauch embraced Tibetan ideologies, he felt compelled to do something to help the people of the region who had been living under Chinese occupation since 1949.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There’s really only a couple of years left that Tibetan culture is gonna survive unless something starts changing,” Yauch told \u003cem>Inside Edition\u003c/em> at the time. “At the rate that their culture is being destroyed, there’s very little time left. I think we all have a responsibility because it’s part of our world. To ignore it is to contribute to it.”\u003c/p>\n\u003cp>What Yauch came up with to assist the Tibetan people was the biggest benefit concert since 1985’s transatlantic Live Aid event. The two-day Tibetan Freedom concert in Golden Gate Park’s Polo Field ended up attracting more than 100,000 fans and raising $800,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s no surprise that the lineup featured a lot of the biggest alternative acts of the day. On Saturday, June 15, 1996, Beastie Boys, the Smashing Pumpkins, Foo Fighters, A Tribe Called Quest, Pavement, Cibo Matto, Biz Markie, Richie Havens and John Lee Hooker all performed. The following day, Red Hot Chili Peppers, Rage Against the Machine, Sonic Youth, Beck, Björk, Yoko Ono, De La Soul, Fugees, Buddy Guy and Skatalites hit the stage.\u003c/p>\n\u003cfigure id=\"attachment_13924959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg\" alt=\"A fresh-faced woman with dirty blond hair sits calmly next to a man with a shaved head wearing a buttoned up shirt. She is wearing a puffy white winter coat.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-540554464-scaled-e1675993053690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk and Adam ’MCA‘ Yauch hang out backstage at the Tibetan Freedom Concert, San Francisco, June 1996. \u003ccite>(Tim Mosenfelder/CORBIS/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shows were a huge deal at the time, and two years later resulted in a concert documentary directed by Sarah Pirozek titled \u003cem>Free Tibet\u003c/em>. The movie is a mashup of live sets, crowd footage and interviews, plus historical context about the occupation of Tibet. It’s far from a perfect film — at the time, \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/library/film/091198tibet-film-review.html\">one \u003cem>New York Times\u003c/em> review\u003c/a> despaired at the “well-meaning musicians who … display a woeful lack of eloquence and coherence when given the opportunity on film to rally support.”\u003c/p>\n\u003cp>But the film does preserve footage from a significant day in San Francisco music history. It is peak-’90s viewing — the music, the fashion, the pre-cellphone mosh pits, the slackerdom. (“I care, you know,” one kid says, “but short attention span.”) Though several sets from the weekend are available to watch now on YouTube — \u003ca href=\"https://www.youtube.com/watch?v=fefr8RLwxeU&t=854s\">Rage Against the Machine\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=0kPweqWXyDw&t=806s\">Björk\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kXf9F_UpCbE\">Smashing Pumpkins\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=-ffrdwAz_z8\">Pavement\u003c/a> — the quality of those is decidedly grainy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Free Tibet\u003c/em> documentary has been lost to time in a lot of ways — there is no trailer online, and it’s not available to stream anywhere. Unless you’re willing to invest in a DVD or VHS purchase, it’s likely you’ll never see it. That is, unless you head to The Cut Outdoor Cinema on Feb. 26.\u003c/p>\n\u003cp>\u003cem>Free Tibet\u003c/em> is screening as part of this year’s \u003ca href=\"https://www.kqed.org/arts/13925249/noise-pop-2023-guide-5-must-see-bay-area-artists\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> festival, and marks the movie’s 25th anniversary. The screening will also feature a Q&A with Deyden Tethong of the \u003ca href=\"https://en.wikipedia.org/wiki/Milarepa_Fund\">Milarepa Fund\u003c/a> — the nonprofit co-founded by Yauch to raise funds and awareness for the Tibetan cause — and Stacy Horne, the Noise Pop producer who helped plan the original Tibetan Freedom concerts with Yauch.\u003c/p>\n\u003cp>Sure, the movie doesn’t know if it wants to be a concert film or a rallying cry. But in many ways, that reflects the Tibetan Freedom concert itself — and much of the 1990s musical landscape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\" rel=\"noopener\">Free Tibet\u003c/a>\u003cem> is showing at The Cut Outdoor Cinema (250 Main St., San Francisco) on Thursday, June. 15 at 7:30 p.m. \u003ca href=\"https://thecutoutdoorcinema.com/events/free-tibet-1998\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 Must-See Bay Area Artists at Noise Pop’s 30th Anniversary",
"headTitle": "5 Must-See Bay Area Artists at Noise Pop’s 30th Anniversary | KQED",
"content": "\u003cp>Since its first show at San Francisco’s Kennel Club (now The Independent) in 1993, \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> has grown into a gem of a festival that spans genres and generations.\u003c/p>\n\u003cp>In its nascent years, it hosted early-career shows by bands like Modest Mouse, and made space for wacky experiments \u003cspan style=\"font-weight: 400\">—\u003c/span> like the time the Flaming Lips conducted an \u003ca href=\"https://www.mtv.com/news/nudm9q/flaming-lips-bizarre-boombox-experiment\" target=\"_blank\" rel=\"noopener\">orchestra of 40 boomboxes\u003c/a> in 1998. In more recent years, Noise Pop has expanded into hip-hop shows, jazz concerts and club nights that tap into the Bay Area’s many musical subcultures.\u003c/p>\n\u003cp>Since Noise Pop’s emergence, music festivals have exploded into an enormous industry. But instead of assuming that bigger is better, the homegrown event stays true to its roots by putting on a constellation of smaller shows at concert halls, high-fidelity theaters and dive bars alike. “We’re certainly the outsider in the landscape of festivals,” says founder Kevin Arnold. “We really think we have a lot more opportunity to be experimental, try new things and super-serve the small audiences.”\u003c/p>\n\u003cp>Though inflation and the after-effects of the pandemic have made times tough for the live music industry, Noise Pop remains a crucial platform for local and independent artists. “It’s nice every year to support new bands coming up and then have the opportunity to pay tribute to some of our heroes,” Arnold says.\u003c/p>\n\u003cp>As this year’s Noise Pop gets underway Feb. 20-26, fans will have the opportunity to catch veteran acts like Yo La Tengo, Duster and Bob Mould; newer artists with cult followings, including Boy Harsher and UNIIQU3; and comedy nights and film screenings.\u003c/p>\n\u003cp>\u003ca href=\"http://schedule.noisepopfest.com/\">The lineup is vast\u003c/a>, with over 140 artists performing at 25 venues on both sides of the Bay Bridge. So to help you navigate your Noise Pop week, here are five must-see local acts to get on your radar.\u003c/p>\n\u003cfigure id=\"attachment_13925253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925253\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/covet-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Covet. \u003ccite>(Covet/Bandcamp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/22/covet-tickets\">Covet\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Soft Blue Shimmer and Grumpster\u003cbr>\nThe New Parish, Oakland\u003cbr>\nWednesday, Feb. 22, 8 p.m.\u003cbr>\nAll ages, $27.50\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=508035794/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Anchored around the nimble playing of guitarist Yvette Young, Covet has been described as math rock. But that might imply that their music is cerebral and hard to parse, when in fact they invite you to groove along to the kaleidoscopic melodies of their entirely instrumental tracks.\u003c/p>\n\u003cfigure id=\"attachment_13925251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/mae-powell-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mae Powell. \u003ccite>(Mae Powell/Bandcamp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/22/mae-powell-tickets\">Mae Powell\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Analog Dog and Marika Christine\u003cbr>\nBottom of the Hill, San Francisco\u003cbr>\nWednesday, Feb. 22, 8 p.m.\u003cbr>\nAll ages, $13-$15\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1381233936/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>With warm, inviting vocals and playful lyrics, Mae Powell makes indie folk with the cozy feel of curling up on a shag rug next to the record player. Slide guitars reminiscent of old-school country and 1960s-style psychedelic organs nod towards the Bay Area’s Summer of Love past while reaching towards a hopeful future.\u003c/p>\n\u003cfigure id=\"attachment_13852015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1343-800x533.jpg\" alt=\"Spiritual Cramp takes a post soundcheck break outside of Oakland's Starline Social Club on day four of the 2019 Noise Pop Music and Arts Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp took a post-soundcheck break outside of Oakland’s Starline Social Club on day four of the 2019 Noise Pop Music and Arts Festival on February 28, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/23/rxk-nephew-tickets\">Spiritual Cramp\u003c/a>\u003c/h2>\n\u003cp>\u003cb>Opening for RXK Nephew\u003cbr>\nBrick & Mortar Music Hall, San Francisco\u003cbr>\nThursday, Feb. 23, 7:30 p.m.\u003cbr>\nAll ages, $18\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2391272712/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Feeling some pent-up frustrations? San Francisco band Spiritual Cramp delivers unruly, high-energy post-punk with anti-establishment lyrics. It’s perfect for moshing and leaving it all on the dance floor.\u003c/p>\n\u003cfigure id=\"attachment_13899326\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899326\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-800x530.jpeg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-800x530.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-1020x676.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-768x509.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-1536x1018.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling. \u003ccite>(Adora Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/26/spellling-tickets\">Spellling\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Pride Month Barbie and Mahawam\u003cbr>\nGreat American Music Hall, San Francisco\u003cbr>\nSunday, Feb. 26, 7 p.m.\u003cbr>\nAll ages, $25\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1878270680/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>A Spellling concert feels like a mystical ritual. Oakland singer and bandleader Tia Cabral captivates her audiences with arresting vocals and enigmatic lyrics, evoking mythology, tarot and the occult. With a mega-talented band that draws from influences as varied as prog rock and soul, Spellling’s theatrical live shows leave fans with a renewed appreciation of the magic of everyday life.\u003c/p>\n\u003cfigure id=\"attachment_13925263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1458601343-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore visits The IMDb Portrait Studio at Acura Festival Village on Location at Sundance 2023 on January 22, 2023 in Park City, Utah. \u003ccite>(Corey Nickols/Getty Images for IMDb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/26/junglepussy-tickets\">Tia Nomore\u003c/a>\u003c/h2>\n\u003cp>\u003cb>Opening for JUNGLEPUSSY, with Stoni and DJ Mousetwat\u003cbr>\nThe New Parish, Oakland\u003cbr>\nSunday, Feb. 26, 7 p.m.\u003cbr>\nAll ages $25-$30\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1533452991/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Tia Nomore has been grinding it out for years in the Bay Area music scene, and the Text Me Records artist recently got a big break with her starring role in \u003ci>Earth Mama\u003c/i>, a forthcoming coming-of-age film that debuted at Sundance to rave reviews. The rest of the country will soon get to fawn over her acting chops, but local fans know that Nomore is a gifted MC with a whole lot of slaps in her catalog.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since its first show at San Francisco’s Kennel Club (now The Independent) in 1993, \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> has grown into a gem of a festival that spans genres and generations.\u003c/p>\n\u003cp>In its nascent years, it hosted early-career shows by bands like Modest Mouse, and made space for wacky experiments \u003cspan style=\"font-weight: 400\">—\u003c/span> like the time the Flaming Lips conducted an \u003ca href=\"https://www.mtv.com/news/nudm9q/flaming-lips-bizarre-boombox-experiment\" target=\"_blank\" rel=\"noopener\">orchestra of 40 boomboxes\u003c/a> in 1998. In more recent years, Noise Pop has expanded into hip-hop shows, jazz concerts and club nights that tap into the Bay Area’s many musical subcultures.\u003c/p>\n\u003cp>Since Noise Pop’s emergence, music festivals have exploded into an enormous industry. But instead of assuming that bigger is better, the homegrown event stays true to its roots by putting on a constellation of smaller shows at concert halls, high-fidelity theaters and dive bars alike. “We’re certainly the outsider in the landscape of festivals,” says founder Kevin Arnold. “We really think we have a lot more opportunity to be experimental, try new things and super-serve the small audiences.”\u003c/p>\n\u003cp>Though inflation and the after-effects of the pandemic have made times tough for the live music industry, Noise Pop remains a crucial platform for local and independent artists. “It’s nice every year to support new bands coming up and then have the opportunity to pay tribute to some of our heroes,” Arnold says.\u003c/p>\n\u003cp>As this year’s Noise Pop gets underway Feb. 20-26, fans will have the opportunity to catch veteran acts like Yo La Tengo, Duster and Bob Mould; newer artists with cult followings, including Boy Harsher and UNIIQU3; and comedy nights and film screenings.\u003c/p>\n\u003cp>\u003ca href=\"http://schedule.noisepopfest.com/\">The lineup is vast\u003c/a>, with over 140 artists performing at 25 venues on both sides of the Bay Bridge. So to help you navigate your Noise Pop week, here are five must-see local acts to get on your radar.\u003c/p>\n\u003cfigure id=\"attachment_13925253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925253\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/covet-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/covet.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Covet. \u003ccite>(Covet/Bandcamp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/22/covet-tickets\">Covet\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Soft Blue Shimmer and Grumpster\u003cbr>\nThe New Parish, Oakland\u003cbr>\nWednesday, Feb. 22, 8 p.m.\u003cbr>\nAll ages, $27.50\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=508035794/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Anchored around the nimble playing of guitarist Yvette Young, Covet has been described as math rock. But that might imply that their music is cerebral and hard to parse, when in fact they invite you to groove along to the kaleidoscopic melodies of their entirely instrumental tracks.\u003c/p>\n\u003cfigure id=\"attachment_13925251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/mae-powell-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/mae-powell.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mae Powell. \u003ccite>(Mae Powell/Bandcamp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/22/mae-powell-tickets\">Mae Powell\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Analog Dog and Marika Christine\u003cbr>\nBottom of the Hill, San Francisco\u003cbr>\nWednesday, Feb. 22, 8 p.m.\u003cbr>\nAll ages, $13-$15\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1381233936/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>With warm, inviting vocals and playful lyrics, Mae Powell makes indie folk with the cozy feel of curling up on a shag rug next to the record player. Slide guitars reminiscent of old-school country and 1960s-style psychedelic organs nod towards the Bay Area’s Summer of Love past while reaching towards a hopeful future.\u003c/p>\n\u003cfigure id=\"attachment_13852015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1343-800x533.jpg\" alt=\"Spiritual Cramp takes a post soundcheck break outside of Oakland's Starline Social Club on day four of the 2019 Noise Pop Music and Arts Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_1343-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp took a post-soundcheck break outside of Oakland’s Starline Social Club on day four of the 2019 Noise Pop Music and Arts Festival on February 28, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/23/rxk-nephew-tickets\">Spiritual Cramp\u003c/a>\u003c/h2>\n\u003cp>\u003cb>Opening for RXK Nephew\u003cbr>\nBrick & Mortar Music Hall, San Francisco\u003cbr>\nThursday, Feb. 23, 7:30 p.m.\u003cbr>\nAll ages, $18\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2391272712/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Feeling some pent-up frustrations? San Francisco band Spiritual Cramp delivers unruly, high-energy post-punk with anti-establishment lyrics. It’s perfect for moshing and leaving it all on the dance floor.\u003c/p>\n\u003cfigure id=\"attachment_13899326\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899326\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-800x530.jpeg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-800x530.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-1020x676.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-768x509.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson-1536x1018.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/SPELLLING_byAdoraWilson.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling. \u003ccite>(Adora Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/26/spellling-tickets\">Spellling\u003c/a>\u003c/h2>\n\u003cp>\u003cb>with Pride Month Barbie and Mahawam\u003cbr>\nGreat American Music Hall, San Francisco\u003cbr>\nSunday, Feb. 26, 7 p.m.\u003cbr>\nAll ages, $25\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1878270680/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>A Spellling concert feels like a mystical ritual. Oakland singer and bandleader Tia Cabral captivates her audiences with arresting vocals and enigmatic lyrics, evoking mythology, tarot and the occult. With a mega-talented band that draws from influences as varied as prog rock and soul, Spellling’s theatrical live shows leave fans with a renewed appreciation of the magic of everyday life.\u003c/p>\n\u003cfigure id=\"attachment_13925263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1458601343-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1458601343.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore visits The IMDb Portrait Studio at Acura Festival Village on Location at Sundance 2023 on January 22, 2023 in Park City, Utah. \u003ccite>(Corey Nickols/Getty Images for IMDb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://schedule.noisepopfest.com/events/2023/2/26/junglepussy-tickets\">Tia Nomore\u003c/a>\u003c/h2>\n\u003cp>\u003cb>Opening for JUNGLEPUSSY, with Stoni and DJ Mousetwat\u003cbr>\nThe New Parish, Oakland\u003cbr>\nSunday, Feb. 26, 7 p.m.\u003cbr>\nAll ages $25-$30\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1533452991/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Tia Nomore has been grinding it out for years in the Bay Area music scene, and the Text Me Records artist recently got a big break with her starring role in \u003ci>Earth Mama\u003c/i>, a forthcoming coming-of-age film that debuted at Sundance to rave reviews. The rest of the country will soon get to fawn over her acting chops, but local fans know that Nomore is a gifted MC with a whole lot of slaps in her catalog.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
