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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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"slug": "the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules",
"title": "The Conscious Daughters, Rap’s ‘Sucka-Free Thelma and Louise,’ Rewrote the Rules",
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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\" target=\"_blank\" rel=\"noopener\">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>\u003ca href=\"https://open.spotify.com/artist/120cCFsKuYyGeIQaOMs0DV\" target=\"_blank\" rel=\"noopener\">The Conscious Daughters\u003c/a> (TCD) didn’t set out to break every limitation on women in rap — they did it simply by being themselves.\u003c/p>\n\u003cp>On their 1993 debut \u003ci>Ear to the Street\u003c/i>, the tough-talking East Bay duo lyrically stomped on sexist dudes. Instead of riding shotgun, they drove their own Mustangs and had a trunk-rattling hit single, “Somethin’ to Ride to (Fonky Expedition).” And decades before the music industry grew to champion a multiplicity of female rap stars — instead of crowning a single queen — the Conscious Daughters were building a West Coast hip-hop sisterhood.\u003c/p>\n\u003cp>Simply put, TCD were ahead of their time. And even though younger Bay Area artists like Kamaiyah have \u003ca href=\"https://pitchfork.com/features/rising/9792-supa-dupa-fly-kamaiyah-bosses-up/\" target=\"_blank\" rel=\"noopener\">cited them as an influence\u003c/a>, their legacy remains criminally under-recognized in hip-hop history.\u003c/p>\n\u003cp>https://youtu.be/PyA9hn-YOZg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a sunny afternoon in Berkeley, the surviving Conscious Daughter, \u003ca href=\"https://www.instagram.com/cmgflowz/?hl=en\" target=\"_blank\" rel=\"noopener\">Carla “CMG” Green\u003c/a>, smiles as she thinks back to the duo’s early days. She and her late music partner, Karryl “Special One” Smith, “never said ‘We’re going to be the only women who did this, the only women who did that,’” CMG says. “We just did what we loved. And we knew we were different.”\u003c/p>\n\u003cp>[pullquote size='large' citation='Paris, rapper and producer']‘The Conscious Daughters are the greatest female hip-hop group in the genre’s history.’[/pullquote]\u003c/p>\n\u003cp>CMG and Special One shared a natural creative chemistry. The two first met as 11-year-old middle school students in El Cerrito, connecting over their love of music. By 13, they were writing rhymes, and in high school, they ran the campus radio station together — Special One behind the boards and CMG on the mic. Both came from supportive families: CMG grew up going to P-Funk and Earth, Wind & Fire concerts with her musician father, while Special One’s mother worked at a radio station, and taught her daughter how to work the equipment by the time she was a teen.\u003c/p>\n\u003cp>Born in Seattle and raised in East Oakland, Special One had a fearlessness that made her popular in school. It helped that she was a basketball star, and at one point even played baseball on a boys team.\u003c/p>\n\u003cp>“Karryl was a character. Any room she went into, she just lit it up and she would just talk to anybody,” CMG remembers fondly. “She would be sitting there talking to an old white man. I’d be like, ‘What were you and that man talking about?’ … ‘He’s from Seattle. We talked about boat races.’ Her personality was just beyond belief. An amazing person, you know? She was truly a gift.”\u003c/p>\n\u003cfigure id=\"attachment_13925185\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ConsciousDaughters.jpg\" alt=\"\" width=\"599\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ConsciousDaughters.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ConsciousDaughters-160x200.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">The Conscious Daughters in the 1990s. \u003ccite>(Priority Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Conscious Daughters get their break\u003c/h2>\n\u003cp>The Conscious Daughters’ magnetism carried over to their bold presence on the mic. Their complex rhyme schemes contained a musicality gleaned from their early love of funk and soul. Their dynamic stage presence was honed while studying New York rappers like the Fu-Schnickens. And they projected an unmistakably Bay Area, ice-cold player image, absorbed from Oakland’s Too Short and Richmond’s \u003ca href=\"https://www.youtube.com/watch?v=sbPLQG6AWdo\" target=\"_blank\" rel=\"noopener\">Calvin T and Magic Mike\u003c/a>.\u003c/p>\n\u003cp>Special One and CMG freestyled at every open mic they could find, and always traveled with pockets full of cassettes. Paris, the San Francisco artist nicknamed “\u003ca href=\"https://www.sfgate.com/style/article/Paris-The-Black-Panther-of-Hip-Hop-speaks-out-3091885.php\" target=\"_blank\" rel=\"noopener\">the Black Panther of hip-hop\u003c/a>,” was impressed when they handed him a demo tape at a party.\u003c/p>\n\u003cp>Paris himself was at the center of controversy when he became the Conscious Daughters’ mentor. In the early ’90s, Vice President Dan Quayle and powerful record label shareholders stoked a \u003ca href=\"https://abcnews.go.com/Politics/OTUS/hip-hop-politics-difference-generation-makes/story?id=18495205\" target=\"_blank\" rel=\"noopener\">moral panic about gangster rap\u003c/a>. Paris had been dropped from Time Warner \u003ca href=\"https://www.latimes.com/archives/la-xpm-1992-11-29-ca-2551-story.html\" target=\"_blank\" rel=\"noopener\">due to controversial lyrics about President George H.W. Bush\u003c/a> and the police. By 1993, he was independent with his own label, Scarface Records, which had national distribution through Priority and took the Daughters’ music to a bigger stage.\u003c/p>\n\u003cp>The Conscious Daughters’ demo tape had amateurish basement beats. Paris laced them with head-nodding, bass-heavy mobb music production, and helped them amp up the social commentary in their rhymes. “Even in demo form, they were head and shoulders above their contemporaries,” Paris tells KQED in an email.\u003c/p>\n\u003cp>“TCD was thoroughly uninterested in the default ‘reliance on sex appeal’ lane that many other female rappers have taken, and instead were laser-focused on creating the best material possible,” he says. “Plus, they were extremely relatable and represented an ‘everywoman’ voice in West Coast hip-hop that had never been represented as bluntly as they put it down.”\u003c/p>\n\u003cp>https://youtu.be/kozpWkT8sI0\u003c/p>\n\u003cp>Many of the lyrics on \u003ci>Ear to the Street\u003c/i>, including “Somethin’ to Ride to (Fonky Expedition),” the Daughters wrote themselves. But surprisingly, Paris penned one of their more feminist tracks, “Shitty Situation,” which CMG expertly delivers as if she personally experienced its story of an unwanted pregnancy by a disrespectful guy. (“Then I seen his ass, just a little past Lakeshore / Hollered out his name, but he act like he didn’t hear me though / Ran up quick, ready to send him to his grave,” she spits with venom over the uptempo beat.)\u003c/p>\n\u003cp>“[Paris] was such an amazing writer, and our delivery was just so on point,” CMG says. “It was such a great combination of us being street and somewhat knowledgeable and conscious, and uplifting women, Black women — all underprivileged people.”\u003c/p>\n\u003cp>With danceable party tracks (“TCD in da Front”), impressive bars (“Princess of Poetry”) and missives against misogyny with a hardcore twist (“What’s a Girl To Do”), \u003ci>Ear to the Street\u003c/i> showed the Conscious Daughters’ range, and the album became a hit. It placed at No. 25 on Billboard’s R&B/Hip-Hop Albums Chart, and earned the duo appearances on \u003ci>Soul Train\u003c/i>, MTV and BET. They toured with Ice Cube, A Tribe Called Quest and OutKast, and a young Jay-Z once opened at one of their concerts.\u003c/p>\n\u003cp>https://youtu.be/8Z7mX-EtgCs\u003c/p>\n\u003cp>Alex Mejia served as the mixshow director at 106.1 KMEL when he first heard “Somethin’ to Ride to (Fonky Expedition),” and right away he knew the Daughters had something special. The song made its way onto the station’s regular rotation and, eventually, national airplay. “You just had to put your fist in the air because they were just that good,” he says, noting that TCD had a following not just in the Bay Area, but on the East Coast and in the South.\u003c/p>\n\u003cp>Even Nas appeared to shout the Conscious Daughters out on 1996’s “If I Ruled the World (Imagine That)” when he rapped, “More conscious of the ways we raise our daughters.” (CMG later appears on the West Coast remix of his 2007 track “Where Are They Now.”)\u003c/p>\n\u003cp>“They were just as good as Nas,” Mejia continues. “They could flow, and [“Somethin’ to Ride to (Fonky Expedition)”] showed it. And then their presence — coming from the West Coast, they were wearing Pendletons and had 40 [ounces]. The girls were like a lot of folks in the Town, and a lot of people can relate to that.”\u003c/p>\n\u003cfigure id=\"attachment_13925186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/tcd2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2.jpg 1668w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: artist Suga T, ‘Gavin Report’ editor Thembisa Mshaka, artist Goldee the Murderist, Special One and CMG. \u003ccite>(Courtesy of CMG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A hip-hop sisterhood\u003c/h2>\n\u003cp>The Conscious Daughters continued to evolve their sound with 1996’s \u003ci>Gamers\u003c/i>. Their rhymes got faster and sharper. And along with Paris’ beats, it included production by mobb music heavyweights Sam Bostic, Mike Mosley and Studio Ton — a trio who made some of E-40’s biggest hits — as well as “I Got 5 On It” producer Tone Capone. \u003ci>Gamers\u003c/i>, released on Priority/EMI, showcased the Conscious Daughters’ support for other women on the scene: It featured Digital Underground’s \u003ca href=\"https://www.kqed.org/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story\" target=\"_blank\" rel=\"noopener\">Mystic\u003c/a>, years before her influential 2001 solo debut \u003ci>Cuts for Luck and Scars for Freedom\u003c/i>, and \u003ca href=\"https://www.kqed.org/arts/13914111/suga-t-her-museum-bay-area-rap\" target=\"_blank\" rel=\"noopener\">Suga T\u003c/a>, who went solo after debuting with her brothers E-40, D-Shot and B-Legit in The Click.\u003c/p>\n\u003cp>Though their stories are often overlooked today, a diverse array of female rappers came out of the Bay Area in the early ’90s. Oaktown 3.5.7. made party-rocking anthems, and superstar DJ Pam the Funkstress co-founded a mobb music duo called Female Fonk, though she became better known for her work with Boots Riley in the political rap group the Coup.\u003c/p>\n\u003cp>“We all came up together and we’re all friends,” CMG says.\u003c/p>\n\u003cp>Mystic was just 19 years old when the Daughters brought her into a clique that also included artists Shuga Babydoll and the late Goldee the Murderist. “Having these established women hip-hop artists who support you, who stand with you, and who — essentially through their presence and their cosign — are saying, look, she’s dope, she matters, and this is our people,” she says. “That was so magical as a teen and young woman.”\u003c/p>\n\u003cp>https://youtu.be/hVP1K7BHPb4\u003c/p>\n\u003cp>By the 2000s, things changed in the music industry. Among other acquisitions, \u003ca href=\"http://www.daveyd.com/articleradiosucks.html\" target=\"_blank\" rel=\"noopener\">Clear Channel took over KMEL in 1999\u003c/a>, and the broadcaster once known as “The People’s Station” switched its focus to more mainstream programming. Following the success of Lil Kim and Foxy Brown, labels began putting money behind a select few female artists with sexy images, and left behind the tomboys who had previously found success without catering to the male gaze.\u003c/p>\n\u003cp>Though the Conscious Daughters got plenty of praise for being different, the industry hadn’t yet caught up to them. By 1995, Special One had come out as gay to the people in her life. CMG, who is straight, was supportive of her best friend. But she admits that she sometimes worried how the duo would be perceived at a time when homophobia was widely considered acceptable. “Turns out all the women now look just like her. … She was really a trendsetter,” CMG says. “But we had no idea that she was going to be the future, you know?”\u003c/p>\n\u003ch2>Ahead of their time\u003c/h2>\n\u003cp>In a \u003ca href=\"https://eastbayexpress.com/crackin-nutz-1/\" target=\"_blank\" rel=\"noopener\">2004 \u003ci>East Bay Express\u003c/i> interview\u003c/a>, Special One lamented the double standards that prevented female rappers from reaching their full potential. “Female rappers are virtually extinct,” she said. “I’ll meet female MCs who can rap tight, but then they quit because their boyfriends get jealous when they go to the studio to work with male producers, or because they have to raise families.”\u003c/p>\n\u003cp>The Conscious Daughters also ran into structural issues at their labels. Paris left Priority Records, and, according to his estimation, TCD no longer had an advocate there. “They weren’t equipped to handle the Daughters the way they needed to be presented,” he said in the same \u003ci>Express\u003c/i> article. “When you talk about misogyny in hip-hop, it exists on a label level as well.”\u003c/p>\n\u003cp>Mejia thinks TCD could have had a much longer career with the proper support. “They didn’t get all the breaks that they should have,” he says. “In the ’90s a lot of female MCs did not get their credit and just due, or the financial support to compete. So they began to lose, even though their lyrics were just as good as anybody else, their beats were as good as anybody else. People in power were not correctly handling the job of creating balance, and it affected music.”\u003c/p>\n\u003cfigure id=\"attachment_13925187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/IMG_5925-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carla “CMG” Green wears a T-shirt with a portrait of Karryl “Special One” Smith in Berkeley on January 20, 2023. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CMG recalls that Napster’s debut in 1999 threw the music industry into chaos. Amid a panic about leaked albums and illegal downloads, labels shelved many artists’ work — and The Conscious Daughters’ third album hung in limbo at Universal. Titled \u003ci>The Nutcracker Suite\u003c/i>, it eventually came out in 2009 on Paris’ Guerrilla Funk label. But the rare release, best known for its revenge fantasies about domestic abusers, is not currently on streaming services — CMG and Paris say Universal pulled it because of copyright issues.\u003c/p>\n\u003cp>In the years between their second and third albums, life changed for the Conscious Daughters. CMG focused on raising her son, and Special One, who also became a parent, became active in the LGBTQ+ nightlife scene.\u003c/p>\n\u003cp>“If she was here today, she’d be loving life, I’m sure,” CMG says. “She would be involved in a lot more things in the community as far as LGBTQ goes. I know that she would probably be running some sort of nonprofit or being some kind of radio personality.”\u003c/p>\n\u003cp>Tragically, Special One died suddenly in 2011 due to a health condition that resulted in blood clots. CMG still gets emotional when she remembers her best friend, but beams as she recalls Special One’s barrier-breaking accomplishments.\u003c/p>\n\u003cfigure id=\"attachment_13925188\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/tcd1.jpg\" alt=\"\" width=\"750\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1-160x159.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The Conscious Daughters with mentor and producer Paris in the 1990s. \u003ccite>(Courtesy of CMG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Conscious Daughters went mainstream with pro-woman lyrics that defied the status quo. They reached a huge variety of audiences — schoolteachers, drug dealers and former Black Panthers alike — and paved the way for other women in the industry to be bolder and more outspoken.\u003c/p>\n\u003cp>“People really tapped into what we were talking about,” CMG says. “Back then, it mattered.”\u003c/p>\n\u003cp>Paris puts it even more strongly. “The Conscious Daughters are the greatest female hip-hop group in the genre’s history,” he says. “They should be heralded as such for their authenticity, raw talent, and female-centric messages of empowerment.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"title": "The Conscious Daughters, Rap’s ‘Sucka-Free Thelma and Louise,’ Rewrote the Rules | KQED",
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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\" target=\"_blank\" rel=\"noopener\">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>\u003ca href=\"https://open.spotify.com/artist/120cCFsKuYyGeIQaOMs0DV\" target=\"_blank\" rel=\"noopener\">The Conscious Daughters\u003c/a> (TCD) didn’t set out to break every limitation on women in rap — they did it simply by being themselves.\u003c/p>\n\u003cp>On their 1993 debut \u003ci>Ear to the Street\u003c/i>, the tough-talking East Bay duo lyrically stomped on sexist dudes. Instead of riding shotgun, they drove their own Mustangs and had a trunk-rattling hit single, “Somethin’ to Ride to (Fonky Expedition).” And decades before the music industry grew to champion a multiplicity of female rap stars — instead of crowning a single queen — the Conscious Daughters were building a West Coast hip-hop sisterhood.\u003c/p>\n\u003cp>Simply put, TCD were ahead of their time. And even though younger Bay Area artists like Kamaiyah have \u003ca href=\"https://pitchfork.com/features/rising/9792-supa-dupa-fly-kamaiyah-bosses-up/\" target=\"_blank\" rel=\"noopener\">cited them as an influence\u003c/a>, their legacy remains criminally under-recognized in hip-hop history.\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/PyA9hn-YOZg'\n title='//www.youtube.com/embed/PyA9hn-YOZg'\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>On a sunny afternoon in Berkeley, the surviving Conscious Daughter, \u003ca href=\"https://www.instagram.com/cmgflowz/?hl=en\" target=\"_blank\" rel=\"noopener\">Carla “CMG” Green\u003c/a>, smiles as she thinks back to the duo’s early days. She and her late music partner, Karryl “Special One” Smith, “never said ‘We’re going to be the only women who did this, the only women who did that,’” CMG says. “We just did what we loved. And we knew we were different.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>CMG and Special One shared a natural creative chemistry. The two first met as 11-year-old middle school students in El Cerrito, connecting over their love of music. By 13, they were writing rhymes, and in high school, they ran the campus radio station together — Special One behind the boards and CMG on the mic. Both came from supportive families: CMG grew up going to P-Funk and Earth, Wind & Fire concerts with her musician father, while Special One’s mother worked at a radio station, and taught her daughter how to work the equipment by the time she was a teen.\u003c/p>\n\u003cp>Born in Seattle and raised in East Oakland, Special One had a fearlessness that made her popular in school. It helped that she was a basketball star, and at one point even played baseball on a boys team.\u003c/p>\n\u003cp>“Karryl was a character. Any room she went into, she just lit it up and she would just talk to anybody,” CMG remembers fondly. “She would be sitting there talking to an old white man. I’d be like, ‘What were you and that man talking about?’ … ‘He’s from Seattle. We talked about boat races.’ Her personality was just beyond belief. An amazing person, you know? She was truly a gift.”\u003c/p>\n\u003cfigure id=\"attachment_13925185\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ConsciousDaughters.jpg\" alt=\"\" width=\"599\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ConsciousDaughters.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ConsciousDaughters-160x200.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">The Conscious Daughters in the 1990s. \u003ccite>(Priority Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Conscious Daughters get their break\u003c/h2>\n\u003cp>The Conscious Daughters’ magnetism carried over to their bold presence on the mic. Their complex rhyme schemes contained a musicality gleaned from their early love of funk and soul. Their dynamic stage presence was honed while studying New York rappers like the Fu-Schnickens. And they projected an unmistakably Bay Area, ice-cold player image, absorbed from Oakland’s Too Short and Richmond’s \u003ca href=\"https://www.youtube.com/watch?v=sbPLQG6AWdo\" target=\"_blank\" rel=\"noopener\">Calvin T and Magic Mike\u003c/a>.\u003c/p>\n\u003cp>Special One and CMG freestyled at every open mic they could find, and always traveled with pockets full of cassettes. Paris, the San Francisco artist nicknamed “\u003ca href=\"https://www.sfgate.com/style/article/Paris-The-Black-Panther-of-Hip-Hop-speaks-out-3091885.php\" target=\"_blank\" rel=\"noopener\">the Black Panther of hip-hop\u003c/a>,” was impressed when they handed him a demo tape at a party.\u003c/p>\n\u003cp>Paris himself was at the center of controversy when he became the Conscious Daughters’ mentor. In the early ’90s, Vice President Dan Quayle and powerful record label shareholders stoked a \u003ca href=\"https://abcnews.go.com/Politics/OTUS/hip-hop-politics-difference-generation-makes/story?id=18495205\" target=\"_blank\" rel=\"noopener\">moral panic about gangster rap\u003c/a>. Paris had been dropped from Time Warner \u003ca href=\"https://www.latimes.com/archives/la-xpm-1992-11-29-ca-2551-story.html\" target=\"_blank\" rel=\"noopener\">due to controversial lyrics about President George H.W. Bush\u003c/a> and the police. By 1993, he was independent with his own label, Scarface Records, which had national distribution through Priority and took the Daughters’ music to a bigger stage.\u003c/p>\n\u003cp>The Conscious Daughters’ demo tape had amateurish basement beats. Paris laced them with head-nodding, bass-heavy mobb music production, and helped them amp up the social commentary in their rhymes. “Even in demo form, they were head and shoulders above their contemporaries,” Paris tells KQED in an email.\u003c/p>\n\u003cp>“TCD was thoroughly uninterested in the default ‘reliance on sex appeal’ lane that many other female rappers have taken, and instead were laser-focused on creating the best material possible,” he says. “Plus, they were extremely relatable and represented an ‘everywoman’ voice in West Coast hip-hop that had never been represented as bluntly as they put it down.”\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/kozpWkT8sI0'\n title='//www.youtube.com/embed/kozpWkT8sI0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many of the lyrics on \u003ci>Ear to the Street\u003c/i>, including “Somethin’ to Ride to (Fonky Expedition),” the Daughters wrote themselves. But surprisingly, Paris penned one of their more feminist tracks, “Shitty Situation,” which CMG expertly delivers as if she personally experienced its story of an unwanted pregnancy by a disrespectful guy. (“Then I seen his ass, just a little past Lakeshore / Hollered out his name, but he act like he didn’t hear me though / Ran up quick, ready to send him to his grave,” she spits with venom over the uptempo beat.)\u003c/p>\n\u003cp>“[Paris] was such an amazing writer, and our delivery was just so on point,” CMG says. “It was such a great combination of us being street and somewhat knowledgeable and conscious, and uplifting women, Black women — all underprivileged people.”\u003c/p>\n\u003cp>With danceable party tracks (“TCD in da Front”), impressive bars (“Princess of Poetry”) and missives against misogyny with a hardcore twist (“What’s a Girl To Do”), \u003ci>Ear to the Street\u003c/i> showed the Conscious Daughters’ range, and the album became a hit. It placed at No. 25 on Billboard’s R&B/Hip-Hop Albums Chart, and earned the duo appearances on \u003ci>Soul Train\u003c/i>, MTV and BET. They toured with Ice Cube, A Tribe Called Quest and OutKast, and a young Jay-Z once opened at one of their concerts.\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/8Z7mX-EtgCs'\n title='//www.youtube.com/embed/8Z7mX-EtgCs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Alex Mejia served as the mixshow director at 106.1 KMEL when he first heard “Somethin’ to Ride to (Fonky Expedition),” and right away he knew the Daughters had something special. The song made its way onto the station’s regular rotation and, eventually, national airplay. “You just had to put your fist in the air because they were just that good,” he says, noting that TCD had a following not just in the Bay Area, but on the East Coast and in the South.\u003c/p>\n\u003cp>Even Nas appeared to shout the Conscious Daughters out on 1996’s “If I Ruled the World (Imagine That)” when he rapped, “More conscious of the ways we raise our daughters.” (CMG later appears on the West Coast remix of his 2007 track “Where Are They Now.”)\u003c/p>\n\u003cp>“They were just as good as Nas,” Mejia continues. “They could flow, and [“Somethin’ to Ride to (Fonky Expedition)”] showed it. And then their presence — coming from the West Coast, they were wearing Pendletons and had 40 [ounces]. The girls were like a lot of folks in the Town, and a lot of people can relate to that.”\u003c/p>\n\u003cfigure id=\"attachment_13925186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/tcd2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd2.jpg 1668w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: artist Suga T, ‘Gavin Report’ editor Thembisa Mshaka, artist Goldee the Murderist, Special One and CMG. \u003ccite>(Courtesy of CMG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A hip-hop sisterhood\u003c/h2>\n\u003cp>The Conscious Daughters continued to evolve their sound with 1996’s \u003ci>Gamers\u003c/i>. Their rhymes got faster and sharper. And along with Paris’ beats, it included production by mobb music heavyweights Sam Bostic, Mike Mosley and Studio Ton — a trio who made some of E-40’s biggest hits — as well as “I Got 5 On It” producer Tone Capone. \u003ci>Gamers\u003c/i>, released on Priority/EMI, showcased the Conscious Daughters’ support for other women on the scene: It featured Digital Underground’s \u003ca href=\"https://www.kqed.org/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story\" target=\"_blank\" rel=\"noopener\">Mystic\u003c/a>, years before her influential 2001 solo debut \u003ci>Cuts for Luck and Scars for Freedom\u003c/i>, and \u003ca href=\"https://www.kqed.org/arts/13914111/suga-t-her-museum-bay-area-rap\" target=\"_blank\" rel=\"noopener\">Suga T\u003c/a>, who went solo after debuting with her brothers E-40, D-Shot and B-Legit in The Click.\u003c/p>\n\u003cp>Though their stories are often overlooked today, a diverse array of female rappers came out of the Bay Area in the early ’90s. Oaktown 3.5.7. made party-rocking anthems, and superstar DJ Pam the Funkstress co-founded a mobb music duo called Female Fonk, though she became better known for her work with Boots Riley in the political rap group the Coup.\u003c/p>\n\u003cp>“We all came up together and we’re all friends,” CMG says.\u003c/p>\n\u003cp>Mystic was just 19 years old when the Daughters brought her into a clique that also included artists Shuga Babydoll and the late Goldee the Murderist. “Having these established women hip-hop artists who support you, who stand with you, and who — essentially through their presence and their cosign — are saying, look, she’s dope, she matters, and this is our people,” she says. “That was so magical as a teen and young woman.”\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/hVP1K7BHPb4'\n title='//www.youtube.com/embed/hVP1K7BHPb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the 2000s, things changed in the music industry. Among other acquisitions, \u003ca href=\"http://www.daveyd.com/articleradiosucks.html\" target=\"_blank\" rel=\"noopener\">Clear Channel took over KMEL in 1999\u003c/a>, and the broadcaster once known as “The People’s Station” switched its focus to more mainstream programming. Following the success of Lil Kim and Foxy Brown, labels began putting money behind a select few female artists with sexy images, and left behind the tomboys who had previously found success without catering to the male gaze.\u003c/p>\n\u003cp>Though the Conscious Daughters got plenty of praise for being different, the industry hadn’t yet caught up to them. By 1995, Special One had come out as gay to the people in her life. CMG, who is straight, was supportive of her best friend. But she admits that she sometimes worried how the duo would be perceived at a time when homophobia was widely considered acceptable. “Turns out all the women now look just like her. … She was really a trendsetter,” CMG says. “But we had no idea that she was going to be the future, you know?”\u003c/p>\n\u003ch2>Ahead of their time\u003c/h2>\n\u003cp>In a \u003ca href=\"https://eastbayexpress.com/crackin-nutz-1/\" target=\"_blank\" rel=\"noopener\">2004 \u003ci>East Bay Express\u003c/i> interview\u003c/a>, Special One lamented the double standards that prevented female rappers from reaching their full potential. “Female rappers are virtually extinct,” she said. “I’ll meet female MCs who can rap tight, but then they quit because their boyfriends get jealous when they go to the studio to work with male producers, or because they have to raise families.”\u003c/p>\n\u003cp>The Conscious Daughters also ran into structural issues at their labels. Paris left Priority Records, and, according to his estimation, TCD no longer had an advocate there. “They weren’t equipped to handle the Daughters the way they needed to be presented,” he said in the same \u003ci>Express\u003c/i> article. “When you talk about misogyny in hip-hop, it exists on a label level as well.”\u003c/p>\n\u003cp>Mejia thinks TCD could have had a much longer career with the proper support. “They didn’t get all the breaks that they should have,” he says. “In the ’90s a lot of female MCs did not get their credit and just due, or the financial support to compete. So they began to lose, even though their lyrics were just as good as anybody else, their beats were as good as anybody else. People in power were not correctly handling the job of creating balance, and it affected music.”\u003c/p>\n\u003cfigure id=\"attachment_13925187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/IMG_5925-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/IMG_5925-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carla “CMG” Green wears a T-shirt with a portrait of Karryl “Special One” Smith in Berkeley on January 20, 2023. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CMG recalls that Napster’s debut in 1999 threw the music industry into chaos. Amid a panic about leaked albums and illegal downloads, labels shelved many artists’ work — and The Conscious Daughters’ third album hung in limbo at Universal. Titled \u003ci>The Nutcracker Suite\u003c/i>, it eventually came out in 2009 on Paris’ Guerrilla Funk label. But the rare release, best known for its revenge fantasies about domestic abusers, is not currently on streaming services — CMG and Paris say Universal pulled it because of copyright issues.\u003c/p>\n\u003cp>In the years between their second and third albums, life changed for the Conscious Daughters. CMG focused on raising her son, and Special One, who also became a parent, became active in the LGBTQ+ nightlife scene.\u003c/p>\n\u003cp>“If she was here today, she’d be loving life, I’m sure,” CMG says. “She would be involved in a lot more things in the community as far as LGBTQ goes. I know that she would probably be running some sort of nonprofit or being some kind of radio personality.”\u003c/p>\n\u003cp>Tragically, Special One died suddenly in 2011 due to a health condition that resulted in blood clots. CMG still gets emotional when she remembers her best friend, but beams as she recalls Special One’s barrier-breaking accomplishments.\u003c/p>\n\u003cfigure id=\"attachment_13925188\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/tcd1.jpg\" alt=\"\" width=\"750\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1-160x159.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The Conscious Daughters with mentor and producer Paris in the 1990s. \u003ccite>(Courtesy of CMG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Conscious Daughters went mainstream with pro-woman lyrics that defied the status quo. They reached a huge variety of audiences — schoolteachers, drug dealers and former Black Panthers alike — and paved the way for other women in the industry to be bolder and more outspoken.\u003c/p>\n\u003cp>“People really tapped into what we were talking about,” CMG says. “Back then, it mattered.”\u003c/p>\n\u003cp>Paris puts it even more strongly. “The Conscious Daughters are the greatest female hip-hop group in the genre’s history,” he says. “They should be heralded as such for their authenticity, raw talent, and female-centric messages of empowerment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Louis Vuitton has named multitalented singer-songwriter-philanthropist Pharrell Williams creative director of its menswear division, replacing the late Virgil Abloh, the company said Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13925110']“Pharrell Williams is a visionary whose creative universes expand from music, to art and to fashion — establishing himself as a cultural, global icon over the past 20 years,” the luxury house said in a statement.\u003c/p>\n\u003cp>Word on the appointment first broke in\u003cem> The Wall Street Journal\u003c/em> and \u003cem>Le Figaro\u003c/em>.\u003c/p>\n\u003cp>The “Happy” singer is a 13-time Grammy winner and two-time Oscar nominee with experience working with luxury brands and designers like the late Karl Lagerfeld.\u003c/p>\n\u003cp>The appointment is effective immediately. Williams’ first collection is scheduled to be shown during Paris Men’s Fashion Week in June.\u003c/p>\n\u003cfigure id=\"attachment_13925140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1463596849-800x533.jpg\" alt=\"A slender Black man wearing a red leather tracksuit and full length fur coat stands on the red carpet wearing bejeweled sunglasses. At his side is a beautiful mixed race woman with long dark hair. She is wearing a black version of the red tracksuit.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pharrell Williams and Helen Lasichanh attend the 65th GRAMMY Awards, February 2023 in LA. \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The position had been left vacant since November 2021, when Abloh died of cancer at age 41. He was a groundbreaking designer and tastemaker known for merging streetwear and high fashion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Abloh’s ubiquitous, consumer-friendly presence in culture was wide-ranging and dynamic. Some compared him to Jeff Koons. Others hailed him as his generation’s Lagerfeld, Chanel’s longtime creative director who died in 2019. Abloh was the first Black director of menswear at Louis Vuitton, one of France’s most storied fashion houses.\u003c/p>\n\u003cp>[aside postid='arts_13925119']After Abloh’s death, the brand carried on with splashy men’s shows, largely without a creative director. Abloh, a DJ and founder of the brand Off-White, turned the job at Louis Vuitton into that of “curator,” rather than simply “designer,” as he expanded his interests into housewares, art, jewelry, industrial design and architecture.\u003c/p>\n\u003cp>Williams collaborated with the luxury group LVMH (Louis Vuitton Moët Hennessy) in 2004 and 2008. He had a massively popular sneaker collaboration with Chanel in 2017 and a unisex clothing collection in 2019 that he designed with Lagerfeld. He also has his own fashion brands, including Billionaire Boys Club and Icecream.\u003c/p>\n\u003cp>“His creative vision beyond fashion will undoubtedly lead Louis Vuitton towards a new and very exciting chapter,” the brand’s new chairman and CEO, Pietro Beccari, said in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Pharrell Williams is a visionary whose creative universes expand from music, to art and to fashion — establishing himself as a cultural, global icon over the past 20 years,” the luxury house said in a statement.\u003c/p>\n\u003cp>Word on the appointment first broke in\u003cem> The Wall Street Journal\u003c/em> and \u003cem>Le Figaro\u003c/em>.\u003c/p>\n\u003cp>The “Happy” singer is a 13-time Grammy winner and two-time Oscar nominee with experience working with luxury brands and designers like the late Karl Lagerfeld.\u003c/p>\n\u003cp>The appointment is effective immediately. Williams’ first collection is scheduled to be shown during Paris Men’s Fashion Week in June.\u003c/p>\n\u003cfigure id=\"attachment_13925140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1463596849-800x533.jpg\" alt=\"A slender Black man wearing a red leather tracksuit and full length fur coat stands on the red carpet wearing bejeweled sunglasses. At his side is a beautiful mixed race woman with long dark hair. She is wearing a black version of the red tracksuit.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1463596849-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pharrell Williams and Helen Lasichanh attend the 65th GRAMMY Awards, February 2023 in LA. \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The position had been left vacant since November 2021, when Abloh died of cancer at age 41. He was a groundbreaking designer and tastemaker known for merging streetwear and high fashion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After Abloh’s death, the brand carried on with splashy men’s shows, largely without a creative director. Abloh, a DJ and founder of the brand Off-White, turned the job at Louis Vuitton into that of “curator,” rather than simply “designer,” as he expanded his interests into housewares, art, jewelry, industrial design and architecture.\u003c/p>\n\u003cp>Williams collaborated with the luxury group LVMH (Louis Vuitton Moët Hennessy) in 2004 and 2008. He had a massively popular sneaker collaboration with Chanel in 2017 and a unisex clothing collection in 2019 that he designed with Lagerfeld. He also has his own fashion brands, including Billionaire Boys Club and Icecream.\u003c/p>\n\u003cp>“His creative vision beyond fashion will undoubtedly lead Louis Vuitton towards a new and very exciting chapter,” the brand’s new chairman and CEO, Pietro Beccari, said in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 AP. To see more, visit \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener\">the AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13906481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This month, hip-hop artist, educator and activist Mystic is making playlists, hosting discussions and dropping verses about the power of love. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland hip-hop artist \u003ca href=\"https://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener\">Mystic\u003c/a> is a deep thinker about many issues — the environment, social justice and healing.\u003c/p>\n\u003cp>But connecting her activism, education work and art is love.\u003c/p>\n\u003cp>“Love is revolutionary,” said the Grammy-nominated artist and Oxford-educated community activist. “The only way that I believe that we can move forward is as a collective and grounded in love.”\u003c/p>\n\u003cp>So as folks are likely thinking more about this on Valentine’s Day, Mystic has been running a programming series called Additional Love Month, and tying this in with what she calls Additional Black History Month in February.\u003c/p>\n\u003cp>“The world is in need of more love, and I want to help with that,” she said on \u003ca href=\"https://www.instagram.com/reel/CoIRS6WDBRN/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In trying to uplift and celebrate love in all its forms, Mystic has been \u003ca href=\"https://www.instagram.com/p/CoVeo72obV-/\" target=\"_blank\" rel=\"noopener\">hosting discussions\u003c/a>, and posting love notes and verse performances of her own songs on Instagram. She has also been \u003ca href=\"https://open.spotify.com/playlist/0HukqjZNH1u8qhry063lsS?si=7NhOuP3wRT2VhPf80eI80w&nd=1\" target=\"_blank\" rel=\"noopener\">curating a playlist\u003c/a> with contributions from her family, friends and collaborators.\u003c/p>\n\u003cp>She talked more about this with KQED morning host Brian Watt. [aside postid='arts_13906176']\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>BRIAN WATT:\u003c/strong> This celebration of Additional Love Month is inspired in part by your latest work, which draws on the writings of bell hooks. Tell me more about that.\u003c/p>\n\u003cp>\u003cstrong>MYSTIC:\u003c/strong> [My album] \u003cem>Dreaming in Cursive: The Girl Who Loved Sparklers\u003c/em> is what I call my healed Black woman music. When I first started creating hip-hop, when I was 16, I was, what I call, a broken Black girl, having experienced sexual assault and just the kind of in and outs of daily life in the ’90s in Oakland. With this album, I was really intentional about wanting to create art and sound and visuals that are about affirmation, that are about love.\u003c/p>\n\u003cp>And so bell hooks, in her book \u003cem>All About Love\u003c/em>, which I encourage everyone to read multiple times across our lifetimes, it’s deeply striking to me because she’s exploring and examining love in a variety of different contexts, using her personal experiences, but also focusing on community, spirituality, on the connections between us. And even in the first chapter on clarity, she’s talking about our need to collectively define what does love mean. Love is nurturing and care, and it is in opposition to harm and to exploitation.\u003c/p>\n\u003cp>https://youtu.be/oOWb6An8pXg\u003c/p>\n\u003cp>\u003cstrong>My producer told me you almost called the album \u003cem>Love Songs\u003c/em>.\u003c/strong>\u003c/p>\n\u003cp>I wanted to call it that because every single song on the album is a love song, and whether it’s romantic or [like] in the song, “Here Alive,” I start off talking to young people and children around the world who may be living in slums, who are living lives in which we are often not valorized as people of color. And then I go on to speak to men and folks who are incarcerated, and then I go on and speak to my sisters and to women who have been oppressed and violated in the world.\u003c/p>\n\u003cp>But in saying “Here, Alive,” we need you here, alive, keep pushing on, it’s about that love that collectively we can move through this world in love with each other.\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=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3117910548/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>So what is it about the experience of writing love songs?\u003c/strong>\u003c/p>\n\u003cp>I don’t think about them necessarily as far as love songs. They’re all love songs, right? But depending on what I’m writing, I’m not necessarily sitting down and going, okay, I’m going to write a romantic love song right now, or I’m going to write a love song for children or for the planet. And very often, as you said, these things are kind of mixed together in one piece of one piece of art. But, you know, I listen to the music, the production, and what does the music touch in my heart and in my spirit that opens up that story within me that needs to be told.\u003c/p>\n\u003cp>\u003cstrong>You grew up in Oakland. You live there now. What has the city taught you about love and how has it influenced your music?\u003c/strong>\u003c/p>\n\u003cp>My mother moved me to Oakland [in] ninth grade, summer. I was exposed to this really profound depth of sociopolitical thought that is a running thread in the community of Oakland, where the Black Panthers and others took it upon themselves to try to feed our communities and liberate our people and liberate our communities. That’s love. Love is liberation, right?\u003c/p>\n\u003cp>Oakland taught me what it means to be devoted to your community, to be devoted to the alliances that can be made across physical borders of neighborhoods and ethnicities and races, and that we can be together. And there’s this feeling in Oakland, too, because so many families migrated from the South that is kind of like this relaxed, soothing place to be with this thriving, thriving life. And so it just it continues to inspire me everyday because there’s also such deep inequality.\u003c/p>\n\u003cp>It was also a beautiful time in hip-hop in Oakland. We were creating culture. At this time, we’ve got Souls of Mischief, we’ve got E-40 and The Click, and independent labels. A-plus from Souls of Mischief, his mom lived across the street from my mom, so I got to come up with Hieroglyphics and learn to freestyle with them. [aside postid='arts_13923938']\u003c/p>\n\u003cp>At that time in my life, art saved my life.\u003c/p>\n\u003cp>\u003cstrong>You have also asked people to give you suggestions on love songs as part of your \u003ca href=\"https://open.spotify.com/playlist/0HukqjZNH1u8qhry063lsS?si=7NhOuP3wRT2VhPf80eI80w&nd=1\" target=\"_blank\" rel=\"noopener\">Additional Love Month playlist\u003c/a>. What are some of the tracks that stand out to you?\u003c/strong>\u003c/p>\n\u003cp>I got sent some Beethoven. I got sent a lot of Sade “Cherish the Day.” But the range! It’s jazz, it’s country, it’s classical, it’s hip-hop, it’s soul. I’ve been really surprised by who sent me what — like hip-hop artists sent me country songs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Questlove sent me over some playlists that I could pull songs from. My momma, my cousin, my brother, all of those folks added in the songs as well. So I’m delighted. And just like Additional Love Month is going to be every month of February from this year going forward. I will do one of these collective playlists every year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13906481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This month, hip-hop artist, educator and activist Mystic is making playlists, hosting discussions and dropping verses about the power of love. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland hip-hop artist \u003ca href=\"https://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener\">Mystic\u003c/a> is a deep thinker about many issues — the environment, social justice and healing.\u003c/p>\n\u003cp>But connecting her activism, education work and art is love.\u003c/p>\n\u003cp>“Love is revolutionary,” said the Grammy-nominated artist and Oxford-educated community activist. “The only way that I believe that we can move forward is as a collective and grounded in love.”\u003c/p>\n\u003cp>So as folks are likely thinking more about this on Valentine’s Day, Mystic has been running a programming series called Additional Love Month, and tying this in with what she calls Additional Black History Month in February.\u003c/p>\n\u003cp>“The world is in need of more love, and I want to help with that,” she said on \u003ca href=\"https://www.instagram.com/reel/CoIRS6WDBRN/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In trying to uplift and celebrate love in all its forms, Mystic has been \u003ca href=\"https://www.instagram.com/p/CoVeo72obV-/\" target=\"_blank\" rel=\"noopener\">hosting discussions\u003c/a>, and posting love notes and verse performances of her own songs on Instagram. She has also been \u003ca href=\"https://open.spotify.com/playlist/0HukqjZNH1u8qhry063lsS?si=7NhOuP3wRT2VhPf80eI80w&nd=1\" target=\"_blank\" rel=\"noopener\">curating a playlist\u003c/a> with contributions from her family, friends and collaborators.\u003c/p>\n\u003cp>She talked more about this with KQED morning host Brian Watt. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>BRIAN WATT:\u003c/strong> This celebration of Additional Love Month is inspired in part by your latest work, which draws on the writings of bell hooks. Tell me more about that.\u003c/p>\n\u003cp>\u003cstrong>MYSTIC:\u003c/strong> [My album] \u003cem>Dreaming in Cursive: The Girl Who Loved Sparklers\u003c/em> is what I call my healed Black woman music. When I first started creating hip-hop, when I was 16, I was, what I call, a broken Black girl, having experienced sexual assault and just the kind of in and outs of daily life in the ’90s in Oakland. With this album, I was really intentional about wanting to create art and sound and visuals that are about affirmation, that are about love.\u003c/p>\n\u003cp>And so bell hooks, in her book \u003cem>All About Love\u003c/em>, which I encourage everyone to read multiple times across our lifetimes, it’s deeply striking to me because she’s exploring and examining love in a variety of different contexts, using her personal experiences, but also focusing on community, spirituality, on the connections between us. And even in the first chapter on clarity, she’s talking about our need to collectively define what does love mean. Love is nurturing and care, and it is in opposition to harm and to exploitation.\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/oOWb6An8pXg'\n title='//www.youtube.com/embed/oOWb6An8pXg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>My producer told me you almost called the album \u003cem>Love Songs\u003c/em>.\u003c/strong>\u003c/p>\n\u003cp>I wanted to call it that because every single song on the album is a love song, and whether it’s romantic or [like] in the song, “Here Alive,” I start off talking to young people and children around the world who may be living in slums, who are living lives in which we are often not valorized as people of color. And then I go on to speak to men and folks who are incarcerated, and then I go on and speak to my sisters and to women who have been oppressed and violated in the world.\u003c/p>\n\u003cp>But in saying “Here, Alive,” we need you here, alive, keep pushing on, it’s about that love that collectively we can move through this world in love with each other.\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=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3117910548/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>So what is it about the experience of writing love songs?\u003c/strong>\u003c/p>\n\u003cp>I don’t think about them necessarily as far as love songs. They’re all love songs, right? But depending on what I’m writing, I’m not necessarily sitting down and going, okay, I’m going to write a romantic love song right now, or I’m going to write a love song for children or for the planet. And very often, as you said, these things are kind of mixed together in one piece of one piece of art. But, you know, I listen to the music, the production, and what does the music touch in my heart and in my spirit that opens up that story within me that needs to be told.\u003c/p>\n\u003cp>\u003cstrong>You grew up in Oakland. You live there now. What has the city taught you about love and how has it influenced your music?\u003c/strong>\u003c/p>\n\u003cp>My mother moved me to Oakland [in] ninth grade, summer. I was exposed to this really profound depth of sociopolitical thought that is a running thread in the community of Oakland, where the Black Panthers and others took it upon themselves to try to feed our communities and liberate our people and liberate our communities. That’s love. Love is liberation, right?\u003c/p>\n\u003cp>Oakland taught me what it means to be devoted to your community, to be devoted to the alliances that can be made across physical borders of neighborhoods and ethnicities and races, and that we can be together. And there’s this feeling in Oakland, too, because so many families migrated from the South that is kind of like this relaxed, soothing place to be with this thriving, thriving life. And so it just it continues to inspire me everyday because there’s also such deep inequality.\u003c/p>\n\u003cp>It was also a beautiful time in hip-hop in Oakland. We were creating culture. At this time, we’ve got Souls of Mischief, we’ve got E-40 and The Click, and independent labels. A-plus from Souls of Mischief, his mom lived across the street from my mom, so I got to come up with Hieroglyphics and learn to freestyle with them. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At that time in my life, art saved my life.\u003c/p>\n\u003cp>\u003cstrong>You have also asked people to give you suggestions on love songs as part of your \u003ca href=\"https://open.spotify.com/playlist/0HukqjZNH1u8qhry063lsS?si=7NhOuP3wRT2VhPf80eI80w&nd=1\" target=\"_blank\" rel=\"noopener\">Additional Love Month playlist\u003c/a>. What are some of the tracks that stand out to you?\u003c/strong>\u003c/p>\n\u003cp>I got sent some Beethoven. I got sent a lot of Sade “Cherish the Day.” But the range! It’s jazz, it’s country, it’s classical, it’s hip-hop, it’s soul. I’ve been really surprised by who sent me what — like hip-hop artists sent me country songs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Questlove sent me over some playlists that I could pull songs from. My momma, my cousin, my brother, all of those folks added in the songs as well. So I’m delighted. And just like Additional Love Month is going to be every month of February from this year going forward. I will do one of these collective playlists every year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "David Jolicoeur, De La Soul's Trugoy the Dove, Dies at 54",
"headTitle": "David Jolicoeur, De La Soul’s Trugoy the Dove, Dies at 54 | KQED",
"content": "\u003cp>The most formative musical memory of my youth occurred 30,000 feet over central California in the summer of 1989. I was almost 17, flying on a school trip from LA to the Bay Area, and popped into my Walkman was an album I had just picked up from my local record store, Moby Disc: De La Soul’s \u003cem>3 Feet High and Rising.\u003c/em> When the cassette reached “Eye Know,” about midway through Side A, I sat transfixed in my seat. I had never heard anything like this before: an earnest rap song about love that wasn’t a sappy radio ballad (no offense, \u003ca href=\"https://www.youtube.com/watch?v=NEUX-HYRtUA\">LL Cool J\u003c/a>), set to a delicious groove that merged \u003ca href=\"https://www.youtube.com/watch?v=DX4cB_WhBB4\">’60s soul\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=u_pt3khMRFs\">’70s art pop\u003c/a>. Part of me wanted to take my headphones off and share the song with one of my classmates but the part that was selfish won out. When the track ended, I rewound and played it again. And again. And again. “Eye Know” wasn’t the first rap song I ever heard but it was the first that sparked an interest to explore the music and culture behind it. As with many others who discovered hip-hop in that same era, that private epiphany changed my life’s trajectory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q9jCsOCfUUg\u003c/p>\n\u003cp>We learned yesterday that one of the group’s core members — David Jolicoeur, aka Trugoy the Dove, aka Plug Two — has come to the end of his own journey at the age of 54. As of this time, \u003ca href=\"https://apnews.com/article/trugoy-the-dove-dies-obituary-de-la-soul-music-86ebc0545ff2111c7b0fc6e6f491ef78\">no cause of death has been announced\u003c/a>, but in 2017, Jolicoeur revealed that he was\u003ca href=\"https://thesource.com/2017/11/13/de-la-souls-trugoy-reveals-congestive-heart-failure-latest-visual-royalty-capes/\"> suffering from congestive heart problems.\u003c/a> On Feb. 5, when De La Soul was feted as part of \u003ca href=\"https://www.npr.org/2023/02/05/1152837932/2023-grammy-awards-winners-beyonce\">this year’s Grammy Awards’\u003c/a> celebration of hip-hop’s 50th anniversary, Trugoy was conspicuously absent from the proceedings. \u003c/p>\n\u003cp>Like the rest of the group, including Kelvin “Posdnuos” Mercer, Vincent “P.A. Mase” Mason and their mentor “Prince Paul” Houston, Jolicoeur grew up in the Long Island village of Amityville; all four men met while attending Amityville Memorial High School. Their middle-class, suburban roots were an important part of their difference from most of the hip-hop landscape of the mid- and late-1980s when rap music was still associated with gritty, urban ‘hoods like Compton in Los Angeles or New York’s South Bronx and Queensbridge Projects. \u003c/p>\n\u003cp>The leading MCs who hailed from those areas were mostly brash braggarts with super-sized personalities: Think Big Daddy Kane, Run DMC, LL Cool J or Ice Cube. By comparison, Trugoy and his group-mates looked downright bookish, wearing “\u003ca href=\"https://genius.com/De-la-soul-buddy-lyrics#:~:text=Black%20medallions,%20no%20gold\">black medallions, no gold\u003c/a>,” and possessed of irreverent wit and cutting humor that became the group’s calling card. Dante Ross, who helped manage them after they signed to Tommy Boy Records in 1987, told \u003ca href=\"https://www.penguinrandomhouse.com/books/29811/check-the-technique-by-brian-coleman-introduction-by-ahmir-uestlove-thompson/\">\u003cem>Check the Technique\u003c/em>\u003c/a>\u003cem> \u003c/em>author Brian Coleman in 2007, “when De La Soul came in the game, there was just a changing of the guard. The gold chains and the macho s*** just wasn’t all that anymore.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_10144907']Trugoy, in particular, felt like the group’s irrepressible id, the embodiment of De La’s D.A.I.S.Y. (Da Inner Soul Ya’ll) Age ethos of the time with his floppy dreads and gap-tooth smile. Both he and Posdnuos were skillful MCs, but while his rhyming partner possessed a sharp, precise flow and more topical songwriting, there was a care-free charisma to how Trugoy carried himself on mic. Chris “Thes One” Portugal, of the LA rap duo People Under the Stairs, grew up on De La’s music too, and he described Trugoy to me as possessing a “leader of the outsiders vibe,” observing that the “effortless cool of his verses magnified our assumptions of [the group’s] character: laid back and loose.”\u003c/p>\n\u003cp>Over the course of their early albums, beginning with \u003cem>Three Feet High and Rising\u003c/em> and continuing with \u003cem>De La Soul Is Dead\u003c/em> in 1991, \u003cem>Buhloone Mindstate\u003c/em> in 1993 and \u003cem>Stakes Is High \u003c/em>in 1996, De La became avatars for future generations of hip-hop nerds and geeks inspired by the group’s commitment to creativity and cleverness. Brooklyn’s Yasiin Bey (formerly known as Mos Def), who also idolized De La Soul as a teenager, explained to me in 1999: “They weren’t just arbitrarily creative. They were really intense with mad thought and focus. [No one] thought hip hop could be like that.”\u003c/p>\n\u003cp>The group recorded steadily from 1989 through 2001, when they released \u003cem>AOI: Bionix,\u003c/em> the last of their six albums for Tommy Boy. They shifted to an independent model after that and their output slowed considerably, releasing just two albums after 2004, most recently the crowd-funded \u003cem>and the Anonymous Nobody…\u003c/em> in 2016. For all their humor, the group spent decades waging serious battles with the music industry, partly around their\u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\"> sampling practices\u003c/a>, and mostly with Tommy Boy. One\u003ca href=\"https://variety.com/2019/music/news/de-la-souls-digital-album-releases-postponed-by-tommy-boy-records-exclusive-1203152398/\"> legacy of those disagreements with the label\u003c/a> has been the absence of most of their albums from legal streaming services, an unfathomable void in the age of the infinite jukebox. This travesty is\u003ca href=\"https://pitchfork.com/news/de-la-soul-finally-bringing-classic-albums-to-streaming-services-group-confirms/#:~:text=De%20La%20Soul's%20classic,the%20distribution%20wing%20of%20Chrysalis.\"> finally being rectified\u003c/a> on March 3, but it’s a sad, cruel irony that Trugoy should pass away mere days before the indefensibly delayed return of his and De La’s music to the masses. Normally, the death of a beloved musical artist leads people to dive back into their catalogs, sharing favorite songs with others. The basic gestures we normally take for granted are impossible right now because of De La’s absence from common of streaming sites. \u003c/p>\n\u003cp>On the other hand, it also means that the next couple of weeks can serve as a celebration of Trugoy’s life and legacy, culminating on March 3 when so much of De La’s best work will finally be available again. I’ve had the benefit of having their old tapes, CDs and vinyl recordings on hand to revisit all these years but it’s the potential new fans who will benefit the most from De La’s long-delayed digital debut. It’s hard to imagine a more fitting tribute to Trugoy than for a next generation of listeners to sit with his music and potentially have their own life’s trajectories set anew. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Oliver Wang is a Los Angeles-based culture writer and professor of sociology at CSU Long Beach. \u003c/em> \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=David+Jolicoeur%2C+De+La+Soul%27s+Trugoy+the+Dove%2C+dies+at+54&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most formative musical memory of my youth occurred 30,000 feet over central California in the summer of 1989. I was almost 17, flying on a school trip from LA to the Bay Area, and popped into my Walkman was an album I had just picked up from my local record store, Moby Disc: De La Soul’s \u003cem>3 Feet High and Rising.\u003c/em> When the cassette reached “Eye Know,” about midway through Side A, I sat transfixed in my seat. I had never heard anything like this before: an earnest rap song about love that wasn’t a sappy radio ballad (no offense, \u003ca href=\"https://www.youtube.com/watch?v=NEUX-HYRtUA\">LL Cool J\u003c/a>), set to a delicious groove that merged \u003ca href=\"https://www.youtube.com/watch?v=DX4cB_WhBB4\">’60s soul\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=u_pt3khMRFs\">’70s art pop\u003c/a>. Part of me wanted to take my headphones off and share the song with one of my classmates but the part that was selfish won out. When the track ended, I rewound and played it again. And again. And again. “Eye Know” wasn’t the first rap song I ever heard but it was the first that sparked an interest to explore the music and culture behind it. As with many others who discovered hip-hop in that same era, that private epiphany changed my life’s trajectory.\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/q9jCsOCfUUg'\n title='//www.youtube.com/embed/q9jCsOCfUUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We learned yesterday that one of the group’s core members — David Jolicoeur, aka Trugoy the Dove, aka Plug Two — has come to the end of his own journey at the age of 54. As of this time, \u003ca href=\"https://apnews.com/article/trugoy-the-dove-dies-obituary-de-la-soul-music-86ebc0545ff2111c7b0fc6e6f491ef78\">no cause of death has been announced\u003c/a>, but in 2017, Jolicoeur revealed that he was\u003ca href=\"https://thesource.com/2017/11/13/de-la-souls-trugoy-reveals-congestive-heart-failure-latest-visual-royalty-capes/\"> suffering from congestive heart problems.\u003c/a> On Feb. 5, when De La Soul was feted as part of \u003ca href=\"https://www.npr.org/2023/02/05/1152837932/2023-grammy-awards-winners-beyonce\">this year’s Grammy Awards’\u003c/a> celebration of hip-hop’s 50th anniversary, Trugoy was conspicuously absent from the proceedings. \u003c/p>\n\u003cp>Like the rest of the group, including Kelvin “Posdnuos” Mercer, Vincent “P.A. Mase” Mason and their mentor “Prince Paul” Houston, Jolicoeur grew up in the Long Island village of Amityville; all four men met while attending Amityville Memorial High School. Their middle-class, suburban roots were an important part of their difference from most of the hip-hop landscape of the mid- and late-1980s when rap music was still associated with gritty, urban ‘hoods like Compton in Los Angeles or New York’s South Bronx and Queensbridge Projects. \u003c/p>\n\u003cp>The leading MCs who hailed from those areas were mostly brash braggarts with super-sized personalities: Think Big Daddy Kane, Run DMC, LL Cool J or Ice Cube. By comparison, Trugoy and his group-mates looked downright bookish, wearing “\u003ca href=\"https://genius.com/De-la-soul-buddy-lyrics#:~:text=Black%20medallions,%20no%20gold\">black medallions, no gold\u003c/a>,” and possessed of irreverent wit and cutting humor that became the group’s calling card. Dante Ross, who helped manage them after they signed to Tommy Boy Records in 1987, told \u003ca href=\"https://www.penguinrandomhouse.com/books/29811/check-the-technique-by-brian-coleman-introduction-by-ahmir-uestlove-thompson/\">\u003cem>Check the Technique\u003c/em>\u003c/a>\u003cem> \u003c/em>author Brian Coleman in 2007, “when De La Soul came in the game, there was just a changing of the guard. The gold chains and the macho s*** just wasn’t all that anymore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Trugoy, in particular, felt like the group’s irrepressible id, the embodiment of De La’s D.A.I.S.Y. (Da Inner Soul Ya’ll) Age ethos of the time with his floppy dreads and gap-tooth smile. Both he and Posdnuos were skillful MCs, but while his rhyming partner possessed a sharp, precise flow and more topical songwriting, there was a care-free charisma to how Trugoy carried himself on mic. Chris “Thes One” Portugal, of the LA rap duo People Under the Stairs, grew up on De La’s music too, and he described Trugoy to me as possessing a “leader of the outsiders vibe,” observing that the “effortless cool of his verses magnified our assumptions of [the group’s] character: laid back and loose.”\u003c/p>\n\u003cp>Over the course of their early albums, beginning with \u003cem>Three Feet High and Rising\u003c/em> and continuing with \u003cem>De La Soul Is Dead\u003c/em> in 1991, \u003cem>Buhloone Mindstate\u003c/em> in 1993 and \u003cem>Stakes Is High \u003c/em>in 1996, De La became avatars for future generations of hip-hop nerds and geeks inspired by the group’s commitment to creativity and cleverness. Brooklyn’s Yasiin Bey (formerly known as Mos Def), who also idolized De La Soul as a teenager, explained to me in 1999: “They weren’t just arbitrarily creative. They were really intense with mad thought and focus. [No one] thought hip hop could be like that.”\u003c/p>\n\u003cp>The group recorded steadily from 1989 through 2001, when they released \u003cem>AOI: Bionix,\u003c/em> the last of their six albums for Tommy Boy. They shifted to an independent model after that and their output slowed considerably, releasing just two albums after 2004, most recently the crowd-funded \u003cem>and the Anonymous Nobody…\u003c/em> in 2016. For all their humor, the group spent decades waging serious battles with the music industry, partly around their\u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\"> sampling practices\u003c/a>, and mostly with Tommy Boy. One\u003ca href=\"https://variety.com/2019/music/news/de-la-souls-digital-album-releases-postponed-by-tommy-boy-records-exclusive-1203152398/\"> legacy of those disagreements with the label\u003c/a> has been the absence of most of their albums from legal streaming services, an unfathomable void in the age of the infinite jukebox. This travesty is\u003ca href=\"https://pitchfork.com/news/de-la-soul-finally-bringing-classic-albums-to-streaming-services-group-confirms/#:~:text=De%20La%20Soul's%20classic,the%20distribution%20wing%20of%20Chrysalis.\"> finally being rectified\u003c/a> on March 3, but it’s a sad, cruel irony that Trugoy should pass away mere days before the indefensibly delayed return of his and De La’s music to the masses. Normally, the death of a beloved musical artist leads people to dive back into their catalogs, sharing favorite songs with others. The basic gestures we normally take for granted are impossible right now because of De La’s absence from common of streaming sites. \u003c/p>\n\u003cp>On the other hand, it also means that the next couple of weeks can serve as a celebration of Trugoy’s life and legacy, culminating on March 3 when so much of De La’s best work will finally be available again. I’ve had the benefit of having their old tapes, CDs and vinyl recordings on hand to revisit all these years but it’s the potential new fans who will benefit the most from De La’s long-delayed digital debut. It’s hard to imagine a more fitting tribute to Trugoy than for a next generation of listeners to sit with his music and potentially have their own life’s trajectories set anew. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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