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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/super-bowl\">Super Bowl\u003c/a> week is upon us, and by now you’ve likely heard of all the big-time hotshot corporate parties. Kehlani and Dom Dolla are coming to San José, Illenium is performing at the Cow Palace, and Calvin Harris is making his appearance at the Midway. The Bay Area is packed with watch parties, concerts and block parties to celebrate the game.\u003c/p>\n\u003cp>But for those who favor more chill, less commercialized sports-oriented events, there’s no shortage of options. Whether it’s because you’re not a huge football fan yourself, or your team didn’t make it into the mix, here’s a list of game-week events that aren’t exceedingly big, brawny and Super Bowl-centric. Even though you may not be into the game, it doesn’t mean you can’t have a little bit of fun too.\u003c/p>\n\u003cfigure id=\"attachment_13985982\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985982\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_.jpg\" alt=\"\" width=\"2000\" height=\"941\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_-768x361.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Jon-Kermit-Inexplicable.and_.Mario_.Dimas_-1536x723.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Jonathan Kermit (left) and Mario Dimas included in ‘Super Hunger Anti Valentine Bowl Games Part LX’ at San José Works. \u003ccite>(San José Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://workssanjose.org/\">\u003cb>Super Hunger Anti Valentine Bowl Games Part LX \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Through Feb. 15\u003c/i>\u003cbr>\n\u003ci>San José Works, San José \u003c/i>\u003c/p>\n\u003cp>Works/San José is hosting their second ever Super Hunger Anti Valentine Bowl Games exhibition. Combining their biennial Anti Valentine exhibit with the excitement around the Super Bowl and upcoming \u003ci>Hunger Games\u003c/i> movie release, this open-call exhibit explores themes of love, hate, sports and brutality.\u003c/p>\n\u003cp>\u003ca href=\"https://sj26.sanjose.org/the-big-game?eventid=OTE3MTFfMjAyNi0wMi0wMg%253D%253D\">\u003cb>The Big Game Opening Night Drone Show\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 2\u003c/i>\u003cbr>\n\u003ci>Discovery Meadow, San José \u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Super Bowl week kicks off with drones lighting up the night sky in downtown San José. It’s free, family friendly, and you don’t have to know the names of the starting quarterbacks to enjoy it.\u003c/p>\n\u003cp>[aside postID='news_12071347']\u003ca href=\"https://www.eventbrite.com/e/bad-bunny-lookalike-contest-loteria-night-at-tacolicious-tickets-1980892840811?aff=erelexpmlt\">\u003cb>Bad Bunny Lookalike Contest and Lotería Party \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 5\u003c/i>\u003cbr>\n\u003ci>Tacolicious, San Francisco \u003c/i>\u003c/p>\n\u003cp>Maybe you’re more of a Bad Bunny fan than a football fan. While many people won’t be able to see the Puerto Rican star perform live in person, they’ll have the chance to catch his look-a-likes at Tacolicous’s contest while playing Lotería.\u003c/p>\n\u003cp>\u003ca href=\"https://visitunionsquaresf.com/park-programs\">\u003cb>Big Game Days in Union Square\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 5–7 \u003c/i>\u003cbr>\n\u003ci>Union Square Plaza, San Francisco \u003c/i>\u003c/p>\n\u003cp>The days leading up to the game promise action in the heart of San Francisco. Free family-friendly events in Union Square serve up inflatable footballs, high-flying CheerSF stunts, Salsa in the Square, a Cal Band performance and a spicy hot wings showdown.\u003c/p>\n\u003cfigure id=\"attachment_13985984\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985984\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">San José’s downtown ice rink will be open throughout Super Bowl weekend. \u003ccite>(San José Downtown Ice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/DTbFWfKkox6/\">\u003cb>Downtown Ice Skating \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Through Feb. 8\u003c/i>\u003cbr>\n\u003ci>120 S. Market St., San José \u003c/i>\u003c/p>\n\u003cp>Although the holiday season has melted away, Downtown San José’s ice rink stays frozen in place. While it usually closes down by the time Super Bowl season comes around, DTSJ has extended their “Downtown Ice” through Super Bowl weekend.\u003c/p>\n\u003cp>\u003ca href=\"https://events.scu.edu/de-saisset/event/369470-kota-ezawa-artist-talk-one-day-screening-of-national-\">\u003cb>Kota Ezawa: Artist Talk & One-Day Screening of ‘National Anthem\u003c/b>\u003c/a>\u003cb>’\u003c/b>\u003cbr>\n\u003ci>Feb. 7 \u003c/i>\u003cbr>\n\u003ci>de Saisset Museum, Santa Clara University\u003c/i>\u003c/p>\n\u003cp>If peaceful protests, racial injustice or police brutality are on your mind, Oakland-based artist Kota Ezawa’s watercolor animation, \u003ci>National Anthem\u003c/i>, will play on loop at SCU’s de Saisset Museum. The piece documents athletes “taking a knee” during the national anthem. Ezawa will speak at 12:30 p.m., and a reception follows.\u003c/p>\n\u003cp>[aside postID='arts_13985599']\u003ca href=\"https://www.eventbrite.com/o/fan-love-llc-31428601917\">\u003cb>Paint, Sip, Perrero! \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 7–8\u003c/i>\u003cbr>\n\u003ci>Theory, Oakland\u003c/i>\u003c/p>\n\u003cp>Reggaetón sets the tone at this Bad Bunny-themed paint-and-sip in Oakland, taking place both the day before and the day of the Super Bowl. Pre-sketched canvases celebrate Bad Bunny’s style, a curated playlist keeps the beats going, and cocktails keep the creativity flowing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.visitoakland.com/event/super-bowl-weekend-art-party%3A-benito-bowl/34988/\">\u003cb>Super Bowl Weekend Rooftop Art Party \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 8 \u003c/i>\u003cbr>\n\u003ci>Torch Oakland Rooftop Bar \u003c/i>\u003c/p>\n\u003cp>The classic paint-and-sip meets the Super Bowl at Oakland’s Torch Rooftop Bar. Champagne, wine, mimosas – regardless of your drink of preference, here’s the chance to get boozy with brushstrokes as the big game plays in the background.\u003c/p>\n\u003cfigure id=\"attachment_13985985\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A family attends one of SFMOMA’s Family Studio workshops.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfmoma.org/event/family-studio-sports-pennants/\">\u003cb>SFMOMA Sports Pennant Making\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 8 \u003c/i>\u003cbr>\n\u003ci>SFMOMA, San Francisco \u003c/i>\u003c/p>\n\u003cp>If you’d rather spend your day crafting rather than watching the big game, SFMOMA is hosting a free craft session for families to create sports pennants of their favorite teams as part of their Family Sundays program.\u003c/p>\n\u003cp>\u003ca href=\"http://sjdowntown.com/event/tackle-san-jose-clean-up-with-the-mayor/2026-07-11/\">\u003cb>Tackle San José: Clean Up With the Mayor \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Various dates and locations\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A volunteer clean-up service is another way of bringing the community together for the big game. This year, BeautifySJ and San José’s Mayor (and \u003ca href=\"https://www.kqed.org/news/12071306/san-jose-mayor-matt-mahan-announces-run-for-california-governor\">candidate for governor\u003c/a>) Matt Mahan are hosting multiple clean-up events downtown every weekend leading up to the Super Bowl.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.eventbrite.com/e/bad-bunny-lookalike-contest-loteria-night-at-tacolicious-tickets-1980892840811?aff=erelexpmlt\">\u003cb>Bad Bunny Lookalike Contest and Lotería Party \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 5\u003c/i>\u003cbr>\n\u003ci>Tacolicious, San Francisco \u003c/i>\u003c/p>\n\u003cp>Maybe you’re more of a Bad Bunny fan than a football fan. While many people won’t be able to see the Puerto Rican star perform live in person, they’ll have the chance to catch his look-a-likes at Tacolicous’s contest while playing Lotería.\u003c/p>\n\u003cp>\u003ca href=\"https://visitunionsquaresf.com/park-programs\">\u003cb>Big Game Days in Union Square\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 5–7 \u003c/i>\u003cbr>\n\u003ci>Union Square Plaza, San Francisco \u003c/i>\u003c/p>\n\u003cp>The days leading up to the game promise action in the heart of San Francisco. Free family-friendly events in Union Square serve up inflatable footballs, high-flying CheerSF stunts, Salsa in the Square, a Cal Band performance and a spicy hot wings showdown.\u003c/p>\n\u003cfigure id=\"attachment_13985984\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985984\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SanJoseDowntownIce-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">San José’s downtown ice rink will be open throughout Super Bowl weekend. \u003ccite>(San José Downtown Ice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/DTbFWfKkox6/\">\u003cb>Downtown Ice Skating \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Through Feb. 8\u003c/i>\u003cbr>\n\u003ci>120 S. Market St., San José \u003c/i>\u003c/p>\n\u003cp>Although the holiday season has melted away, Downtown San José’s ice rink stays frozen in place. While it usually closes down by the time Super Bowl season comes around, DTSJ has extended their “Downtown Ice” through Super Bowl weekend.\u003c/p>\n\u003cp>\u003ca href=\"https://events.scu.edu/de-saisset/event/369470-kota-ezawa-artist-talk-one-day-screening-of-national-\">\u003cb>Kota Ezawa: Artist Talk & One-Day Screening of ‘National Anthem\u003c/b>\u003c/a>\u003cb>’\u003c/b>\u003cbr>\n\u003ci>Feb. 7 \u003c/i>\u003cbr>\n\u003ci>de Saisset Museum, Santa Clara University\u003c/i>\u003c/p>\n\u003cp>If peaceful protests, racial injustice or police brutality are on your mind, Oakland-based artist Kota Ezawa’s watercolor animation, \u003ci>National Anthem\u003c/i>, will play on loop at SCU’s de Saisset Museum. The piece documents athletes “taking a knee” during the national anthem. Ezawa will speak at 12:30 p.m., and a reception follows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.eventbrite.com/o/fan-love-llc-31428601917\">\u003cb>Paint, Sip, Perrero! \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 7–8\u003c/i>\u003cbr>\n\u003ci>Theory, Oakland\u003c/i>\u003c/p>\n\u003cp>Reggaetón sets the tone at this Bad Bunny-themed paint-and-sip in Oakland, taking place both the day before and the day of the Super Bowl. Pre-sketched canvases celebrate Bad Bunny’s style, a curated playlist keeps the beats going, and cocktails keep the creativity flowing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.visitoakland.com/event/super-bowl-weekend-art-party%3A-benito-bowl/34988/\">\u003cb>Super Bowl Weekend Rooftop Art Party \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 8 \u003c/i>\u003cbr>\n\u003ci>Torch Oakland Rooftop Bar \u003c/i>\u003c/p>\n\u003cp>The classic paint-and-sip meets the Super Bowl at Oakland’s Torch Rooftop Bar. Champagne, wine, mimosas – regardless of your drink of preference, here’s the chance to get boozy with brushstrokes as the big game plays in the background.\u003c/p>\n\u003cfigure id=\"attachment_13985985\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SFMOMA.FamilySTudi.Workshop.CRED_.Myleen.Hollero-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A family attends one of SFMOMA’s Family Studio workshops.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.sfmoma.org/event/family-studio-sports-pennants/\">\u003cb>SFMOMA Sports Pennant Making\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Feb. 8 \u003c/i>\u003cbr>\n\u003ci>SFMOMA, San Francisco \u003c/i>\u003c/p>\n\u003cp>If you’d rather spend your day crafting rather than watching the big game, SFMOMA is hosting a free craft session for families to create sports pennants of their favorite teams as part of their Family Sundays program.\u003c/p>\n\u003cp>\u003ca href=\"http://sjdowntown.com/event/tackle-san-jose-clean-up-with-the-mayor/2026-07-11/\">\u003cb>Tackle San José: Clean Up With the Mayor \u003c/b>\u003c/a>\u003cbr>\n\u003ci>Various dates and locations\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A volunteer clean-up service is another way of bringing the community together for the big game. This year, BeautifySJ and San José’s Mayor (and \u003ca href=\"https://www.kqed.org/news/12071306/san-jose-mayor-matt-mahan-announces-run-for-california-governor\">candidate for governor\u003c/a>) Matt Mahan are hosting multiple clean-up events downtown every weekend leading up to the Super Bowl.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Frak’s ‘Four Square’ Mixtape Showcases a Rare Roster of Talent",
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"content": "\u003cp>When San Francisco rapper \u003ca href=\"https://www.kqed.org/arts/13963964/san-franciscos-frak-has-been-wild-n-out\">Frak\u003c/a> started his \u003ca href=\"https://www.instagram.com/foursquare.bars/\">\u003cem>Four Square\u003c/em>\u003c/a> video series, he allowed local legends of linguistics to show off their pen game while trading sets of four bars.\u003c/p>\n\u003cp>Now, after 18 episodes over nearly three years, and on the verge of dropping a 16-song mixtape of the same name, he’s accumulated a “lyricist lounge” of sorts. On Four Square, Frak isn’t exactly the star of the show. Instead, he’s a conduit — a bridge connecting artists and amplifying their craft.\u003c/p>\n\u003cp>The \u003cem>Four Square\u003c/em> mixtape features a rare roster of rappers that includes \u003ca href=\"https://www.instagram.com/delhiero/\">Del the Funky Homosapien\u003c/a>, \u003ca href=\"https://www.instagram.com/pass510/\">Passwurdz\u003c/a>, \u003ca href=\"https://www.instagram.com/ozersf/\">Ozer\u003c/a>, \u003ca href=\"https://www.instagram.com/tia.nomore/\">Tia Nomore\u003c/a>, and \u003ca href=\"https://www.instagram.com/stunnaman02/\">Stunnaman02,\u003c/a> as well as \u003ca href=\"https://www.instagram.com/natecurry_/\">Nate Curry,\u003c/a> \u003ca href=\"https://www.instagram.com/blimesbrixton/?hl=en\">Blimes\u003c/a> and \u003ca href=\"https://www.instagram.com/gifted_gab/\">Gab\u003c/a>, \u003ca href=\"https://www.instagram.com/john_mackk/?hl=en\">John Mackk\u003c/a>, \u003ca href=\"https://www.instagram.com/g_eazy/\">G-Eazy\u003c/a> and \u003ca href=\"https://www.instagram.com/1100himself/\">1100 Himself\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=woyekmmbLUU\u003c/p>\n\u003cp>“When I invented Four Square,” says Frak during a recent call, “it was really because everyone was saying ‘You need to do collabs.'” Wanting to retain his solo music for his own personal expression, he created the separate arena to work with artists he looks up to — or sees coming up in the game.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Four Square,” Frak says, explaining the parameters of the songs, “is this idea of going back and forth in a conversational way.” Through short stanzas, the artists create songs that sound like discussions which just happen to rhyme, all over a dope beat.\u003c/p>\n\u003cp>True to form, that’s how the songs are created.\u003c/p>\n\u003cp>[aside postID=arts_13963964,arts_13965683]Frak, who’s recently performed on \u003ca href=\"https://www.youtube.com/watch?v=Hb9HV3Kpx6U\">Nick Cannon’s \u003cem>Wild ‘n Out\u003c/em>\u003c/a> and rapped on \u003ca href=\"https://www.youtube.com/shorts/Nz-QygJDGx4\">Kai Cenat’s\u003c/a> uber-popular Twitch live stream, is gifted at freestyling off the dome. When he pre-writes songs, the process usually takes weeks. But with Four Square, he adjusts to other rappers’ schedules, and “the songs are usually made within a couple of hours, if that,” he tells me.\u003c/p>\n\u003cp>It’s a process that’s made him up his ante and learn to rhyme alongside the likes of Nef The Pharaoh, who doesn’t write at all. Instead, the South Vallejo MC of “\u003ca href=\"https://www.youtube.com/watch?v=H3EPYFrBaoQ\">Big Timin\u003c/a>‘” fame punches in — similar to freestyling, but pausing along the way to add bars.\u003c/p>\n\u003cp>The end result may not take the form of a traditional song, says Frak, but it more closely documents an actual conversation from the session. And each conversation is unique.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YnG3PcQSuLo\u003c/p>\n\u003cp>On “\u003ca href=\"https://www.youtube.com/watch?v=YnG3PcQSuLo\">Created Player\u003c/a>,” with Oakland’s John Mackk — who like Frak, loves basketball — puns about hoop culture abound while the video imagines the duo as created players in an NBA2K-like video game.\u003c/p>\n\u003cp>For “\u003ca href=\"https://www.youtube.com/watch?v=TEPiNO0rk1Y&list=RDTEPiNO0rk1Y&start_radio=1\">Johnny Tsunami\u003c/a>,” with San Francisco rapper and actor Tia Nomore — one of the coolest kids in her class — the duo spits with a cool-breeze flow over a chill beat while the video shows them green-screen “surfing” on ocean waves, snowy hillsides, and concert crowds.\u003c/p>\n\u003cp>On the project’s first single, “\u003ca href=\"https://www.youtube.com/watch?v=ym2uYJ-byLU&list=RDym2uYJ-byLU&start_radio=1\">Heat Check\u003c/a>,” with the East Bay rap star G-Eazy, the theme is a last-man-standing old time wild west battle. Ironically, the two made the song after randomly connecting on the East Coast.\u003c/p>\n\u003cp>“I had a \u003ca href=\"https://www.youtube.com/watch?v=VXfP6RuMrFY\">compliment battle\u003c/a> in New York,” says Frak, referring to a competition where MCs give each others their flowers in a competitive way. During his stay, the Frisco lyricist was walking to dinner through Manhattan when heard a voice call out, “Is that motherfuckin’ Frak?”\u003c/p>\n\u003cp>And then G-Eazy’s tall, lanky frame “descended from the clouds” and announced he and his friends were crashing Frak’s dinner plans. The two ended up spending the better part of the ensuing five days together, during which G-Eazy produced a beat for the song they’d eventually use on \u003cem>Four Square\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ym2uYJ-byLU\u003c/p>\n\u003cp>“He’s such a huge artist,” says Frak, “I wasn’t even really trying to put pressure on him to do a song with me… but then he offered.” Frak adds that working opposite G-Eazy brought “a little battle vibe” to the track.\u003c/p>\n\u003cp>That competitive nature also came out in the track “Thai Thea,” featuring \u003ca href=\"https://www.instagram.com/iamsu/\">Iamsu!\u003c/a>\u003c/p>\n\u003cp>As a rapper who’s won his fair share of battles, Frak has enough humility to know when someone might’ve gotten the best of him. “I feel like Su was rapping circles [around me],” Frak admits. He, too, was spitting on that track, he adds, “but [Su] just showed such dexterity.” \u003c/p>\n\u003cp>The making of the project wasn’t all competition. For San Francisco’s Blimes and Seattle’s Gab, it was about camaraderie and reconnecting.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QA8xAWzymX0\u003c/p>\n\u003cp>“Those two hadn’t made a song together in years,” says Frak of Blimes and Gab. “You can hear it in the lyrics,” he notes.\u003c/p>\n\u003cp>“You know we had to run it back / Breakups are sad, ain’t no fun in that,” raps Blimes on the track “Smash Mouth.”\u003c/p>\n\u003cp>On top of reuniting the duo, Frak is facilitating their first show together in years. Blimes and Gab, plus many others, are set to perform at \u003ca href=\"http://ww2.kqed.org/arts/wp-admin/post.php?post=13940111&action=edit&classic-editor\">the \u003cem>Four Square \u003c/em>release party on Friday, Jan. 30, at The Independent\u003c/a> in San Francisco.\u003c/p>\n\u003cp>The \u003cem>Four Square\u003c/em> mixtape project is a fun, lyrical listen, and doesn’t short on the blap. (We always need the blap.) There’s a feature from \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del the Funky Homosapien\u003c/a>, a founding member of the almighty Hieroglyphics crew, and a song with \u003ca href=\"https://www.instagram.com/bookofmalachii_/?hl=en\">Malachi Martin\u003c/a>, the 18-year-old bar spitter from Merced who plays a significant role in \u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\">LaRussell’s Good Compenny\u003c/a> collective.\u003c/p>\n\u003cp>The mixtape doesn’t cover the \u003cem>entire\u003c/em> landscape of rappers in the region, but it offers a window into the who’s-who of Northern California hip-hop. And with ongoing discourse about the lack of local platforms for artists, it’s a step in the right direction of filling that need.\u003c/p>\n\u003cp>Of course, it would take an artist to support other artists.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Four Square mixtape release party, with guests Nef the Pharaoh, Seiji Oda, 1100 Himself, Blimes & Gab, Stunnaman02, Tia No More, Passwordz, Ozer, Kaly Jay and more, is set for Jan. 30 at The Independent in San Francisco (628 Divisadero Street, San Francisco, CA 94117). \u003ca href=\"https://www.theindependentsf.com/tm-event/frak-presents-four-square/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When San Francisco rapper \u003ca href=\"https://www.kqed.org/arts/13963964/san-franciscos-frak-has-been-wild-n-out\">Frak\u003c/a> started his \u003ca href=\"https://www.instagram.com/foursquare.bars/\">\u003cem>Four Square\u003c/em>\u003c/a> video series, he allowed local legends of linguistics to show off their pen game while trading sets of four bars.\u003c/p>\n\u003cp>Now, after 18 episodes over nearly three years, and on the verge of dropping a 16-song mixtape of the same name, he’s accumulated a “lyricist lounge” of sorts. On Four Square, Frak isn’t exactly the star of the show. Instead, he’s a conduit — a bridge connecting artists and amplifying their craft.\u003c/p>\n\u003cp>The \u003cem>Four Square\u003c/em> mixtape features a rare roster of rappers that includes \u003ca href=\"https://www.instagram.com/delhiero/\">Del the Funky Homosapien\u003c/a>, \u003ca href=\"https://www.instagram.com/pass510/\">Passwurdz\u003c/a>, \u003ca href=\"https://www.instagram.com/ozersf/\">Ozer\u003c/a>, \u003ca href=\"https://www.instagram.com/tia.nomore/\">Tia Nomore\u003c/a>, and \u003ca href=\"https://www.instagram.com/stunnaman02/\">Stunnaman02,\u003c/a> as well as \u003ca href=\"https://www.instagram.com/natecurry_/\">Nate Curry,\u003c/a> \u003ca href=\"https://www.instagram.com/blimesbrixton/?hl=en\">Blimes\u003c/a> and \u003ca href=\"https://www.instagram.com/gifted_gab/\">Gab\u003c/a>, \u003ca href=\"https://www.instagram.com/john_mackk/?hl=en\">John Mackk\u003c/a>, \u003ca href=\"https://www.instagram.com/g_eazy/\">G-Eazy\u003c/a> and \u003ca href=\"https://www.instagram.com/1100himself/\">1100 Himself\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/woyekmmbLUU'\n title='//www.youtube.com/embed/woyekmmbLUU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When I invented Four Square,” says Frak during a recent call, “it was really because everyone was saying ‘You need to do collabs.'” Wanting to retain his solo music for his own personal expression, he created the separate arena to work with artists he looks up to — or sees coming up in the game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Four Square,” Frak says, explaining the parameters of the songs, “is this idea of going back and forth in a conversational way.” Through short stanzas, the artists create songs that sound like discussions which just happen to rhyme, all over a dope beat.\u003c/p>\n\u003cp>True to form, that’s how the songs are created.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Frak, who’s recently performed on \u003ca href=\"https://www.youtube.com/watch?v=Hb9HV3Kpx6U\">Nick Cannon’s \u003cem>Wild ‘n Out\u003c/em>\u003c/a> and rapped on \u003ca href=\"https://www.youtube.com/shorts/Nz-QygJDGx4\">Kai Cenat’s\u003c/a> uber-popular Twitch live stream, is gifted at freestyling off the dome. When he pre-writes songs, the process usually takes weeks. But with Four Square, he adjusts to other rappers’ schedules, and “the songs are usually made within a couple of hours, if that,” he tells me.\u003c/p>\n\u003cp>It’s a process that’s made him up his ante and learn to rhyme alongside the likes of Nef The Pharaoh, who doesn’t write at all. Instead, the South Vallejo MC of “\u003ca href=\"https://www.youtube.com/watch?v=H3EPYFrBaoQ\">Big Timin\u003c/a>‘” fame punches in — similar to freestyling, but pausing along the way to add bars.\u003c/p>\n\u003cp>The end result may not take the form of a traditional song, says Frak, but it more closely documents an actual conversation from the session. And each conversation is unique.\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/YnG3PcQSuLo'\n title='//www.youtube.com/embed/YnG3PcQSuLo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On “\u003ca href=\"https://www.youtube.com/watch?v=YnG3PcQSuLo\">Created Player\u003c/a>,” with Oakland’s John Mackk — who like Frak, loves basketball — puns about hoop culture abound while the video imagines the duo as created players in an NBA2K-like video game.\u003c/p>\n\u003cp>For “\u003ca href=\"https://www.youtube.com/watch?v=TEPiNO0rk1Y&list=RDTEPiNO0rk1Y&start_radio=1\">Johnny Tsunami\u003c/a>,” with San Francisco rapper and actor Tia Nomore — one of the coolest kids in her class — the duo spits with a cool-breeze flow over a chill beat while the video shows them green-screen “surfing” on ocean waves, snowy hillsides, and concert crowds.\u003c/p>\n\u003cp>On the project’s first single, “\u003ca href=\"https://www.youtube.com/watch?v=ym2uYJ-byLU&list=RDym2uYJ-byLU&start_radio=1\">Heat Check\u003c/a>,” with the East Bay rap star G-Eazy, the theme is a last-man-standing old time wild west battle. Ironically, the two made the song after randomly connecting on the East Coast.\u003c/p>\n\u003cp>“I had a \u003ca href=\"https://www.youtube.com/watch?v=VXfP6RuMrFY\">compliment battle\u003c/a> in New York,” says Frak, referring to a competition where MCs give each others their flowers in a competitive way. During his stay, the Frisco lyricist was walking to dinner through Manhattan when heard a voice call out, “Is that motherfuckin’ Frak?”\u003c/p>\n\u003cp>And then G-Eazy’s tall, lanky frame “descended from the clouds” and announced he and his friends were crashing Frak’s dinner plans. The two ended up spending the better part of the ensuing five days together, during which G-Eazy produced a beat for the song they’d eventually use on \u003cem>Four Square\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ym2uYJ-byLU'\n title='//www.youtube.com/embed/ym2uYJ-byLU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He’s such a huge artist,” says Frak, “I wasn’t even really trying to put pressure on him to do a song with me… but then he offered.” Frak adds that working opposite G-Eazy brought “a little battle vibe” to the track.\u003c/p>\n\u003cp>That competitive nature also came out in the track “Thai Thea,” featuring \u003ca href=\"https://www.instagram.com/iamsu/\">Iamsu!\u003c/a>\u003c/p>\n\u003cp>As a rapper who’s won his fair share of battles, Frak has enough humility to know when someone might’ve gotten the best of him. “I feel like Su was rapping circles [around me],” Frak admits. He, too, was spitting on that track, he adds, “but [Su] just showed such dexterity.” \u003c/p>\n\u003cp>The making of the project wasn’t all competition. For San Francisco’s Blimes and Seattle’s Gab, it was about camaraderie and reconnecting.\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/QA8xAWzymX0'\n title='//www.youtube.com/embed/QA8xAWzymX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Those two hadn’t made a song together in years,” says Frak of Blimes and Gab. “You can hear it in the lyrics,” he notes.\u003c/p>\n\u003cp>“You know we had to run it back / Breakups are sad, ain’t no fun in that,” raps Blimes on the track “Smash Mouth.”\u003c/p>\n\u003cp>On top of reuniting the duo, Frak is facilitating their first show together in years. Blimes and Gab, plus many others, are set to perform at \u003ca href=\"http://ww2.kqed.org/arts/wp-admin/post.php?post=13940111&action=edit&classic-editor\">the \u003cem>Four Square \u003c/em>release party on Friday, Jan. 30, at The Independent\u003c/a> in San Francisco.\u003c/p>\n\u003cp>The \u003cem>Four Square\u003c/em> mixtape project is a fun, lyrical listen, and doesn’t short on the blap. (We always need the blap.) There’s a feature from \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del the Funky Homosapien\u003c/a>, a founding member of the almighty Hieroglyphics crew, and a song with \u003ca href=\"https://www.instagram.com/bookofmalachii_/?hl=en\">Malachi Martin\u003c/a>, the 18-year-old bar spitter from Merced who plays a significant role in \u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\">LaRussell’s Good Compenny\u003c/a> collective.\u003c/p>\n\u003cp>The mixtape doesn’t cover the \u003cem>entire\u003c/em> landscape of rappers in the region, but it offers a window into the who’s-who of Northern California hip-hop. And with ongoing discourse about the lack of local platforms for artists, it’s a step in the right direction of filling that need.\u003c/p>\n\u003cp>Of course, it would take an artist to support other artists.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Four Square mixtape release party, with guests Nef the Pharaoh, Seiji Oda, 1100 Himself, Blimes & Gab, Stunnaman02, Tia No More, Passwordz, Ozer, Kaly Jay and more, is set for Jan. 30 at The Independent in San Francisco (628 Divisadero Street, San Francisco, CA 94117). \u003ca href=\"https://www.theindependentsf.com/tm-event/frak-presents-four-square/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When it came time to decide the cover image for Wet Leg’s sophomore album, the British \u003ca href=\"https://www.kqed.org/arts/tag/indie-rock\">indie rock\u003c/a> band packed items that might provide inspiration — velvet worms sewn by guitarist Hester Chambers, an oversized head of hair from a music video shoot, lizard-like gloves — and headed to an Airbnb.\u003c/p>\n\u003cp>“I wanted it to be something that was both super girly and feminine, but then at the same time, just totally repulsive,” said lead singer Rhian Teasdale, who art-directed the \u003cem>Moisturizer\u003c/em> cover with Iris Luz and Lava La Rue. “That juxtaposition, I don’t know, it just creates something that’s evocative.”\u003c/p>\n\u003cp>[aside postID='arts_13985738']The final image, inspired by a photo from that weekend, earned Teasdale, Luz and La Rue a Grammy nomination for best album cover — a category that will be awarded this year for the first time in over 50 years.\u003c/p>\n\u003cp>The other evocative covers nominated are Bad Bunny’s \u003cem>Debí Tirar Más Fotos\u003c/em>, Tyler, the Creator’s \u003cem>Chromakopia\u003c/em>, Perfume Genius’ \u003cem>Glory\u003c/em> and Djo’s \u003cem>The Crux\u003c/em>. The award goes to the project’s art directors: This year, the recording artists are included as nominees in all cases except for \u003cem>Glory\u003c/em>.\u003c/p>\n\u003cp>In recent years, covers had been assessed as part of the best recording package category, which considers all physical materials and images. The package for \u003cem>Brat\u003c/em>, with its pop culture-infiltrating green, earned Charli XCX, Brent David Freaney and Imogene Strauss a Grammy last year.\u003c/p>\n\u003cfigure id=\"attachment_13985805\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Tyler, the Creator’s ‘Chromakopia.’ \u003ccite>(Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recording Academy CEO Harvey Mason Jr. told Grammy.com that the split is an effort to recognize the impact of cover art in the digital age. It also aligns with the Academy’s goal to recognize more of the artists that shape music, Mason said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the creative teams, the revived award amplifies what goes into building the visual worlds of music. “When a cover in a campaign hits right,” said photographer Neil Krug, nominated for \u003cem>The Crux\u003c/em>, “it’s part of the language and the fabric of what makes a great record a great record.”\u003c/p>\n\u003ch2>Capturing an energy\u003c/h2>\n\u003cp>The defining portrait of \u003cem>Chromakopia\u003c/em> — a monochrome close-up of Tyler, face concealed by a mask — was the last shot captured. Luis “Panch” Perez, the director of photography, said the expression in Tyler’s eyes stood out.\u003c/p>\n\u003cp>Getting there, he said, required tapping into a shared “unspoken language,” built by pulling references for the project’s surrealist, old Hollywood aesthetic — and by years of collaboration. “Tyler knows exactly how to move his body, he’s so well in control of that. I just have to be ready for whatever he’s going to do in front of the lens,” Perez said.\u003c/p>\n\u003cp>Perfume Genius worked with art directors Cody Critcheloe and Andrew J.S. on the cover for \u003cem>Glory\u003c/em>. He splays on a patchwork carpet inside a dark, homey interior, his stiletto boots extending toward a bright window. Colorful cords snake across the floor like microphone cords onstage.\u003c/p>\n\u003cfigure id=\"attachment_13985803\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl.jpg\" alt=\"\" width=\"2000\" height=\"1999\" class=\"size-full wp-image-13985803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Perfume Genius’ ‘Glory.’ \u003ccite>(Matador Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He said the image reflects the push and pull he found himself exploring while writing the album: the comfort and avoidance of an introverted, private life, versus the confidence required of his “maximal” public-facing persona: “How do I have each of those things season my life?”\u003c/p>\n\u003cp>The goal wasn’t to capture a specific scene, or choreography. “It was mostly about an energy,” said Critcheloe, who photographed the cover.\u003c/p>\n\u003cp>“People have said to both of us that they can’t figure out what the aesthetic of the album cover is,” he added. “That’s the best thing to hear.”\u003c/p>\n\u003cp>The creature-like version of Teasdale that appears on Wet Leg’s \u003cem>Moisturizer\u003c/em> cover — squatting, hands outstretched, eerie grin trained toward the camera — is also meant to evoke friction. “The album explores themes of love and longing. But also, there are a couple moments on the album that are so, you know, just feral,” she said.\u003c/p>\n\u003ch2>Crafting, casting and styling a world\u003c/h2>\n\u003cp>The pivotal setting of \u003cem>The Crux\u003c/em> — the third album by Djo, the musical moniker for actor Joe Keery — was a fictional hotel on the Brooklyn-inspired section of the Paramount Studios backlot.\u003c/p>\n\u003cp>Krug, Djo and collaborator Jake Hirshland looked at dense scenes, like Alfred Hitchcock’s 1954 film \u003cem>Rear Window\u003c/em> (also shot on a Paramount Studios lot), for inspiration. They considered locations in (the real) New York and Atlanta, where the artist was filming \u003cem>Stranger Things\u003c/em>, before locking the lot in.\u003c/p>\n\u003cfigure id=\"attachment_13985804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096.jpg\" alt=\"a four-story brick building with various scenes in its windows stands in front of a street with cars and people\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Djo’s ‘The Crux.’ \u003ccite>(AWAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next came casting the characters that make up the scene. “Anything that we could come up with, we were just like throwing it at the canvas,” Krug said. A couple kiss in a window. A man fights a parking ticket in the foreground. Djo is seen only from the back, dangling from a window in a white suit.\u003c/p>\n\u003cp>Art director William Wesley II oversaw production details, including designing the neon sign that bears the album’s name — an homage to iconic hotels like the Chateau Marmont. “Everything is intentional,” he said. “It’s really a sum of its parts and it’s the sum of many people’s contributions.”\u003c/p>\n\u003cp>A pair of white plastic chairs are the only props on the cover of \u003cem>Debí Tirar Más Fotos\u003c/em>, which translates to “I should have taken more photos.” Art directed by Bad Bunny himself, the image by Puerto Rican photographer Eric Rojas also features plantain trees — a symbol of the island, but also of the Caribbean and Latin America overall. There is a nostalgia to the simple combination — conjuring a day at the beach, or a backyard gathering — that also mirrors the album’s diasporic, history-making storytelling.\u003c/p>\n\u003cp>“Debí Tirar Más Fotos” and “Chromakopia” are also nominated for album of the year.\u003c/p>\n\u003cfigure id=\"attachment_13985801\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l.jpg\" alt=\"Two white plastic patio chairs sit amongst tropical foliage on the lawn\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Bad Bunny’s ‘Debí Tirar Más Fotos .’ \u003ccite>(Rimas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What makes a cover Grammy-eligible?\u003c/h2>\n\u003cp>Official Grammy rules say albums do not need to exist physically to be considered in this category — a key point in differentiating the award from its package counterpart.\u003c/p>\n\u003cp>This year’s nominees, however, are all available on vinyl or CD. Krug, who has worked on covers for Lana Del Rey and Tame Impala, said the vinyl presentation is often the first point discussed.\u003c/p>\n\u003cp>“When you have the physical vinyls in your home or your apartment, that stuff lives with you. It’s out in your space, whether you’re having a good day or a bad day, you’re getting married or breaking up with whomever,” Krug said. “There’s this rediscovery of the art form.”\u003c/p>\n\u003cp>Voters must consider the cover’s creativity and design, alongside the illustration, photography or graphic elements. Trophies go to the winning art directors, and certificates to designers, illustrators or photographers, if applicable.\u003c/p>\n\u003cp>In a sign of the growing pains of a new category, this year’s list of nominees saw edits ahead of the voting window’s opening — a process not uncommon in other categories with multiple nominees. Djo, Krug, Hirshland and Taylor Vandergrift were added alongside Wesley for \u003cem>The Crux\u003c/em>; Perez and photographer Shaun Llewellyn were removed for \u003cem>Chromakopia\u003c/em>, replaced by just Tyler. Luz and La Rue joined Teasdale for \u003cem>Moisturizer\u003c/em>, while several others — including the rest of the band — were removed.\u003c/p>\n\u003cp>“I was super surprised and really excited because I wasn’t aware that it was a category,” Critcheloe said of his nomination. “I love the idea of making things that are strange and subversive and irreverent, and having an audience that is bigger than it’s supposed to be.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 68th Grammy Awards are held Feb. 1, 2026, at Crypto.com Arena in Los Angeles. The show will air on CBS and stream on Paramount+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it came time to decide the cover image for Wet Leg’s sophomore album, the British \u003ca href=\"https://www.kqed.org/arts/tag/indie-rock\">indie rock\u003c/a> band packed items that might provide inspiration — velvet worms sewn by guitarist Hester Chambers, an oversized head of hair from a music video shoot, lizard-like gloves — and headed to an Airbnb.\u003c/p>\n\u003cp>“I wanted it to be something that was both super girly and feminine, but then at the same time, just totally repulsive,” said lead singer Rhian Teasdale, who art-directed the \u003cem>Moisturizer\u003c/em> cover with Iris Luz and Lava La Rue. “That juxtaposition, I don’t know, it just creates something that’s evocative.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The final image, inspired by a photo from that weekend, earned Teasdale, Luz and La Rue a Grammy nomination for best album cover — a category that will be awarded this year for the first time in over 50 years.\u003c/p>\n\u003cp>The other evocative covers nominated are Bad Bunny’s \u003cem>Debí Tirar Más Fotos\u003c/em>, Tyler, the Creator’s \u003cem>Chromakopia\u003c/em>, Perfume Genius’ \u003cem>Glory\u003c/em> and Djo’s \u003cem>The Crux\u003c/em>. The award goes to the project’s art directors: This year, the recording artists are included as nominees in all cases except for \u003cem>Glory\u003c/em>.\u003c/p>\n\u003cp>In recent years, covers had been assessed as part of the best recording package category, which considers all physical materials and images. The package for \u003cem>Brat\u003c/em>, with its pop culture-infiltrating green, earned Charli XCX, Brent David Freaney and Imogene Strauss a Grammy last year.\u003c/p>\n\u003cfigure id=\"attachment_13985805\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/2000x2000bb_b4f9966a-89fc-4c4e-97e8-858b0431a7cc-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Tyler, the Creator’s ‘Chromakopia.’ \u003ccite>(Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recording Academy CEO Harvey Mason Jr. told Grammy.com that the split is an effort to recognize the impact of cover art in the digital age. It also aligns with the Academy’s goal to recognize more of the artists that shape music, Mason said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the creative teams, the revived award amplifies what goes into building the visual worlds of music. “When a cover in a campaign hits right,” said photographer Neil Krug, nominated for \u003cem>The Crux\u003c/em>, “it’s part of the language and the fabric of what makes a great record a great record.”\u003c/p>\n\u003ch2>Capturing an energy\u003c/h2>\n\u003cp>The defining portrait of \u003cem>Chromakopia\u003c/em> — a monochrome close-up of Tyler, face concealed by a mask — was the last shot captured. Luis “Panch” Perez, the director of photography, said the expression in Tyler’s eyes stood out.\u003c/p>\n\u003cp>Getting there, he said, required tapping into a shared “unspoken language,” built by pulling references for the project’s surrealist, old Hollywood aesthetic — and by years of collaboration. “Tyler knows exactly how to move his body, he’s so well in control of that. I just have to be ready for whatever he’s going to do in front of the lens,” Perez said.\u003c/p>\n\u003cp>Perfume Genius worked with art directors Cody Critcheloe and Andrew J.S. on the cover for \u003cem>Glory\u003c/em>. He splays on a patchwork carpet inside a dark, homey interior, his stiletto boots extending toward a bright window. Colorful cords snake across the floor like microphone cords onstage.\u003c/p>\n\u003cfigure id=\"attachment_13985803\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl.jpg\" alt=\"\" width=\"2000\" height=\"1999\" class=\"size-full wp-image-13985803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/perfume-genius-glory-exclusive-blue-vinyl-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Perfume Genius’ ‘Glory.’ \u003ccite>(Matador Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He said the image reflects the push and pull he found himself exploring while writing the album: the comfort and avoidance of an introverted, private life, versus the confidence required of his “maximal” public-facing persona: “How do I have each of those things season my life?”\u003c/p>\n\u003cp>The goal wasn’t to capture a specific scene, or choreography. “It was mostly about an energy,” said Critcheloe, who photographed the cover.\u003c/p>\n\u003cp>“People have said to both of us that they can’t figure out what the aesthetic of the album cover is,” he added. “That’s the best thing to hear.”\u003c/p>\n\u003cp>The creature-like version of Teasdale that appears on Wet Leg’s \u003cem>Moisturizer\u003c/em> cover — squatting, hands outstretched, eerie grin trained toward the camera — is also meant to evoke friction. “The album explores themes of love and longing. But also, there are a couple moments on the album that are so, you know, just feral,” she said.\u003c/p>\n\u003ch2>Crafting, casting and styling a world\u003c/h2>\n\u003cp>The pivotal setting of \u003cem>The Crux\u003c/em> — the third album by Djo, the musical moniker for actor Joe Keery — was a fictional hotel on the Brooklyn-inspired section of the Paramount Studios backlot.\u003c/p>\n\u003cp>Krug, Djo and collaborator Jake Hirshland looked at dense scenes, like Alfred Hitchcock’s 1954 film \u003cem>Rear Window\u003c/em> (also shot on a Paramount Studios lot), for inspiration. They considered locations in (the real) New York and Atlanta, where the artist was filming \u003cem>Stranger Things\u003c/em>, before locking the lot in.\u003c/p>\n\u003cfigure id=\"attachment_13985804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096.jpg\" alt=\"a four-story brick building with various scenes in its windows stands in front of a street with cars and people\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20000000273413_1d6cf227_thumbnail_4096-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Djo’s ‘The Crux.’ \u003ccite>(AWAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next came casting the characters that make up the scene. “Anything that we could come up with, we were just like throwing it at the canvas,” Krug said. A couple kiss in a window. A man fights a parking ticket in the foreground. Djo is seen only from the back, dangling from a window in a white suit.\u003c/p>\n\u003cp>Art director William Wesley II oversaw production details, including designing the neon sign that bears the album’s name — an homage to iconic hotels like the Chateau Marmont. “Everything is intentional,” he said. “It’s really a sum of its parts and it’s the sum of many people’s contributions.”\u003c/p>\n\u003cp>A pair of white plastic chairs are the only props on the cover of \u003cem>Debí Tirar Más Fotos\u003c/em>, which translates to “I should have taken more photos.” Art directed by Bad Bunny himself, the image by Puerto Rican photographer Eric Rojas also features plantain trees — a symbol of the island, but also of the Caribbean and Latin America overall. There is a nostalgia to the simple combination — conjuring a day at the beach, or a backyard gathering — that also mirrors the album’s diasporic, history-making storytelling.\u003c/p>\n\u003cp>“Debí Tirar Más Fotos” and “Chromakopia” are also nominated for album of the year.\u003c/p>\n\u003cfigure id=\"attachment_13985801\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l.jpg\" alt=\"Two white plastic patio chairs sit amongst tropical foliage on the lawn\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13985801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/197020-680e20078d4ad-l-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for Bad Bunny’s ‘Debí Tirar Más Fotos .’ \u003ccite>(Rimas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What makes a cover Grammy-eligible?\u003c/h2>\n\u003cp>Official Grammy rules say albums do not need to exist physically to be considered in this category — a key point in differentiating the award from its package counterpart.\u003c/p>\n\u003cp>This year’s nominees, however, are all available on vinyl or CD. Krug, who has worked on covers for Lana Del Rey and Tame Impala, said the vinyl presentation is often the first point discussed.\u003c/p>\n\u003cp>“When you have the physical vinyls in your home or your apartment, that stuff lives with you. It’s out in your space, whether you’re having a good day or a bad day, you’re getting married or breaking up with whomever,” Krug said. “There’s this rediscovery of the art form.”\u003c/p>\n\u003cp>Voters must consider the cover’s creativity and design, alongside the illustration, photography or graphic elements. Trophies go to the winning art directors, and certificates to designers, illustrators or photographers, if applicable.\u003c/p>\n\u003cp>In a sign of the growing pains of a new category, this year’s list of nominees saw edits ahead of the voting window’s opening — a process not uncommon in other categories with multiple nominees. Djo, Krug, Hirshland and Taylor Vandergrift were added alongside Wesley for \u003cem>The Crux\u003c/em>; Perez and photographer Shaun Llewellyn were removed for \u003cem>Chromakopia\u003c/em>, replaced by just Tyler. Luz and La Rue joined Teasdale for \u003cem>Moisturizer\u003c/em>, while several others — including the rest of the band — were removed.\u003c/p>\n\u003cp>“I was super surprised and really excited because I wasn’t aware that it was a category,” Critcheloe said of his nomination. “I love the idea of making things that are strange and subversive and irreverent, and having an audience that is bigger than it’s supposed to be.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/jazz\">Jazz\u003c/a> is dead, or so the perennial phrase goes, spoken by the jaded olds. And year after year, young artists prove them wrong.\u003c/p>\n\u003cp>Case in point: \u003ca href=\"https://www.instagram.com/rbk_flute/?hl=en\">Rabiah Kabir\u003c/a> brought her sextet to the Black Cat Wednesday night for a 90-minute set that was equal parts fresh, inventive and \u003cem>fun\u003c/em>. Performing songs from her recent album \u003cem>Jezebel: Rewritten\u003c/em>, the flutist and composer showed that so long as jazz is infused with new ideas and inspirations, it will be infinitely reborn.\u003c/p>\n\u003cp>That much was evident from the first song, “Flute / Overture,” with electronic samples of birdsong and hopscotch-like sound effects. On the album, the song is dotted with samples of interviews Kabir undertook for her Stanford thesis \u003cem>\u003ca href=\"https://ccsre.stanford.edu/undergraduate-resources/project-archives/jezebel-flute-female-flute-players-black-feminism-and\">The Jezebel Flute: Female Flute Players, Black Feminism and “The Masculine Jazz Spectrum”\u003c/a>\u003c/em>; onstage Wednesday, she referred to her celebration of “the power of femininity in music.” \u003c/p>\n\u003cp>[aside postID='arts_13985679']Odd time signatures undergird Kabir’s music, on Wednesday propelled by drummer Jaycie Grady along with the driving bassist Leela Paymai, whose compositions from a Persian-jazz project, \u003ca href=\"https://zheniia.com/\">ZHENIIA\u003c/a>, were also featured onstage to great effect. \u003c/p>\n\u003cp>At one point, Aymai spoke of the historic protests in Iran, and Kabir introduced “The ReZident,” a song inspired by her time studying in Cape Town, by noting that jazz has always been protest music. During an arrangement of Tears for Fears’ “Everybody Wants to Rule the World,” pianist Julian Lopez picked up the mic to rap about media manipulation, U.S. imperialism and the bombardment of Gaza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kabir, who sat at the piano herself for an improvised solo number, shouted out her parents, educators, and collaborators, which included Nathan Sariowan on violin and Wesley Larlarb on guest piano. Ethan Buck, on alto saxophone, shined while doubling Kabir’s solos with his own simultaneous soaring lines, bringing the set to repeated climaxes. \u003c/p>\n\u003cp>https://youtu.be/Kf5iJYIH9zs?si=_oNv0qNYr0aVqSmN\u003c/p>\n\u003cp>But it was Kabir’s night, and rightly so. Neither a soul flutist in the vein of Bobbi Humphrey, an avant-gardist like Eric Dolphy nor a showman like Rahsaan Roland Kirk, Kabir is reaching for something deeper, and she frequently finds it. On “Red Shapes and Green Shapes,” a song inspired by a loved one of Kabir’s who’s currently in London and missed the show, her solo started low and introspective, the sound of loneliness, then gradually built to high wails, as if calling across the sea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The set ended with “I Crashed My Car” — a song I \u003ca href=\"http://The%20Bay%20Area%E2%80%99s%20best%20music%20critics%20pick%20the%20best%20songs%20of%202025\">liked very much last year\u003c/a> — but the trajectory of Rabiah Kabir is far from over. Keep an eye on this one, folks. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/jazz\">Jazz\u003c/a> is dead, or so the perennial phrase goes, spoken by the jaded olds. And year after year, young artists prove them wrong.\u003c/p>\n\u003cp>Case in point: \u003ca href=\"https://www.instagram.com/rbk_flute/?hl=en\">Rabiah Kabir\u003c/a> brought her sextet to the Black Cat Wednesday night for a 90-minute set that was equal parts fresh, inventive and \u003cem>fun\u003c/em>. Performing songs from her recent album \u003cem>Jezebel: Rewritten\u003c/em>, the flutist and composer showed that so long as jazz is infused with new ideas and inspirations, it will be infinitely reborn.\u003c/p>\n\u003cp>That much was evident from the first song, “Flute / Overture,” with electronic samples of birdsong and hopscotch-like sound effects. On the album, the song is dotted with samples of interviews Kabir undertook for her Stanford thesis \u003cem>\u003ca href=\"https://ccsre.stanford.edu/undergraduate-resources/project-archives/jezebel-flute-female-flute-players-black-feminism-and\">The Jezebel Flute: Female Flute Players, Black Feminism and “The Masculine Jazz Spectrum”\u003c/a>\u003c/em>; onstage Wednesday, she referred to her celebration of “the power of femininity in music.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Odd time signatures undergird Kabir’s music, on Wednesday propelled by drummer Jaycie Grady along with the driving bassist Leela Paymai, whose compositions from a Persian-jazz project, \u003ca href=\"https://zheniia.com/\">ZHENIIA\u003c/a>, were also featured onstage to great effect. \u003c/p>\n\u003cp>At one point, Aymai spoke of the historic protests in Iran, and Kabir introduced “The ReZident,” a song inspired by her time studying in Cape Town, by noting that jazz has always been protest music. During an arrangement of Tears for Fears’ “Everybody Wants to Rule the World,” pianist Julian Lopez picked up the mic to rap about media manipulation, U.S. imperialism and the bombardment of Gaza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kabir, who sat at the piano herself for an improvised solo number, shouted out her parents, educators, and collaborators, which included Nathan Sariowan on violin and Wesley Larlarb on guest piano. Ethan Buck, on alto saxophone, shined while doubling Kabir’s solos with his own simultaneous soaring lines, bringing the set to repeated climaxes. \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/Kf5iJYIH9zs'\n title='//www.youtube.com/embed/Kf5iJYIH9zs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it was Kabir’s night, and rightly so. Neither a soul flutist in the vein of Bobbi Humphrey, an avant-gardist like Eric Dolphy nor a showman like Rahsaan Roland Kirk, Kabir is reaching for something deeper, and she frequently finds it. On “Red Shapes and Green Shapes,” a song inspired by a loved one of Kabir’s who’s currently in London and missed the show, her solo started low and introspective, the sound of loneliness, then gradually built to high wails, as if calling across the sea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The set ended with “I Crashed My Car” — a song I \u003ca href=\"http://The%20Bay%20Area%E2%80%99s%20best%20music%20critics%20pick%20the%20best%20songs%20of%202025\">liked very much last year\u003c/a> — but the trajectory of Rabiah Kabir is far from over. Keep an eye on this one, folks. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a small crowd gathered in an industrial complex in \u003ca href=\"https://www.kqed.org/arts/tag/richmond\">Richmond\u003c/a> on Friday night, a puppeteer dressed as a molting bird gave birth to a human doll baby, followed by a brief magic show. A ska band ripped through a short set, a sideshow performer swallowed two swords and stuck fishhooks in her eyelids, and another local band \u003ca href=\"https://www.kqed.org/mindshift/37196/a-portal-to-chaos-and-adventure-in-a-playground\">named after a kids’ portal to chaos\u003c/a> closed out the night.\u003c/p>\n\u003cp>Just your average evening at Richmond’s newest DIY, all-ages, substance-free venue, \u003ca href=\"https://ragtagshows.com/\">The Planetarium\u003c/a>.\u003c/p>\n\u003cp>A former karaoke lounge situated inside a maze of \u003ca href=\"https://intergalactic.rocks/\">practice spaces\u003c/a>, The Planetarium serves a city not exactly known for providing opportunities to its younger creative residents. After being open for only a few weeks, it’s already gaining a following.\u003c/p>\n\u003ch2>Finding your people\u003c/h2>\n\u003cp>At Friday’s \u003ca href=\"https://www.instagram.com/p/DTls0sTkn14/\">Cosmik Debris\u003c/a> variety show, one person came for the puppets at the recommendation of someone on their local music Signal chat; another, from Berkeley, wanted to recapture the feeling they had as a teen punk in San Diego. Someone else saw a flyer while helping a friend during their KALX DJ set, and another couple was invited for a friend’s birthday. \u003c/p>\n\u003cfigure id=\"attachment_13985700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Adventure Playground performs at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew we were doing good when I had some guy come to his second show, when we’d only had four,” said Alex Botkin, one of The Planetarium’s co-founders, who grew up half a mile down the road in El Cerrito. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project of three longtime DIYers who met at the long-running Berkeley punk club \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>, The Planetarium has hosted half a dozen events since its grand opening on Jan. 2. Currently scheduled are 32 additional shows, mostly on Fridays, Saturdays and Sundays, through May. Booking as Ragtag Productions, the trio caters to smaller, younger bands, touring acts, and transgressive performance art — all communities in which the founders have been involved.\u003c/p>\n\u003cp>“I spent a lot of time traveling between weird performance art worlds in the East Bay in search of community,” said Plantearium co-founder Kirk Pearson, a New York native who moved to the Bay about 10 years ago. “I found all of these groups of people, several of which were incredibly good performers, but with absolutely no venue that was suited for them to perform. So that’s at least part of my excitement [with The Plantarium].” \u003c/p>\n\u003cfigure id=\"attachment_13985695\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Risa Lenore performs a puppet show at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tickets to a Planetarium show will hover between $10 and $15 to encourage artistic discovery without a hefty price tag. “By having that openness to variety and all the bands that are having a great time, you’ll probably have a good time,” Alex said. \u003c/p>\n\u003ch2>Roots in DIY\u003c/h2>\n\u003cp>Community begets community, and The Planetarium is proof of the East Bay’s deep DIY and punk roots. Pearson is a composer and sound designer who founded \u003ca href=\"https://dogbotic.com/\">Dogbotic\u003c/a> and previously did sound at Gilman. Botkin, a musician with the band awakebutstillinbed (who also played with Friday’s ska band, Sad Snack), books shows and ran a record label in addition to years of volunteer work at Gilman. His partner Lexi Botkin grew up going to shows and volunteering at Gilman, in addition to playing bass and selling merch for bands. \u003c/p>\n\u003cp>“I was just a show rat. I was at everything and talking to everybody, and helping out however I could,” said Lexi, a Berkeley educator who grew up in Pleasanton and San Jose. “Ever since I was a kid, my dream was to have a business where I could help foster art communities and creativity.” \u003c/p>\n\u003cfigure id=\"attachment_13985701\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance as Adventure Playground performs at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a good deal on rent from their friends in \u003ca href=\"https://www.instagram.com/middleagedqueers/\">Middle-Aged Queers\u003c/a> — who purchased the building with the intention of opening a venue but lacked the time — and a lot of help from their community, The Planetarium was born. The room that would become the venue was in decent shape, with cool lighting in place and some supplies to spruce things up. It was already permitted for noise with the city of Richmond. \u003c/p>\n\u003cp>“We’ve gotten tremendous deals from friends and stuff from former venues, or [from] touring bands,” Alex said, pointing to the venue’s soundboard. “Once you’re involved in [DIY spaces] enough and know enough people, it’s not hard to find community support in that way.” \u003c/p>\n\u003ch2>Everyone is a star\u003c/h2>\n\u003cp>The Planetarium has already started to see a “karmic return” in the form of community interest. When asked how they’re connecting with bands and artists, Lexi was quick to note, “We’re not finding them. They’re finding \u003ci>us\u003c/i>.” \u003c/p>\n\u003cp>“There’s a lot of venues closing right now, and every venue that opens doesn’t really fix it. It just sort of fills part of the deficit. The amount of inquiries we got puts us into almost summer with some of our shows,” Alex added. “Bands are desperate for places that they can play.” \u003c/p>\n\u003cfigure id=\"attachment_13985694\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Planetarium founders Alex Botkin, Kirk Pearson and Lexi Botkin pose for a photo at the music venue in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Planetarium could be seen as a new generation’s \u003ca href=\"https://www.kqed.org/arts/12493208/burnt-ramen-long-running-underground-venue-in-richmond-shut-down\">Burnt Ramen\u003c/a>, the Richmond DIY space that closed in 2016, and adds to popular DIY venues such as Gilman in Berkeley and Oakland’s \u003ca href=\"https://www.instagram.com/staygoldoakland/?hl=en\">Stay Gold Deli\u003c/a> and \u003ca href=\"https://tamarackoakland.com/calendar\">Tamarack\u003c/a>. The venue will decidedly not host any punishing “elder bar rock.” Adds Pearson: “If you are a band of 17-year-olds or 18-year-olds, you can play here.” \u003c/p>\n\u003cp>There’s still plenty of work to do at The Planetarium, from building a proper stage and soundbooth to fixing some busted flooring. The co-founders aren’t worried; “perfect is the enemy of good,” as Pearson noted.\u003c/p>\n\u003cp>And, befitting a place that puts punk bands alongside puppet shows, it’s about more than the music. Lexi said she hopes to host events like clothing swaps and drives, DIY clothing repairs, and “study shares” where attendees tutor each other. Regardless of what may get booked at The Planetarium, all events will share a common perspective.\u003c/p>\n\u003cp>“There’s no attitude in this space. There’s a bunch of fun, colorful lights; there’s already aliens on the wall. This is goofy and silly, and you have to be open to that,” Alex said. “Everyone’s just here and it’s all a level playing field. Nobody is the top dog.” \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Find \u003ca href=\"https://www.instagram.com/planetariumrichmond/\">details and information about upcoming shows\u003c/a> at the Planetarium on \u003ca href=\"https://www.instagram.com/planetariumrichmond/\">Instagram\u003c/a> or at \u003ca href=\"https://ragtagshows.com/index.html\">Ragtag Productions’ website\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a small crowd gathered in an industrial complex in \u003ca href=\"https://www.kqed.org/arts/tag/richmond\">Richmond\u003c/a> on Friday night, a puppeteer dressed as a molting bird gave birth to a human doll baby, followed by a brief magic show. A ska band ripped through a short set, a sideshow performer swallowed two swords and stuck fishhooks in her eyelids, and another local band \u003ca href=\"https://www.kqed.org/mindshift/37196/a-portal-to-chaos-and-adventure-in-a-playground\">named after a kids’ portal to chaos\u003c/a> closed out the night.\u003c/p>\n\u003cp>Just your average evening at Richmond’s newest DIY, all-ages, substance-free venue, \u003ca href=\"https://ragtagshows.com/\">The Planetarium\u003c/a>.\u003c/p>\n\u003cp>A former karaoke lounge situated inside a maze of \u003ca href=\"https://intergalactic.rocks/\">practice spaces\u003c/a>, The Planetarium serves a city not exactly known for providing opportunities to its younger creative residents. After being open for only a few weeks, it’s already gaining a following.\u003c/p>\n\u003ch2>Finding your people\u003c/h2>\n\u003cp>At Friday’s \u003ca href=\"https://www.instagram.com/p/DTls0sTkn14/\">Cosmik Debris\u003c/a> variety show, one person came for the puppets at the recommendation of someone on their local music Signal chat; another, from Berkeley, wanted to recapture the feeling they had as a teen punk in San Diego. Someone else saw a flyer while helping a friend during their KALX DJ set, and another couple was invited for a friend’s birthday. \u003c/p>\n\u003cfigure id=\"attachment_13985700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Adventure Playground performs at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew we were doing good when I had some guy come to his second show, when we’d only had four,” said Alex Botkin, one of The Planetarium’s co-founders, who grew up half a mile down the road in El Cerrito. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project of three longtime DIYers who met at the long-running Berkeley punk club \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>, The Planetarium has hosted half a dozen events since its grand opening on Jan. 2. Currently scheduled are 32 additional shows, mostly on Fridays, Saturdays and Sundays, through May. Booking as Ragtag Productions, the trio caters to smaller, younger bands, touring acts, and transgressive performance art — all communities in which the founders have been involved.\u003c/p>\n\u003cp>“I spent a lot of time traveling between weird performance art worlds in the East Bay in search of community,” said Plantearium co-founder Kirk Pearson, a New York native who moved to the Bay about 10 years ago. “I found all of these groups of people, several of which were incredibly good performers, but with absolutely no venue that was suited for them to perform. So that’s at least part of my excitement [with The Plantarium].” \u003c/p>\n\u003cfigure id=\"attachment_13985695\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Risa Lenore performs a puppet show at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tickets to a Planetarium show will hover between $10 and $15 to encourage artistic discovery without a hefty price tag. “By having that openness to variety and all the bands that are having a great time, you’ll probably have a good time,” Alex said. \u003c/p>\n\u003ch2>Roots in DIY\u003c/h2>\n\u003cp>Community begets community, and The Planetarium is proof of the East Bay’s deep DIY and punk roots. Pearson is a composer and sound designer who founded \u003ca href=\"https://dogbotic.com/\">Dogbotic\u003c/a> and previously did sound at Gilman. Botkin, a musician with the band awakebutstillinbed (who also played with Friday’s ska band, Sad Snack), books shows and ran a record label in addition to years of volunteer work at Gilman. His partner Lexi Botkin grew up going to shows and volunteering at Gilman, in addition to playing bass and selling merch for bands. \u003c/p>\n\u003cp>“I was just a show rat. I was at everything and talking to everybody, and helping out however I could,” said Lexi, a Berkeley educator who grew up in Pleasanton and San Jose. “Ever since I was a kid, my dream was to have a business where I could help foster art communities and creativity.” \u003c/p>\n\u003cfigure id=\"attachment_13985701\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance as Adventure Playground performs at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a good deal on rent from their friends in \u003ca href=\"https://www.instagram.com/middleagedqueers/\">Middle-Aged Queers\u003c/a> — who purchased the building with the intention of opening a venue but lacked the time — and a lot of help from their community, The Planetarium was born. The room that would become the venue was in decent shape, with cool lighting in place and some supplies to spruce things up. It was already permitted for noise with the city of Richmond. \u003c/p>\n\u003cp>“We’ve gotten tremendous deals from friends and stuff from former venues, or [from] touring bands,” Alex said, pointing to the venue’s soundboard. “Once you’re involved in [DIY spaces] enough and know enough people, it’s not hard to find community support in that way.” \u003c/p>\n\u003ch2>Everyone is a star\u003c/h2>\n\u003cp>The Planetarium has already started to see a “karmic return” in the form of community interest. When asked how they’re connecting with bands and artists, Lexi was quick to note, “We’re not finding them. They’re finding \u003ci>us\u003c/i>.” \u003c/p>\n\u003cp>“There’s a lot of venues closing right now, and every venue that opens doesn’t really fix it. It just sort of fills part of the deficit. The amount of inquiries we got puts us into almost summer with some of our shows,” Alex added. “Bands are desperate for places that they can play.” \u003c/p>\n\u003cfigure id=\"attachment_13985694\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Planetarium founders Alex Botkin, Kirk Pearson and Lexi Botkin pose for a photo at the music venue in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Planetarium could be seen as a new generation’s \u003ca href=\"https://www.kqed.org/arts/12493208/burnt-ramen-long-running-underground-venue-in-richmond-shut-down\">Burnt Ramen\u003c/a>, the Richmond DIY space that closed in 2016, and adds to popular DIY venues such as Gilman in Berkeley and Oakland’s \u003ca href=\"https://www.instagram.com/staygoldoakland/?hl=en\">Stay Gold Deli\u003c/a> and \u003ca href=\"https://tamarackoakland.com/calendar\">Tamarack\u003c/a>. The venue will decidedly not host any punishing “elder bar rock.” Adds Pearson: “If you are a band of 17-year-olds or 18-year-olds, you can play here.” \u003c/p>\n\u003cp>There’s still plenty of work to do at The Planetarium, from building a proper stage and soundbooth to fixing some busted flooring. The co-founders aren’t worried; “perfect is the enemy of good,” as Pearson noted.\u003c/p>\n\u003cp>And, befitting a place that puts punk bands alongside puppet shows, it’s about more than the music. Lexi said she hopes to host events like clothing swaps and drives, DIY clothing repairs, and “study shares” where attendees tutor each other. Regardless of what may get booked at The Planetarium, all events will share a common perspective.\u003c/p>\n\u003cp>“There’s no attitude in this space. There’s a bunch of fun, colorful lights; there’s already aliens on the wall. This is goofy and silly, and you have to be open to that,” Alex said. “Everyone’s just here and it’s all a level playing field. Nobody is the top dog.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Find \u003ca href=\"https://www.instagram.com/planetariumrichmond/\">details and information about upcoming shows\u003c/a> at the Planetarium on \u003ca href=\"https://www.instagram.com/planetariumrichmond/\">Instagram\u003c/a> or at \u003ca href=\"https://ragtagshows.com/index.html\">Ragtag Productions’ website\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was the final night of DJ Quik’s December residency at Yoshi’s, and he felt like stretching out. \u003c/p>\n\u003cp>Two songs into his set, the Compton-raised rap legend started conducting the band: first bringing the volume down, then leading his guitarist and keyboard player in back-to-back solos before pulling in the drums. He then turned the song’s West Coast rap rhythms upside down by grabbing some Latin percussion and twisting out an improvised solo of his own.\u003c/p>\n\u003cp>A grin spread across Quik’s face. “This \u003ci>is\u003c/i> a jazz club, ain’t it?” he asked the crowd.\u003c/p>\n\u003cp>In fact, Yoshi’s is the oldest and most famous jazz club in Oakland. But lately, it’s been something else too: a home for hip-hop legends like Scarface, the Pharcyde and Ghostface Killah, usually with a live band. It’s a reinvention that’s been especially notable in the past year, and it’s been packing in grown fans who once ran in the streets but now prefer sitting at tables. \u003c/p>\n\u003cfigure id=\"attachment_13985283\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audience members film Spice 1 as he performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was definitely a certain effort with us to evolve our programming into more hip-hop and contemporary R&B bookings,” says Marc Zuazua, Yoshi’s director of marketing, in the club’s dining room before a recent Spice 1 show. After the pandemic, especially, he says, the crowds that once came to see traditional jazz artists, “who would do amazing for us in the past — like, those audiences weren’t coming back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who \u003ci>were\u003c/i> coming back were rap fans, especially to see the Bay Area’s own homegrown talent. Last year alone, Vallejo legend Mac Mall sold out a show. Oakland’s Richie Rich sold out two. Too Short sold out six. \u003c/p>\n\u003cp>It’s transformed not only box office revenues but the vibe inside the club, Zuazua says, with its traditional supper-club-style semicircle seating at tables and booths, and a menu featuring sushi and cocktails. Currently, Yoshi’s has hip-hop shows lined up with Mistah FAB (Jan. 22), the GZA (Feb. 8), and Twista (April 23). \u003c/p>\n\u003cfigure id=\"attachment_13985286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spice 1 performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Hayward’s Spice 1 took the stage later in the night, he acknowledged the mostly full club, and its atmosphere.\u003c/p>\n\u003cp>“This is kind of an upscale type thing, man,” he said, “but we can get up out of our seats!” \u003c/p>\n\u003cp>As the bass line to “I Got 5 on It” kicked off the set, many folks did just that — dancing, singing along, filming. Over the next 45 minutes, while Spice 1 delivered 30-year-old hits like “187 Proof” and “Welcome to the Ghetto,” people who now qualify for AARP membership celebrated with abandon alongside a handful of younger fans, who swarmed the rapper in the Yoshi’s front lobby afterward to get a selfie.\u003c/p>\n\u003cp>[aside postID=arts_13975538 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1.jpg']\u003c/p>\n\u003cp>It was a far cry from a straight-ahead jazz show at Yoshi’s, historically known for hosting golden-era legends like Pharoah Sanders, Roy Haynes, Charlie Haden or the esteemed McCoy Tyner, who once played an annual two-week residency at the club.\u003c/p>\n\u003cp>Even before the pandemic, several factors affected Yoshi’s ability to book traditional jazz. One was the 2013 opening of the SFJAZZ Center, which siphoned giants like Tyner across the Bay and into a brand new venue with a bigger backstage. Another was the \u003ca href=\"https://www.kqed.org/arts/10297603/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close\">high-profile collapse of Yoshi’s San Francisco\u003c/a>, which kept some artists away from the Oakland club — even though the operations were basically separate entities. \u003c/p>\n\u003cp>And then there’s the simple fact that, despite contemporary jazz scenes in LA, Chicago and London gaining popularity with younger fans over the past decade, \u003ca href=\"https://andscape.com/features/jazz-musicians-see-signs-of-hope-despite-repeated-questions-about-its-popularity/\">jazz remains a small sliver of overall music listening\u003c/a>. The 1960s and ’70s jazz generation is getting older. Sanders, Haynes, Haden and Tyner, to count just four of hundreds, have all passed away. As Zuazua notes, many traditional jazz fans either live far away in the suburbs, remain scared by a media crime narrative about Oakland or have simply aged out of their nightclub-going years.\u003c/p>\n\u003cp>That’s unfortunate, because if your typical jazz-listening uncle came to a rap show at Yoshi’s, most of the time he’d witness a live band on par with a classic Prestige Records-era quintet.\u003c/p>\n\u003cfigure id=\"attachment_13985677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mac Mall performs with a live band and DJ at Yoshi’s jazz club in Oakland on Aug. 10, 2025. \u003ccite>(Courtesy Mac Mall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rappers at Yoshi’s are often backed by the go-to live hip-hop musical director for the Bay Area: Kev Choice. In fact, Choice was the first artist to regularly bring hip-hop to Yoshi’s, starting all the way back in 2008, with annual shows by his Kev Choice Ensemble that featured guests like Zumbi from Zion I, Phesto from Souls of Mischief, Silk-E from the Coup or Too Short. \u003c/p>\n\u003cp>“Hip-hop fans have grown, have matured, have come into a new space of wanting to see some of their favorite artists — maybe in a different context, or coming to life in a different way,” Choice says.\u003ci> \u003c/i>\u003c/p>\n\u003cp>Yoshi’s isn’t alone in selling out shows by regional stars, like Oakland group the Delinquents in 2023. For the past several years, the Blue Note jazz club in New York has hosted rappers like Mos Def, Black Thought and Rakim. Yoshi’s San Francisco had even booked hip-hop acts a full 10 to 15 years ago: the Geto Boys, Public Enemy, Suga Free, Jay Electronica and KRS-One all appeared on its stage. \u003c/p>\n\u003cfigure id=\"attachment_13985280\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gianna Farren performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, rap and jazz have overlapped since the dawn of the 1990s. Along with more R&B, smooth jazz and world music on Yoshi’s calendar, one could call the development part of a natural lineage, musically and culturally. Richie Rich, who once \u003ca href=\"https://youtu.be/JGXrqZY8hwM?si=sowD8bDEnrHy60en\">rapped over George Duke samples\u003c/a> in the East Bay group 415, has been particularly strong in recommending Yoshi’s to other rappers, sometimes booked by outside promoters like \u003ca href=\"https://www.instagram.com/ajthearchitect/\">AJ the Architect\u003c/a>.\u003c/p>\n\u003cp>With change comes criticism, of course. \u003c/p>\n\u003cp>“There’s definitely older jazz fans out there that always have something to say on Facebook. ‘I remember when Yoshi’s was a jazz venue,’ you know,” says Zuazua. “But if they were to show up and not just be commenting on social media, we’d definitely be booking more jazz, and more blues.”\u003c/p>\n\u003cp>[aside postID='arts_13928550']Echoing Choice — who also served as musical director for \u003ca href=\"https://youtu.be/59eBs8iiLU0?si=zAMfirZRZImLNTxi\">E-40’s recent Tiny Desk Concert at NPR\u003c/a> — Zuazua says that while the “soundscape” has changed, the intensity, spontaneity and musical beauty Yoshi’s is known for is still very much present, especially with a live band.\u003c/p>\n\u003cp>“I’ve been going to hip-hop shows for as long as I can remember,” he says. “You go to a hip-hop show with a band, and that bass line is \u003ci>popping\u003c/i>. There’s horns. It’s alive.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Mistah FAB performs two shows with the Kev Choice Ensemble on Thursday, Jan. 22, at Yoshi’s (510 Embarcadero West, Oakland), at 7 p.m. and 9 p.m. \u003ca href=\"https://yoshis.com/events/sold-out/mistah-f-a-b-with-kev-choice/detail\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the final night of DJ Quik’s December residency at Yoshi’s, and he felt like stretching out. \u003c/p>\n\u003cp>Two songs into his set, the Compton-raised rap legend started conducting the band: first bringing the volume down, then leading his guitarist and keyboard player in back-to-back solos before pulling in the drums. He then turned the song’s West Coast rap rhythms upside down by grabbing some Latin percussion and twisting out an improvised solo of his own.\u003c/p>\n\u003cp>A grin spread across Quik’s face. “This \u003ci>is\u003c/i> a jazz club, ain’t it?” he asked the crowd.\u003c/p>\n\u003cp>In fact, Yoshi’s is the oldest and most famous jazz club in Oakland. But lately, it’s been something else too: a home for hip-hop legends like Scarface, the Pharcyde and Ghostface Killah, usually with a live band. It’s a reinvention that’s been especially notable in the past year, and it’s been packing in grown fans who once ran in the streets but now prefer sitting at tables. \u003c/p>\n\u003cfigure id=\"attachment_13985283\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audience members film Spice 1 as he performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was definitely a certain effort with us to evolve our programming into more hip-hop and contemporary R&B bookings,” says Marc Zuazua, Yoshi’s director of marketing, in the club’s dining room before a recent Spice 1 show. After the pandemic, especially, he says, the crowds that once came to see traditional jazz artists, “who would do amazing for us in the past — like, those audiences weren’t coming back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who \u003ci>were\u003c/i> coming back were rap fans, especially to see the Bay Area’s own homegrown talent. Last year alone, Vallejo legend Mac Mall sold out a show. Oakland’s Richie Rich sold out two. Too Short sold out six. \u003c/p>\n\u003cp>It’s transformed not only box office revenues but the vibe inside the club, Zuazua says, with its traditional supper-club-style semicircle seating at tables and booths, and a menu featuring sushi and cocktails. Currently, Yoshi’s has hip-hop shows lined up with Mistah FAB (Jan. 22), the GZA (Feb. 8), and Twista (April 23). \u003c/p>\n\u003cfigure id=\"attachment_13985286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spice 1 performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Hayward’s Spice 1 took the stage later in the night, he acknowledged the mostly full club, and its atmosphere.\u003c/p>\n\u003cp>“This is kind of an upscale type thing, man,” he said, “but we can get up out of our seats!” \u003c/p>\n\u003cp>As the bass line to “I Got 5 on It” kicked off the set, many folks did just that — dancing, singing along, filming. Over the next 45 minutes, while Spice 1 delivered 30-year-old hits like “187 Proof” and “Welcome to the Ghetto,” people who now qualify for AARP membership celebrated with abandon alongside a handful of younger fans, who swarmed the rapper in the Yoshi’s front lobby afterward to get a selfie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a far cry from a straight-ahead jazz show at Yoshi’s, historically known for hosting golden-era legends like Pharoah Sanders, Roy Haynes, Charlie Haden or the esteemed McCoy Tyner, who once played an annual two-week residency at the club.\u003c/p>\n\u003cp>Even before the pandemic, several factors affected Yoshi’s ability to book traditional jazz. One was the 2013 opening of the SFJAZZ Center, which siphoned giants like Tyner across the Bay and into a brand new venue with a bigger backstage. Another was the \u003ca href=\"https://www.kqed.org/arts/10297603/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close\">high-profile collapse of Yoshi’s San Francisco\u003c/a>, which kept some artists away from the Oakland club — even though the operations were basically separate entities. \u003c/p>\n\u003cp>And then there’s the simple fact that, despite contemporary jazz scenes in LA, Chicago and London gaining popularity with younger fans over the past decade, \u003ca href=\"https://andscape.com/features/jazz-musicians-see-signs-of-hope-despite-repeated-questions-about-its-popularity/\">jazz remains a small sliver of overall music listening\u003c/a>. The 1960s and ’70s jazz generation is getting older. Sanders, Haynes, Haden and Tyner, to count just four of hundreds, have all passed away. As Zuazua notes, many traditional jazz fans either live far away in the suburbs, remain scared by a media crime narrative about Oakland or have simply aged out of their nightclub-going years.\u003c/p>\n\u003cp>That’s unfortunate, because if your typical jazz-listening uncle came to a rap show at Yoshi’s, most of the time he’d witness a live band on par with a classic Prestige Records-era quintet.\u003c/p>\n\u003cfigure id=\"attachment_13985677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mac Mall performs with a live band and DJ at Yoshi’s jazz club in Oakland on Aug. 10, 2025. \u003ccite>(Courtesy Mac Mall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rappers at Yoshi’s are often backed by the go-to live hip-hop musical director for the Bay Area: Kev Choice. In fact, Choice was the first artist to regularly bring hip-hop to Yoshi’s, starting all the way back in 2008, with annual shows by his Kev Choice Ensemble that featured guests like Zumbi from Zion I, Phesto from Souls of Mischief, Silk-E from the Coup or Too Short. \u003c/p>\n\u003cp>“Hip-hop fans have grown, have matured, have come into a new space of wanting to see some of their favorite artists — maybe in a different context, or coming to life in a different way,” Choice says.\u003ci> \u003c/i>\u003c/p>\n\u003cp>Yoshi’s isn’t alone in selling out shows by regional stars, like Oakland group the Delinquents in 2023. For the past several years, the Blue Note jazz club in New York has hosted rappers like Mos Def, Black Thought and Rakim. Yoshi’s San Francisco had even booked hip-hop acts a full 10 to 15 years ago: the Geto Boys, Public Enemy, Suga Free, Jay Electronica and KRS-One all appeared on its stage. \u003c/p>\n\u003cfigure id=\"attachment_13985280\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gianna Farren performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, rap and jazz have overlapped since the dawn of the 1990s. Along with more R&B, smooth jazz and world music on Yoshi’s calendar, one could call the development part of a natural lineage, musically and culturally. Richie Rich, who once \u003ca href=\"https://youtu.be/JGXrqZY8hwM?si=sowD8bDEnrHy60en\">rapped over George Duke samples\u003c/a> in the East Bay group 415, has been particularly strong in recommending Yoshi’s to other rappers, sometimes booked by outside promoters like \u003ca href=\"https://www.instagram.com/ajthearchitect/\">AJ the Architect\u003c/a>.\u003c/p>\n\u003cp>With change comes criticism, of course. \u003c/p>\n\u003cp>“There’s definitely older jazz fans out there that always have something to say on Facebook. ‘I remember when Yoshi’s was a jazz venue,’ you know,” says Zuazua. “But if they were to show up and not just be commenting on social media, we’d definitely be booking more jazz, and more blues.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Echoing Choice — who also served as musical director for \u003ca href=\"https://youtu.be/59eBs8iiLU0?si=zAMfirZRZImLNTxi\">E-40’s recent Tiny Desk Concert at NPR\u003c/a> — Zuazua says that while the “soundscape” has changed, the intensity, spontaneity and musical beauty Yoshi’s is known for is still very much present, especially with a live band.\u003c/p>\n\u003cp>“I’ve been going to hip-hop shows for as long as I can remember,” he says. “You go to a hip-hop show with a band, and that bass line is \u003ci>popping\u003c/i>. There’s horns. It’s alive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Mistah FAB performs two shows with the Kev Choice Ensemble on Thursday, Jan. 22, at Yoshi’s (510 Embarcadero West, Oakland), at 7 p.m. and 9 p.m. \u003ca href=\"https://yoshis.com/events/sold-out/mistah-f-a-b-with-kev-choice/detail\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The NFL is marking the 60th anniversary of the Super Bowl with a hometown opening act.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will kick off the big game with an opening ceremony Feb. 8 at \u003ca href=\"https://www.kqed.org/news/tag/levis-stadium\">Levi’s Stadium\u003c/a> in Santa Clara, the league announced Sunday. The performance will celebrate six decades of the championship’s history, with the band helping usher generations of Super Bowl MVPs onto the field.\u003c/p>\n\u003cp>[aside postid='news_12005849']The trio, who formed in the East Bay and are made up of Billie Joe Armstrong, Mike Dirnt and Tré Cool, are expected to perform a selection of their best-known anthems as part of the tribute.\u003c/p>\n\u003cp>“We are super hyped to open Super Bowl 60 right in our backyard!” lead singer Armstrong said. “We are honored to welcome the MVPs who’ve shaped the game and open the night for fans all over the world. Let’s have fun! Let’s get loud!”\u003c/p>\n\u003cp>The ceremony airs live at 3 p.m. Pacific on NBC, Telemundo, Peacock and Universo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Celebrating 60 years of Super Bowl history with Green Day as a hometown band, while honoring the NFL legends who’ve helped define this sport, is an incredibly powerful way to kick off Super Bowl LX,” said Tim Tubito, the league’s senior director of event and game presentation. “As we work alongside NBC Sports for this opening ceremony, we look forward to creating a collective celebration for fans in the stadium and around the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The opening ceremony will take place ahead of the pregame entertainment, in which Charlie Puth is to perform the national anthem, Brandi Carlile will sing “America the Beautiful” and Coco Jones will deliver “Lift Every Voice and Sing.”\u003c/p>\n\n",
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"title": "A Mission District Dance Party Wants to ‘Melt the ICE’",
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"content": "\u003cp>This Sunday, like so many other nights at the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> queer bar \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a>, the dance floor will fill up with partygoers getting down to a live set of Latin fusion beats. There will be a full lineup of all trans DJs. There will be homemade tamales.\u003c/p>\n\u003cp>But the goal of this dance party won’t \u003cem>only \u003c/em>be for everyone to have a good time. Organized by the queer mutual aid collective \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Abundance Alchemy\u003c/a>, the Jan. 18 event will double as a fundraiser to support Bay Area families impacted by the recent spate of ICE deportation crackdowns — and as a form of grassroots resistance, its organizers say.\u003c/p>\n\u003cp>The name of the party? The \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Melt the ICE Fest\u003c/a>.\u003c/p>\n\u003cp>Collective member Yara, an Oakland-based visual artist, explains that Abundance Alchemy formed in late in 2023 in response to the widespread death and destruction happening in Gaza, as well as the police crackdowns on protests right here in the Bay Area. The idea, Yara says, was to figure out how folks could mobilize to help ease some of the suffering they were witnessing.\u003c/p>\n\u003cp>The collective’s first action was an art raffle in early 2024 that wound up raising $2,000 for organizations doing on-the-ground work to support victims in Palestine, Congo and Sudan. “That made us realize, ‘Oh, we can do something!'” Yara says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since then, the collective has mostly focused on distributing food, clothing and other supplies to unhoused communities in Oakland and San Francisco. It now has 25 to 30 active members, most of them queer, spread all over the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13985527\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg\" alt=\"People pass out food in grocery bags from the trunk of a car.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Abundance Alchemy passing out food. \u003ccite>(Courtesy of Abundance Alchemy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunday’s “Melt the ICE” event comes at a time when ICE’s aggressive, often violent deportation campaigns have sparked outrage nationwide, especially in the wake of an federal immigration agent’s \u003ca href=\"https://www.kqed.org/news/12069104/bay-area-immigrant-defense-groups-report-surge-in-support-after-minneapolis-ice-killing\">fatal shooting of Minneapolis mother Renee Good\u003c/a> last week. “\u003cspan style=\"font-weight: 400\">It’s heartbreaking what’s happening ,” Yara says. “The way they’re just killing people in the street is disgusting.”\u003c/span>\u003c/p>\n\u003cp>That said, Yara notes that the fundraising event has been in the works ever since ICE agents started \u003ca href=\"https://www.vox.com/policy/474842/ice-enforcement-operation-culture-violence-minneapolis-border\">ramping up the aggressiveness\u003c/a> of their on-the-ground tactics \u003ca href=\"https://www.kqed.org/news/12057190/fear-of-ice-raids-drains-sales-for-businesses-in-oaklands-fruitvale\">this past fall\u003c/a>. Members of Abundance Alchemy wanted to raise money to support local immigrant communities, but they also wanted do something fun and celebratory.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">In this world we live in where everything can feel so bleak, sometimes we need to make things that will make us happy and make us come together in joy — to not only cry together but dance together, and share in this trauma together,” Yara says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='news_12069590,arts_13953497']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Slowly, the different elements of the event came together: El Rio was an obvious fit to host because of how queer-friendly it is — and the bar was even willing to waive its usual fees for the fundraiser. A local cook, \u003ca href=\"https://www.instagram.com/veritas_cooking/\">Verita\u003c/a>, volunteered to make tamales to sell at the event. A ceramicist will also have a table set up.\u003c/p>\n\u003cp>Meanwhile, the fact that the DJ lineup is all trans wasn’t something they planned on purpose, Yara says. Those were just the DJs who responded to their call for volunteers. “They were the people who stepped up,” Yara says.\u003c/p>\n\u003cp>According to Yara, the bulk of the money raised at Sunday’s event will be distributed directly to a handful of Bay Area families who have been impacted by the ICE crackdowns. If there are extra funds, they’ll be donated to the Oakland Education Alliance’s \u003ca href=\"https://www.instagram.com/oea_rapidresponse/\">Rapid Response Team\u003c/a>, which provides legal services to immigrant families facing deportation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/DTG7HGbEoZS/\">Melt the Ice Fest\u003c/a>, featuring DeAlma, Tranzmutation, DJMJ and Maryama, will take place at El Rio (3158 Mission St., San Francisco) on Sunday, Jan. 18, 3–8 p.m. The door fee will be a sliding scale of $10–$20. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Proceeds from the Jan. 18 fundraiser at El Rio will support Bay Area families affected by ICE.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Sunday, like so many other nights at the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> queer bar \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a>, the dance floor will fill up with partygoers getting down to a live set of Latin fusion beats. There will be a full lineup of all trans DJs. There will be homemade tamales.\u003c/p>\n\u003cp>But the goal of this dance party won’t \u003cem>only \u003c/em>be for everyone to have a good time. Organized by the queer mutual aid collective \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Abundance Alchemy\u003c/a>, the Jan. 18 event will double as a fundraiser to support Bay Area families impacted by the recent spate of ICE deportation crackdowns — and as a form of grassroots resistance, its organizers say.\u003c/p>\n\u003cp>The name of the party? The \u003ca href=\"https://www.instagram.com/abundancealchemy_bayarea/\">Melt the ICE Fest\u003c/a>.\u003c/p>\n\u003cp>Collective member Yara, an Oakland-based visual artist, explains that Abundance Alchemy formed in late in 2023 in response to the widespread death and destruction happening in Gaza, as well as the police crackdowns on protests right here in the Bay Area. The idea, Yara says, was to figure out how folks could mobilize to help ease some of the suffering they were witnessing.\u003c/p>\n\u003cp>The collective’s first action was an art raffle in early 2024 that wound up raising $2,000 for organizations doing on-the-ground work to support victims in Palestine, Congo and Sudan. “That made us realize, ‘Oh, we can do something!'” Yara says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, the collective has mostly focused on distributing food, clothing and other supplies to unhoused communities in Oakland and San Francisco. It now has 25 to 30 active members, most of them queer, spread all over the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13985527\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg\" alt=\"People pass out food in grocery bags from the trunk of a car.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/abundance-alchemy-food-distro-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Abundance Alchemy passing out food. \u003ccite>(Courtesy of Abundance Alchemy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunday’s “Melt the ICE” event comes at a time when ICE’s aggressive, often violent deportation campaigns have sparked outrage nationwide, especially in the wake of an federal immigration agent’s \u003ca href=\"https://www.kqed.org/news/12069104/bay-area-immigrant-defense-groups-report-surge-in-support-after-minneapolis-ice-killing\">fatal shooting of Minneapolis mother Renee Good\u003c/a> last week. “\u003cspan style=\"font-weight: 400\">It’s heartbreaking what’s happening ,” Yara says. “The way they’re just killing people in the street is disgusting.”\u003c/span>\u003c/p>\n\u003cp>That said, Yara notes that the fundraising event has been in the works ever since ICE agents started \u003ca href=\"https://www.vox.com/policy/474842/ice-enforcement-operation-culture-violence-minneapolis-border\">ramping up the aggressiveness\u003c/a> of their on-the-ground tactics \u003ca href=\"https://www.kqed.org/news/12057190/fear-of-ice-raids-drains-sales-for-businesses-in-oaklands-fruitvale\">this past fall\u003c/a>. Members of Abundance Alchemy wanted to raise money to support local immigrant communities, but they also wanted do something fun and celebratory.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">In this world we live in where everything can feel so bleak, sometimes we need to make things that will make us happy and make us come together in joy — to not only cry together but dance together, and share in this trauma together,” Yara says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Slowly, the different elements of the event came together: El Rio was an obvious fit to host because of how queer-friendly it is — and the bar was even willing to waive its usual fees for the fundraiser. A local cook, \u003ca href=\"https://www.instagram.com/veritas_cooking/\">Verita\u003c/a>, volunteered to make tamales to sell at the event. A ceramicist will also have a table set up.\u003c/p>\n\u003cp>Meanwhile, the fact that the DJ lineup is all trans wasn’t something they planned on purpose, Yara says. Those were just the DJs who responded to their call for volunteers. “They were the people who stepped up,” Yara says.\u003c/p>\n\u003cp>According to Yara, the bulk of the money raised at Sunday’s event will be distributed directly to a handful of Bay Area families who have been impacted by the ICE crackdowns. If there are extra funds, they’ll be donated to the Oakland Education Alliance’s \u003ca href=\"https://www.instagram.com/oea_rapidresponse/\">Rapid Response Team\u003c/a>, which provides legal services to immigrant families facing deportation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/DTG7HGbEoZS/\">Melt the Ice Fest\u003c/a>, featuring DeAlma, Tranzmutation, DJMJ and Maryama, will take place at El Rio (3158 Mission St., San Francisco) on Sunday, Jan. 18, 3–8 p.m. The door fee will be a sliding scale of $10–$20. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Treachery and deceit swirl all around us. Every awards season, it seems, there’s an \u003ca href=\"https://www.kqed.org/arts/tag/oscars\">Oscar\u003c/a> given to the right person, but for the wrong film. Sometimes it’s an actor (Al Pacino for \u003cem>Scent of a Woman\u003c/em>), sometimes it’s a director (Martin Scorcese for \u003cem>The Departed\u003c/em>).\u003c/p>\n\u003cp>And sometimes it’s a singer.\u003c/p>\n\u003cp>If you see any movie at this year’s \u003ca href=\"https://www.noircity.com/\">Noir City\u003c/a> festival, running Jan. 16–25 at Oakland’s \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>, make it \u003cem>The Man With the Golden Arm\u003c/em>, starring Frank Sinatra. At the time a skinny crooner who’d just won Best Supporting Actor for \u003cem>From Here to Eternity\u003c/em>, Ol’ Blue Eyes turns in his actual greatest-ever acting performance as a jazz drummer \u003ca href=\"https://www.youtube.com/watch?v=MmqTc07linY\">desperately trying\u003c/a> — with girlfriend Kim Novak — to kick his debilitating heroin addiction.\u003c/p>\n\u003cfigure id=\"attachment_13985493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra and Kim Novak in ‘The Man With the Golden Arm,’ directed by Otto Preminger in 1955. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Screening in a double feature at Noir City with \u003cem>The Sweet Smell of Success\u003c/em> (from the bygone age of 1957, when critics actually held power over performing artists’ fortunes), \u003cem>The Man With the Golden Arm\u003c/em>, with its pulsing, blaring jazz music by Elmer Bernstein, marked a sea change in film scores.\u003c/p>\n\u003cp>Eddie Muller knows the cliché all too well of a black-and-white noir movie from the 1940s, with its “a lonesome wailing saxophone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Except that brass instruments were hardly used at all in 1940s scores, Muller explains in a recent interview. “In the 1940s, Hollywood had their studio orchestras, and were still beholden to that classic European orchestral score approach,” he says. “But in the ’50s, that really changed, and \u003cem>The Man With the Golden Arm\u003c/em> had a lot to do with that.”\u003c/p>\n\u003cfigure id=\"attachment_13985492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ida Lupino as a lounge singer in ‘The Man I Love,’ directed by Raoul Walsh in 1947. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the kind of deep knowledge I anticipated from a conversation with Muller, who since 2003 has hosted Noir City, a celebration of all things double-crossing and murderous on the silver screen. Each year, the hugely popular festival follows a theme; the first year I attended and realized I’d found my people, it was newspapers. This year’s is music.\u003c/p>\n\u003cp>That includes films like \u003cem>Gilda\u003c/em>, with Rita Hayworth’s famous glove-removing nightclub performance of “\u003ca href=\"https://www.youtube.com/watch?v=hllEi7bJ4os\">Put the Blame on Me\u003c/a>,” and \u003cem>A Man Called Adam\u003c/em>, starring Sammy Davis Jr. as an alcoholic, self-sabotaging singer and cornet player.\u003c/p>\n\u003cp>It also includes some films that, Muller admits, stretch the definition of film noir, including not one but two Doris Day movies.\u003c/p>\n\u003cfigure id=\"attachment_13985491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doris Day and Kirk Douglas in ‘Young Man With a Horn,’ based on the life of Bix Beiderbecke and directed by Michael Curtiz in 1950. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people see \u003cem>Love Me or Leave Me\u003c/em>, they assume ‘Oh, that’s a Doris Day musical,’” Muller says, adding that people have asked him: How can you possibly pass that off as noir?\u003c/p>\n\u003cp>“And you know, the answer is that Ruth Etting had a very, very noir life,” he explains.\u003c/p>\n\u003cp>Etting, a singer and actress who endured threats, a messy divorce and a murder attempt, is portrayed in \u003cem>Love Me Or Leave Me\u003c/em> not in gritty black and white, but full MGM Technicolor. Likewise, \u003cem>Pete Kelly’s Blues\u003c/em>, with Jack Webb and Janet Leigh, is also in color. But its story is grimy, and its stellar performances by Ella Fitzgerald and Peggy Lee fit the festival’s theme too well to be overlooked.\u003c/p>\n\u003cp>[aside postID='arts_13980003']Speaking of jazz performances, Muller’s lined up a schedule of them to precede each screening, with pianists, guitarists, tap dancers and singer Elizabeth Bougerol (she’s the one on the \u003ca href=\"https://www.noircity.com/\">festival poster\u003c/a> this year, spattered in blood). And he’s more than ready to get on stage and make converts of any noir-naysayers, like the woman behind me at the December festival preview at the Grand Lake, who saw the Elvis Presley film \u003cem>King Creole\u003c/em> flash on screen and remarked “Elvis?! Really?”\u003c/p>\n\u003cp>Muller’s response to that is straightforward: “Watch the movie! It’s gangsters, it’s everything. It’s a typical noir story except the guy is a rock singer.” While other Elvis movies were certified fluff for teenagers, he says, “this one has a serious crime element, it’s in black and white … Like, that’s \u003cem>the\u003c/em> Elvis noir movie.”\u003c/p>\n\u003cfigure id=\"attachment_13985490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-768x510.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexter Gordon in ‘Round Midnight,’ directed by Bertrand Tavernier in 1986. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year also marks the festival’s fourth year at the Grand Lake after leaving its longtime home at the Castro Theatre, which reopens next month to host more concerts than films in a renovated auditorium without its original theater-style seating.\u003c/p>\n\u003cp>Does Muller ever miss the Castro? “I don’t think about it, honestly,” he says. “What I regret is that San Francisco has no opulent single-screen movie palaces anymore. Like, how is that even possible?”\u003c/p>\n\u003cp>Meanwhile, Muller’s happy at the Grand Lake, a glorious 1926 movie palace with a curtain, a Wurlitzer and a community of film lovers who huddle together in the dark each year for a few hours of treachery and deceit on screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noircity.com/\">Noir City 23: Face the Music!\u003c/a> runs Jan. 16–25, 2026 at the Grand Lake Theatre (3200 Grand Ave., Oakland). \u003ca href=\"https://www.noircity.com/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Treachery and deceit swirl all around us. Every awards season, it seems, there’s an \u003ca href=\"https://www.kqed.org/arts/tag/oscars\">Oscar\u003c/a> given to the right person, but for the wrong film. Sometimes it’s an actor (Al Pacino for \u003cem>Scent of a Woman\u003c/em>), sometimes it’s a director (Martin Scorcese for \u003cem>The Departed\u003c/em>).\u003c/p>\n\u003cp>And sometimes it’s a singer.\u003c/p>\n\u003cp>If you see any movie at this year’s \u003ca href=\"https://www.noircity.com/\">Noir City\u003c/a> festival, running Jan. 16–25 at Oakland’s \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>, make it \u003cem>The Man With the Golden Arm\u003c/em>, starring Frank Sinatra. At the time a skinny crooner who’d just won Best Supporting Actor for \u003cem>From Here to Eternity\u003c/em>, Ol’ Blue Eyes turns in his actual greatest-ever acting performance as a jazz drummer \u003ca href=\"https://www.youtube.com/watch?v=MmqTc07linY\">desperately trying\u003c/a> — with girlfriend Kim Novak — to kick his debilitating heroin addiction.\u003c/p>\n\u003cfigure id=\"attachment_13985493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra and Kim Novak in ‘The Man With the Golden Arm,’ directed by Otto Preminger in 1955. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Screening in a double feature at Noir City with \u003cem>The Sweet Smell of Success\u003c/em> (from the bygone age of 1957, when critics actually held power over performing artists’ fortunes), \u003cem>The Man With the Golden Arm\u003c/em>, with its pulsing, blaring jazz music by Elmer Bernstein, marked a sea change in film scores.\u003c/p>\n\u003cp>Eddie Muller knows the cliché all too well of a black-and-white noir movie from the 1940s, with its “a lonesome wailing saxophone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Except that brass instruments were hardly used at all in 1940s scores, Muller explains in a recent interview. “In the 1940s, Hollywood had their studio orchestras, and were still beholden to that classic European orchestral score approach,” he says. “But in the ’50s, that really changed, and \u003cem>The Man With the Golden Arm\u003c/em> had a lot to do with that.”\u003c/p>\n\u003cfigure id=\"attachment_13985492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ida Lupino as a lounge singer in ‘The Man I Love,’ directed by Raoul Walsh in 1947. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the kind of deep knowledge I anticipated from a conversation with Muller, who since 2003 has hosted Noir City, a celebration of all things double-crossing and murderous on the silver screen. Each year, the hugely popular festival follows a theme; the first year I attended and realized I’d found my people, it was newspapers. This year’s is music.\u003c/p>\n\u003cp>That includes films like \u003cem>Gilda\u003c/em>, with Rita Hayworth’s famous glove-removing nightclub performance of “\u003ca href=\"https://www.youtube.com/watch?v=hllEi7bJ4os\">Put the Blame on Me\u003c/a>,” and \u003cem>A Man Called Adam\u003c/em>, starring Sammy Davis Jr. as an alcoholic, self-sabotaging singer and cornet player.\u003c/p>\n\u003cp>It also includes some films that, Muller admits, stretch the definition of film noir, including not one but two Doris Day movies.\u003c/p>\n\u003cfigure id=\"attachment_13985491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doris Day and Kirk Douglas in ‘Young Man With a Horn,’ based on the life of Bix Beiderbecke and directed by Michael Curtiz in 1950. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people see \u003cem>Love Me or Leave Me\u003c/em>, they assume ‘Oh, that’s a Doris Day musical,’” Muller says, adding that people have asked him: How can you possibly pass that off as noir?\u003c/p>\n\u003cp>“And you know, the answer is that Ruth Etting had a very, very noir life,” he explains.\u003c/p>\n\u003cp>Etting, a singer and actress who endured threats, a messy divorce and a murder attempt, is portrayed in \u003cem>Love Me Or Leave Me\u003c/em> not in gritty black and white, but full MGM Technicolor. Likewise, \u003cem>Pete Kelly’s Blues\u003c/em>, with Jack Webb and Janet Leigh, is also in color. But its story is grimy, and its stellar performances by Ella Fitzgerald and Peggy Lee fit the festival’s theme too well to be overlooked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of jazz performances, Muller’s lined up a schedule of them to precede each screening, with pianists, guitarists, tap dancers and singer Elizabeth Bougerol (she’s the one on the \u003ca href=\"https://www.noircity.com/\">festival poster\u003c/a> this year, spattered in blood). And he’s more than ready to get on stage and make converts of any noir-naysayers, like the woman behind me at the December festival preview at the Grand Lake, who saw the Elvis Presley film \u003cem>King Creole\u003c/em> flash on screen and remarked “Elvis?! Really?”\u003c/p>\n\u003cp>Muller’s response to that is straightforward: “Watch the movie! It’s gangsters, it’s everything. It’s a typical noir story except the guy is a rock singer.” While other Elvis movies were certified fluff for teenagers, he says, “this one has a serious crime element, it’s in black and white … Like, that’s \u003cem>the\u003c/em> Elvis noir movie.”\u003c/p>\n\u003cfigure id=\"attachment_13985490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-768x510.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexter Gordon in ‘Round Midnight,’ directed by Bertrand Tavernier in 1986. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year also marks the festival’s fourth year at the Grand Lake after leaving its longtime home at the Castro Theatre, which reopens next month to host more concerts than films in a renovated auditorium without its original theater-style seating.\u003c/p>\n\u003cp>Does Muller ever miss the Castro? “I don’t think about it, honestly,” he says. “What I regret is that San Francisco has no opulent single-screen movie palaces anymore. Like, how is that even possible?”\u003c/p>\n\u003cp>Meanwhile, Muller’s happy at the Grand Lake, a glorious 1926 movie palace with a curtain, a Wurlitzer and a community of film lovers who huddle together in the dark each year for a few hours of treachery and deceit on screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noircity.com/\">Noir City 23: Face the Music!\u003c/a> runs Jan. 16–25, 2026 at the Grand Lake Theatre (3200 Grand Ave., Oakland). \u003ca href=\"https://www.noircity.com/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This year’s \u003ca href=\"https://www.kqed.org/arts/tag/martin-luther-king-jr\">Martin Luther King Jr.\u003c/a> Day marks the first year the federal holiday is \u003ca href=\"https://www.npr.org/2025/12/06/g-s1-101090/national-parks-fee-free-calendar-mlk-juneteenth\">not included on the list of entrance fee-free days\u003c/a> to national parks, a choice made by the Trump administration towards the end of 2025. Despite this regression and ongoing attacks on civil rights nationwide, the Bay Area stands strong with a range of events this weekend to honor King’s enduring vision.\u003c/p>\n\u003cp>From volunteer opportunities to live performances, here’s a roundup of select ways to commemorate the day.\u003c/p>\n\u003cfigure id=\"attachment_13985454\" class=\"wp-caption aligncenter\" style=\"max-width: 1981px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026.jpg\" alt=\"\" width=\"1981\" height=\"1052\" class=\"size-full wp-image-13985454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026.jpg 1981w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-1536x816.jpg 1536w\" sizes=\"auto, (max-width: 1981px) 100vw, 1981px\">\u003cfigcaption class=\"wp-caption-text\">The \u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/2026-mlk-music-festival/\">2026 MLK Music Festival \u003c/a>takes place on Monday, Jan. 19 at Yerba Buena Gardens as part of the ‘MLK2026’ series. \u003ccite>(MLK2026)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/\">MLK2026\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Ongoing through Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, San Francisco\u003c/i>\u003c/p>\n\u003cp>MLK2026 features a week of programs exploring human and civil rights in a time of technological and legal uncertainty. Events include conversations with distinguished thinkers, a tribute to Howard Thurman, prayers, music, readings and workshops on diversity and immigration. The week also includes the MLK Labor and Community Breakfast, the Willie B. Kennedy Civic Service Award, a memorial reflection, and a music festival. \u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/2026-mlk-commemorative-transportation\">Free commemorative passes\u003c/a> for Bay Area transit systems are available for attendees.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sanleandro.org/979/MLK-Celebration\">Oratorical Festival and Poetry Slam\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 17, 2026 \u003c/i>\u003cbr>\n\u003ci>Marina Community Center, San Leandro \u003c/i>\u003c/p>\n\u003cp>The power of words will take center stage as San Leandro students perform original and well-known works that celebrate King’s message of peace and social justice. The day also includes live entertainment, crafts and light refreshments.\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1.jpg\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13898274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On Jan. 17 at the Paramount Theatre, Oakland musicians will pay homage to Sly Stone at ‘In the Name of Love,’ a concert in honor of Martin Luther King Jr. \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13985328/for-mlk-day-living-jazz-in-the-name-of-love-sly-stone\">In the Name of Love: A Tribute to Martin Luther King Jr.\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 17, 2026\u003c/i>\u003cbr>\n\u003ci>Paramount Theatre, Oakland \u003c/i>\u003c/p>\n\u003cp>A night of music-driven celebration, Living Jazz remembers King’s legacy while also paying tribute to the revolutionary sounds of Bay Area icon \u003ca href=\"https://www.kqed.org/arts/13977353/sly-stone-dead-at-82-obituary\">Sly Stone.\u003c/a> Former Sly and the Family Stone bassist Rustee Allen joins the night alongside an ensemble of powerful singers and musicians — including Kev Choice, Adrian Marcel, Black London, Martin Luther McCoy, August Lee Stevens and B DeVeaux — performing reimagined versions of classics like “Everyday People” and “Dance to the Music.”\u003c/p>\n\u003ch2>\u003ca href=\"https://mlk365.org/the-march/?emci=e6b5bd9a-bbb8-ef11-88d0-000d3a9d5840&emdi=94a03b33-efd1-ef11-88d0-0022482a9d92&ceid=83345443\">44th Annual March for the Dream\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Sacramento\u003c/i>\u003c/p>\n\u003cp>This community walk honors King’s legacy and desire to strengthen community. Starting at Sacramento City College, marchers will walk the 4.6-mile route to the SAFE Credit Union Convention Center. The first mile will be symbolically walked in silence as a protest to ongoing injustices and as an opportunity to reflect on the past.\u003c/p>\n\u003cfigure id=\"attachment_13985458\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13985458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-2048x1638.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Glide Ensemble perform at the Museum of the African Diaspora’s MLK Day celebration in 2025. \u003ccite>(Najee Tobin/ Courtesy MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.moadsf.org/event/dr-martin-luther-king-jr-free-community-day-free-admission\">MoAD Dr. Martin Luther King Jr. Free Community Day\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Museum of the African Diaspora, San Francisco \u003c/i>\u003c/p>\n\u003cp>The Museum of the African Diaspora opens its doors for a full day of free admission and programs honoring MLK. The schedule includes performances from Prescott Circus Theatre and the Glide Memorial Ensemble, as well as a presentation by Mahealani Uchiyama, who explores the connections between MLK and Indigenous rights movements in Hawai’i. There will also be a scavenger hunt to explore the museum’s current exhibitions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>\u003ca href=\"https://www.antipoliceterrorproject.org/reclaim-mlk-2025\">March to Reclaim MLK’s Radical Legacy\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Oakland\u003c/i>\u003c/p>\n\u003cp>This 12th annual march centers around King’s “uncompromising vision for anti-capitalist, anti-war, racial and economic justice.” The march anchors the Anti-Police Terror Project’s Two Weeks of Action, which consists of various trainings, discussions, and community events.\u003c/p>\n\u003cp>The Urban Peace Movement, Youth Together, AYPAL, 67 Sueños, BAY-Peace and CURYJ are all participating as part of this year’s youth contingent, which will feature events like an art build and political education workshop.\u003c/p>\n\u003cfigure id=\"attachment_13985456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-13985456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310-768x432.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the documentary ‘MLK/FBI,’ which explores J. Edgar Hoover’s relentless pursuit of the civil rights leader. \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/events/694b31954be11d3d00d9a4a8\">Dr. Martin Luther King Jr. Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>African American Museum and Library, Oakland \u003c/i>\u003c/p>\n\u003cp>For a full day of film screenings, AAMLO will show five documentaries that trace back to major moments in Black history and the civil rights movement. Including \u003cem>Mighty Times: The Children’s March\u003c/em> and \u003cem>MLK/FBI\u003c/em>, all films are kid-friendly, inviting families into a space for learning and celebration.\u003c/p>\n\u003cp>[aside postID='news_12070047']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.padc.info/mlk26\">29th Annual Dr. Martin Luther King, Jr. Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19\u003c/i>\u003cbr>\n\u003ci>Alan Harvey Theater, Piedmont\u003c/i>\u003c/p>\n\u003cp>For their 29th annual MLK Day celebration, the Piedmont Anti-Racism and Diversity Committee is offering a program featuring a keynote presentation by congresswoman Lateefah Simon. There will also be performances by the Destiny Junior Company dance team, a writing showcase and more.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.contracosta.ca.gov/5307/Dr-Martin-Luther-King-Jr-Ceremony\">Democracy as a Verb: Building on Dr. King’s Legacy in Contra Costa\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 20, 2026\u003c/i>\u003cbr>\n\u003ci>Contra Costa County Administration Building, Contra Costa\u003c/i>\u003c/p>\n\u003cp>Contra Costa County celebrates King’s legacy with an hour-long ceremony honoring the 2025 Humanitarian of the Year and Student Humanitarian of the Year. The event includes live recognition, community reflections, and a free buffet lunch. Streaming is available online and on Contra Costa Television.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003chr>\n\u003ch2>Volunteering/Day of Service\u003c/h2>\n\u003ch2>\u003ca href=\"https://www.antiochca.gov/214/Martin-Luther-King-Jr-Day-of-Service\">\u003cb>Antioch MLK Day of Service\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Antioch\u003c/i>\u003c/p>\n\u003cp>For Antioch’s MLK Day of Service, volunteers will restore the Antioch Skatepark, tackling projects from graffiti removals to bench restorations, while other volunteers will lead the way for an art-filled senior day of engagement at the community center. The day also highlights the Alameda Unified School District Poetry Contest, where students grade 3 through 12 from across the district share their poems under the theme of “Keeping The Dream Alive In Our Community.”\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/16th-annual-martin-luther-king-jr-day-of-service-tickets-1977136302905\">16th Annual Martin Luther King Jr. Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19 2026\u003c/i>\u003cbr>\n\u003ci>Lodestar School, Oakland \u003c/i>\u003c/p>\n\u003cp>The 16th annual MLK Day of Service brings together community members for a range of volunteer projects organized in collaboration with \u003ca href=\"https://www.highergroundndc.com/neighborhood-development\">Higher Ground\u003c/a>, \u003ca href=\"https://rootscommunityhealth.org/\">ROOTS Community Health\u003c/a> and \u003ca href=\"https://rootscommunityhealth.org/\">Lighthouse Community Public Schools.\u003c/a> Activities include a mural painting, greenway beautifications and follower installations, as well as cleanup and restoration efforts at Sobrante Park, MLK Shoreline, and San Leandro Creek.\u003c/p>\n\u003cfigure id=\"attachment_13985463\" class=\"wp-caption aligncenter\" style=\"max-width: 1359px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa.png\" alt=\"\" width=\"1359\" height=\"812\" class=\"size-full wp-image-13985463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa.png 1359w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa-768x459.png 768w\" sizes=\"auto, (max-width: 1359px) 100vw, 1359px\">\u003cfigcaption class=\"wp-caption-text\">MLK Day volunteers at Martin Luther King Jr. Park in Santa Rosa. \u003ccite>(Community Equity Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://communityequityfdn.wixsite.com/community-equity-fou/events/a-day-on-not-a-day-off\">Santa Rosa Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Martin Luther King Jr. Park, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>Volunteers can help clean up Martin Luther King Jr. Park in the South Park area of Santa Rosa, hosted by Community Baptist Church and the Community Equity Foundation. Picking up litter, spreading mulch, weeding and general polishing-up are the order of the day. Tools and snacks provided. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.ebparks.org/MLK-day-service\">East Bay MLK Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026 \u003c/i>\u003cbr>\n\u003ci>Various locations\u003c/i>\u003c/p>\n\u003cp>Volunteers can sign up for groundskeeping at Martin Luther King Jr. Memorial Grove or for shoreline cleanup at either Oakport Staging Area or Arrowhead Marsh.\u003c/p>\n\u003ch2>\u003ca href=\"https://portal.caclimateactioncorps.org/opportunities/zpzT4AGWPz\">\u003cb>MLK Tree Planting and Resource Fair\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>951 O’Connor St., East Palo Alto \u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://canopy.org/\">Canopy\u003c/a> and Ravenswood City School District have partnered together to plant trees at the space that will become East Palo Alto’s largest infant-toddler childcare center. Happening simultaneously will be an MLK park cleanup, which is followed by a barbecue lunch and resource fair. Free shuttles are available for volunteers to travel between sites.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/mlk-day-of-service-planting-with-our-city-forest-at-rainbow-park-tickets-1976927825343?aff=ebdssbdestsearch\">San Jose MLK Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Rainbow Park, San Jose\u003c/i>\u003c/p>\n\u003cp>San Jose nonprofit \u003ca href=\"https://www.ourcityforest.org/\">Our City Forest\u003c/a> is hosting a tree planting volunteer opportunity for their day of service. Volunteers will learn the basics of tree planting from digging holes to mulching soil.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s \u003ca href=\"https://www.kqed.org/arts/tag/martin-luther-king-jr\">Martin Luther King Jr.\u003c/a> Day marks the first year the federal holiday is \u003ca href=\"https://www.npr.org/2025/12/06/g-s1-101090/national-parks-fee-free-calendar-mlk-juneteenth\">not included on the list of entrance fee-free days\u003c/a> to national parks, a choice made by the Trump administration towards the end of 2025. Despite this regression and ongoing attacks on civil rights nationwide, the Bay Area stands strong with a range of events this weekend to honor King’s enduring vision.\u003c/p>\n\u003cp>From volunteer opportunities to live performances, here’s a roundup of select ways to commemorate the day.\u003c/p>\n\u003cfigure id=\"attachment_13985454\" class=\"wp-caption aligncenter\" style=\"max-width: 1981px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026.jpg\" alt=\"\" width=\"1981\" height=\"1052\" class=\"size-full wp-image-13985454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026.jpg 1981w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.YerbaBuena.MLK2026-1536x816.jpg 1536w\" sizes=\"auto, (max-width: 1981px) 100vw, 1981px\">\u003cfigcaption class=\"wp-caption-text\">The \u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/2026-mlk-music-festival/\">2026 MLK Music Festival \u003c/a>takes place on Monday, Jan. 19 at Yerba Buena Gardens as part of the ‘MLK2026’ series. \u003ccite>(MLK2026)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/\">MLK2026\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Ongoing through Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, San Francisco\u003c/i>\u003c/p>\n\u003cp>MLK2026 features a week of programs exploring human and civil rights in a time of technological and legal uncertainty. Events include conversations with distinguished thinkers, a tribute to Howard Thurman, prayers, music, readings and workshops on diversity and immigration. The week also includes the MLK Labor and Community Breakfast, the Willie B. Kennedy Civic Service Award, a memorial reflection, and a music festival. \u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2026/2026-mlk-commemorative-transportation\">Free commemorative passes\u003c/a> for Bay Area transit systems are available for attendees.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sanleandro.org/979/MLK-Celebration\">Oratorical Festival and Poetry Slam\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 17, 2026 \u003c/i>\u003cbr>\n\u003ci>Marina Community Center, San Leandro \u003c/i>\u003c/p>\n\u003cp>The power of words will take center stage as San Leandro students perform original and well-known works that celebrate King’s message of peace and social justice. The day also includes live entertainment, crafts and light refreshments.\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1.jpg\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13898274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On Jan. 17 at the Paramount Theatre, Oakland musicians will pay homage to Sly Stone at ‘In the Name of Love,’ a concert in honor of Martin Luther King Jr. \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13985328/for-mlk-day-living-jazz-in-the-name-of-love-sly-stone\">In the Name of Love: A Tribute to Martin Luther King Jr.\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 17, 2026\u003c/i>\u003cbr>\n\u003ci>Paramount Theatre, Oakland \u003c/i>\u003c/p>\n\u003cp>A night of music-driven celebration, Living Jazz remembers King’s legacy while also paying tribute to the revolutionary sounds of Bay Area icon \u003ca href=\"https://www.kqed.org/arts/13977353/sly-stone-dead-at-82-obituary\">Sly Stone.\u003c/a> Former Sly and the Family Stone bassist Rustee Allen joins the night alongside an ensemble of powerful singers and musicians — including Kev Choice, Adrian Marcel, Black London, Martin Luther McCoy, August Lee Stevens and B DeVeaux — performing reimagined versions of classics like “Everyday People” and “Dance to the Music.”\u003c/p>\n\u003ch2>\u003ca href=\"https://mlk365.org/the-march/?emci=e6b5bd9a-bbb8-ef11-88d0-000d3a9d5840&emdi=94a03b33-efd1-ef11-88d0-0022482a9d92&ceid=83345443\">44th Annual March for the Dream\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Sacramento\u003c/i>\u003c/p>\n\u003cp>This community walk honors King’s legacy and desire to strengthen community. Starting at Sacramento City College, marchers will walk the 4.6-mile route to the SAFE Credit Union Convention Center. The first mile will be symbolically walked in silence as a protest to ongoing injustices and as an opportunity to reflect on the past.\u003c/p>\n\u003cfigure id=\"attachment_13985458\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13985458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Final_Thesis-54-2048x1638.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Glide Ensemble perform at the Museum of the African Diaspora’s MLK Day celebration in 2025. \u003ccite>(Najee Tobin/ Courtesy MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.moadsf.org/event/dr-martin-luther-king-jr-free-community-day-free-admission\">MoAD Dr. Martin Luther King Jr. Free Community Day\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Museum of the African Diaspora, San Francisco \u003c/i>\u003c/p>\n\u003cp>The Museum of the African Diaspora opens its doors for a full day of free admission and programs honoring MLK. The schedule includes performances from Prescott Circus Theatre and the Glide Memorial Ensemble, as well as a presentation by Mahealani Uchiyama, who explores the connections between MLK and Indigenous rights movements in Hawai’i. There will also be a scavenger hunt to explore the museum’s current exhibitions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.antipoliceterrorproject.org/reclaim-mlk-2025\">March to Reclaim MLK’s Radical Legacy\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Oakland\u003c/i>\u003c/p>\n\u003cp>This 12th annual march centers around King’s “uncompromising vision for anti-capitalist, anti-war, racial and economic justice.” The march anchors the Anti-Police Terror Project’s Two Weeks of Action, which consists of various trainings, discussions, and community events.\u003c/p>\n\u003cp>The Urban Peace Movement, Youth Together, AYPAL, 67 Sueños, BAY-Peace and CURYJ are all participating as part of this year’s youth contingent, which will feature events like an art build and political education workshop.\u003c/p>\n\u003cfigure id=\"attachment_13985456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-13985456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/skynews-martin-luther-king-jr_5228310-768x432.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the documentary ‘MLK/FBI,’ which explores J. Edgar Hoover’s relentless pursuit of the civil rights leader. \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/events/694b31954be11d3d00d9a4a8\">Dr. Martin Luther King Jr. Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>African American Museum and Library, Oakland \u003c/i>\u003c/p>\n\u003cp>For a full day of film screenings, AAMLO will show five documentaries that trace back to major moments in Black history and the civil rights movement. Including \u003cem>Mighty Times: The Children’s March\u003c/em> and \u003cem>MLK/FBI\u003c/em>, all films are kid-friendly, inviting families into a space for learning and celebration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.padc.info/mlk26\">29th Annual Dr. Martin Luther King, Jr. Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19\u003c/i>\u003cbr>\n\u003ci>Alan Harvey Theater, Piedmont\u003c/i>\u003c/p>\n\u003cp>For their 29th annual MLK Day celebration, the Piedmont Anti-Racism and Diversity Committee is offering a program featuring a keynote presentation by congresswoman Lateefah Simon. There will also be performances by the Destiny Junior Company dance team, a writing showcase and more.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.contracosta.ca.gov/5307/Dr-Martin-Luther-King-Jr-Ceremony\">Democracy as a Verb: Building on Dr. King’s Legacy in Contra Costa\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 20, 2026\u003c/i>\u003cbr>\n\u003ci>Contra Costa County Administration Building, Contra Costa\u003c/i>\u003c/p>\n\u003cp>Contra Costa County celebrates King’s legacy with an hour-long ceremony honoring the 2025 Humanitarian of the Year and Student Humanitarian of the Year. The event includes live recognition, community reflections, and a free buffet lunch. Streaming is available online and on Contra Costa Television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003chr>\n\u003ch2>Volunteering/Day of Service\u003c/h2>\n\u003ch2>\u003ca href=\"https://www.antiochca.gov/214/Martin-Luther-King-Jr-Day-of-Service\">\u003cb>Antioch MLK Day of Service\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Various locations, Antioch\u003c/i>\u003c/p>\n\u003cp>For Antioch’s MLK Day of Service, volunteers will restore the Antioch Skatepark, tackling projects from graffiti removals to bench restorations, while other volunteers will lead the way for an art-filled senior day of engagement at the community center. The day also highlights the Alameda Unified School District Poetry Contest, where students grade 3 through 12 from across the district share their poems under the theme of “Keeping The Dream Alive In Our Community.”\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/16th-annual-martin-luther-king-jr-day-of-service-tickets-1977136302905\">16th Annual Martin Luther King Jr. Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19 2026\u003c/i>\u003cbr>\n\u003ci>Lodestar School, Oakland \u003c/i>\u003c/p>\n\u003cp>The 16th annual MLK Day of Service brings together community members for a range of volunteer projects organized in collaboration with \u003ca href=\"https://www.highergroundndc.com/neighborhood-development\">Higher Ground\u003c/a>, \u003ca href=\"https://rootscommunityhealth.org/\">ROOTS Community Health\u003c/a> and \u003ca href=\"https://rootscommunityhealth.org/\">Lighthouse Community Public Schools.\u003c/a> Activities include a mural painting, greenway beautifications and follower installations, as well as cleanup and restoration efforts at Sobrante Park, MLK Shoreline, and San Leandro Creek.\u003c/p>\n\u003cfigure id=\"attachment_13985463\" class=\"wp-caption aligncenter\" style=\"max-width: 1359px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa.png\" alt=\"\" width=\"1359\" height=\"812\" class=\"size-full wp-image-13985463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa.png 1359w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MLK.SantaRosa-768x459.png 768w\" sizes=\"auto, (max-width: 1359px) 100vw, 1359px\">\u003cfigcaption class=\"wp-caption-text\">MLK Day volunteers at Martin Luther King Jr. Park in Santa Rosa. \u003ccite>(Community Equity Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://communityequityfdn.wixsite.com/community-equity-fou/events/a-day-on-not-a-day-off\">Santa Rosa Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Martin Luther King Jr. Park, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>Volunteers can help clean up Martin Luther King Jr. Park in the South Park area of Santa Rosa, hosted by Community Baptist Church and the Community Equity Foundation. Picking up litter, spreading mulch, weeding and general polishing-up are the order of the day. Tools and snacks provided. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.ebparks.org/MLK-day-service\">East Bay MLK Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026 \u003c/i>\u003cbr>\n\u003ci>Various locations\u003c/i>\u003c/p>\n\u003cp>Volunteers can sign up for groundskeeping at Martin Luther King Jr. Memorial Grove or for shoreline cleanup at either Oakport Staging Area or Arrowhead Marsh.\u003c/p>\n\u003ch2>\u003ca href=\"https://portal.caclimateactioncorps.org/opportunities/zpzT4AGWPz\">\u003cb>MLK Tree Planting and Resource Fair\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>951 O’Connor St., East Palo Alto \u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://canopy.org/\">Canopy\u003c/a> and Ravenswood City School District have partnered together to plant trees at the space that will become East Palo Alto’s largest infant-toddler childcare center. Happening simultaneously will be an MLK park cleanup, which is followed by a barbecue lunch and resource fair. Free shuttles are available for volunteers to travel between sites.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/mlk-day-of-service-planting-with-our-city-forest-at-rainbow-park-tickets-1976927825343?aff=ebdssbdestsearch\">San Jose MLK Day of Service\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Jan. 19, 2026\u003c/i>\u003cbr>\n\u003ci>Rainbow Park, San Jose\u003c/i>\u003c/p>\n\u003cp>San Jose nonprofit \u003ca href=\"https://www.ourcityforest.org/\">Our City Forest\u003c/a> is hosting a tree planting volunteer opportunity for their day of service. Volunteers will learn the basics of tree planting from digging holes to mulching soil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "mosswood-iggy-pop-bikini-kill-dead-milkmen-otoboke-beaver-lineup-oakland-2026",
"title": "Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More",
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"content": "\u003cp>The lineup for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland is here. Iggy Pop and Bikini Kill are headliners, along with a stacked schedule of openers that includes Otoboke Beaver, the Dead Milkmen, Corin Tucker and Carrie Brownstein of Sleater-Kinney with Fred Armisen, Scowl, Frightwig, the Dirtbombs and more.\u003c/p>\n\u003cp>Add the already announced \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">festival “pre-party” with Pavement\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">annual host John Waters\u003c/a>, and it’s safe to say: this is the biggest and most impressive Mosswood lineup yet.\u003c/p>\n\u003cp>Both Iggy Pop and Bikini Kill are returning to the annual trash-rock soirée in Mosswood Park. Perpetually shirtless \u003ca href=\"https://www.kqed.org/arts/13569504/burger-boogaloo-breakdown-lots-of-sun-and-hubbub-at-mosswood-park\">Iggy Pop played the park\u003c/a> in 2017, while \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill last appeared\u003c/a> in 2022. (Onstage, singer Kathleen Hanna, who also led a set by Le Tigre the following year, expressed special gratitude for the festival’s deliberate inclusivity.)\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otoboke Beaver, four women from Kyoto, are \u003ca href=\"https://youtu.be/GBBpLwGy6mY?si=khFfCdLoJ5rs4S07\">one of the most exciting live bands on the planet\u003c/a>, and the Dead Milkmen, four men from Pennsylvania, are one of the funniest \u003ca href=\"https://www.tiktok.com/@buhrigit/video/7591536803849489694\">Camaro-driving\u003c/a> bands to ever sing about \u003ca href=\"https://youtu.be/fEp0aKCsrig?si=Z2BMtG8hov8XQ2BD\">what the queers are doing to the soil\u003c/a>. Meanwhile, under the name “The Return of Jackie & Judy,” Carrie Brownstein and Corin Tucker team up with drummer and funnyman Fred Armisen for \u003ca href=\"https://www.youtube.com/shorts/2mQEdAI7cdc\">a set of Ramones covers\u003c/a>. And Scowl? The Dirtbombs? \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>? It’s nuts.\u003c/p>\n\u003cp>If there’s anything missing this year, it’s the festival’s welcome tradition of undersung ’80s rap hitmakers; in recent years, that’s meant sets by L’Trimm, Egyptian Lover and J.J. Fad. \u003ca href=\"https://www.youtube.com/watch?v=2m-jzUyUQg4\">Maybe next year we can have Oaktown’s 3.5.7\u003c/a>. In the meantime, though, this is a damn fine lineup. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>General admission tickets, on sale now, are $129 for Saturday and $89 for Sunday; a weekend pass is $179. VIP tickets for the fancypants cost more, and the tickets to Pavement on Friday night are sold separately.\u003c/p>\n\u003cp>[aside postID='arts_13978802']For tickets and more information, see the \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown site\u003c/a>, and peep the full lineup and poster by the great \u003ca href=\"https://www.instagram.com/janelleblarg/\">Janelle Blarg\u003c/a> below. \u003c/p>\n\u003cp>\u003cstrong>Friday, July 17 (“Pre-party”) \u003c/strong>\u003cbr>\nPavement\u003cbr>\nWednesday\u003cbr>\nVivian Girls \u003c/p>\n\u003cp>\u003cstrong>Saturday, July 18 \u003c/strong>\u003cbr>\nIggy Pop\u003cbr>\nOtoboke Beaver\u003cbr>\nScowl\u003cbr>\nThe Spits\u003cbr>\nThe Dirtbombs\u003cbr>\nThe Fadeaways\u003cbr>\nPrimitive Ring \u003c/p>\n\u003cp>\u003cstrong>Sunday, July 19\u003c/strong>\u003cbr>\nBikini Kill\u003cbr>\nThe Return of Jackie and Judy\u003cbr>\nThe Dead Milkmen\u003cbr>\nFrankie and the Witch Fingers\u003cbr>\nFrightwig\u003cbr>\nLas Nubes \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg\" alt=\"\" width=\"1579\" height=\"2000\" class=\"aligncenter size-full wp-image-13985443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg 1579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-1213x1536.jpg 1213w\" sizes=\"auto, (max-width: 1579px) 100vw, 1579px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland is here. Iggy Pop and Bikini Kill are headliners, along with a stacked schedule of openers that includes Otoboke Beaver, the Dead Milkmen, Corin Tucker and Carrie Brownstein of Sleater-Kinney with Fred Armisen, Scowl, Frightwig, the Dirtbombs and more.\u003c/p>\n\u003cp>Add the already announced \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">festival “pre-party” with Pavement\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">annual host John Waters\u003c/a>, and it’s safe to say: this is the biggest and most impressive Mosswood lineup yet.\u003c/p>\n\u003cp>Both Iggy Pop and Bikini Kill are returning to the annual trash-rock soirée in Mosswood Park. Perpetually shirtless \u003ca href=\"https://www.kqed.org/arts/13569504/burger-boogaloo-breakdown-lots-of-sun-and-hubbub-at-mosswood-park\">Iggy Pop played the park\u003c/a> in 2017, while \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill last appeared\u003c/a> in 2022. (Onstage, singer Kathleen Hanna, who also led a set by Le Tigre the following year, expressed special gratitude for the festival’s deliberate inclusivity.)\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otoboke Beaver, four women from Kyoto, are \u003ca href=\"https://youtu.be/GBBpLwGy6mY?si=khFfCdLoJ5rs4S07\">one of the most exciting live bands on the planet\u003c/a>, and the Dead Milkmen, four men from Pennsylvania, are one of the funniest \u003ca href=\"https://www.tiktok.com/@buhrigit/video/7591536803849489694\">Camaro-driving\u003c/a> bands to ever sing about \u003ca href=\"https://youtu.be/fEp0aKCsrig?si=Z2BMtG8hov8XQ2BD\">what the queers are doing to the soil\u003c/a>. Meanwhile, under the name “The Return of Jackie & Judy,” Carrie Brownstein and Corin Tucker team up with drummer and funnyman Fred Armisen for \u003ca href=\"https://www.youtube.com/shorts/2mQEdAI7cdc\">a set of Ramones covers\u003c/a>. And Scowl? The Dirtbombs? \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>? It’s nuts.\u003c/p>\n\u003cp>If there’s anything missing this year, it’s the festival’s welcome tradition of undersung ’80s rap hitmakers; in recent years, that’s meant sets by L’Trimm, Egyptian Lover and J.J. Fad. \u003ca href=\"https://www.youtube.com/watch?v=2m-jzUyUQg4\">Maybe next year we can have Oaktown’s 3.5.7\u003c/a>. In the meantime, though, this is a damn fine lineup. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>General admission tickets, on sale now, are $129 for Saturday and $89 for Sunday; a weekend pass is $179. VIP tickets for the fancypants cost more, and the tickets to Pavement on Friday night are sold separately.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For tickets and more information, see the \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown site\u003c/a>, and peep the full lineup and poster by the great \u003ca href=\"https://www.instagram.com/janelleblarg/\">Janelle Blarg\u003c/a> below. \u003c/p>\n\u003cp>\u003cstrong>Friday, July 17 (“Pre-party”) \u003c/strong>\u003cbr>\nPavement\u003cbr>\nWednesday\u003cbr>\nVivian Girls \u003c/p>\n\u003cp>\u003cstrong>Saturday, July 18 \u003c/strong>\u003cbr>\nIggy Pop\u003cbr>\nOtoboke Beaver\u003cbr>\nScowl\u003cbr>\nThe Spits\u003cbr>\nThe Dirtbombs\u003cbr>\nThe Fadeaways\u003cbr>\nPrimitive Ring \u003c/p>\n\u003cp>\u003cstrong>Sunday, July 19\u003c/strong>\u003cbr>\nBikini Kill\u003cbr>\nThe Return of Jackie and Judy\u003cbr>\nThe Dead Milkmen\u003cbr>\nFrankie and the Witch Fingers\u003cbr>\nFrightwig\u003cbr>\nLas Nubes \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg\" alt=\"\" width=\"1579\" height=\"2000\" class=\"aligncenter size-full wp-image-13985443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg 1579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-1213x1536.jpg 1213w\" sizes=\"auto, (max-width: 1579px) 100vw, 1579px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13985242\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover.png\" alt=\"A book cover featuring a black and white photograph of a thin, white man, performing on his knees, his face obscured, with a target drawn on his shirtless torso. An audience member's arm reaches out with their hand positioned as if pulling a trigger.\" width=\"1736\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover.png 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover-160x184.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover-768x885.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover-1333x1536.png 1333w\" sizes=\"auto, (max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">‘Search & Destroy: The Complete Archive’ edited by V. Vale, Cecily Chen and Mitch Anzuoni. \u003ccite>(Inpatient Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the Sex Pistols closed out their last ever show at San Francisco’s Winterland in January 1978, frontman Johnny Rotten uttered a sardonic phrase that has lived on in the \u003ca href=\"https://www.kqed.org/arts/tag/punk-rock\">punk rock\u003c/a> consciousness ever since: “Ever get the feeling you’ve been cheated?”\u003c/p>\n\u003cp>I couldn’t help but think of the line as I opened the new book \u003cem>Search & Destroy: The Complete Archive\u003c/em>, a collection of every issue of the legendary punk fanzine. \u003cem>Search & Destroy\u003c/em> is an essential piece of underground music history that was founded and created in San Francisco, existed between 1977 and 1979 and featured literally all of the punk greats in its 11 issues.\u003c/p>\n\u003cp>[aside postid='arts_13967703']Being able to finally explore this zine in its entirety — zeitgeist-capturing ads included! — should have been a magnificent gift. Unfortunately, \u003cem>Search & Destroy: The Complete Archive\u003c/em> contains so much minuscule print, reading some sections feels much more like a sight test than a good time. That’s because \u003cem>Search & Destroy\u003c/em>’s original pages measured 11 by 17 inches, but the book is a mere 8 by 12 inches. The decision to shrink down the original is especially disastrous given the fact that most of this book’s target audience is now likely in need of reading glasses.\u003c/p>\n\u003cp>Some spreads are easier to read than others. But there is something torturous about being presented with page after page of fascinating in-depth Q&As with legends — Iggy Pop, Patti Smith, Ramones, Devo, Dead Kennedys, The Damned, Blondie, Talking Heads, Buzzcocks, The Cramps, Siouxsie and the Banshees, Dead Boys, Sham 69, X and the Dickies are all here — only to have to do battle with painfully tiny print.\u003c/p>\n\u003cp>Once you locate the nearest magnifying glass (and it is essential that you do), it’s clear that during its short existence \u003cem>Search & Destroy\u003c/em> did a mind-boggling job of capturing iconic artists at their most unfiltered. One interview with The Clash includes extensive (and very funny) trash talking about The Damned. Another with Patti Smith sees her declaring: “I really would shoot somebody. People who steal rock ‘n’ roll equipment deserve to die!” Elsewhere, David Byrne has harsh words for Talking Heads’ own record label: “I don’t mind anything anybody writes about me or the band, but the record company who’s supposed to be representing us [Sire] could at least do something in cooperation with us instead of whatever they think they can do to make money.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lack of filtered answers here reflects just how much editor V. Vale and his crew of writers were trusted by the folks they were documenting. Vale, it seems, was so much a part of the punk scene wallpaper that some of the conversations featured in \u003cem>Search & Destroy\u003c/em> all but fell in his lap. The first Iggy Pop interview only happened because the singer randomly showed up at the home of a fans’ house when the writer happened to be there. (Sample Iggy quote from that night: “You’re from San Francisco. Have you seen Jeffrey? He’s a hustler, real good friend of mine, beautiful chap.”)\u003c/p>\n\u003cp>Of course, \u003cem>Search & Destroy\u003c/em> reaches far beyond the biggest punk bands of the day. Bay Area heroes including Avengers, The Dils, Mutants, The Nuns and Crime appear repeatedly. Alternative filmmakers John Waters, Russ Meyer and David Lynch all give interviews. There are “street reports” about scenes overseas and columns about the “politics of punk.” There is also, at one point, a three-line account of the now-infamous time \u003ca href=\"https://www.kqed.org/arts/13967703/the-cramps-the-mutants-live-at-napa-state-hospital-target-video-streaming\">The Cramps and Mutants played a show at the Napa State Asylum\u003c/a>. (“Both groups played well but were upstaged by inmates’ strangely angular dances.”)\u003c/p>\n\u003cp>[aside postid='arts_13980261']An interview with \u003ca href=\"https://www.pbs.org/independentlens/documentaries/william-s-burroughs/\">William Burroughs\u003c/a> (mostly about drugs and politics) is also a reminder of the improbable way that \u003cem>Search & Destroy\u003c/em> got its start. Vale launched the zine while still employed at City Lights, after \u003ca href=\"https://www.kqed.org/perspectives/201307030735\">Allen Ginsberg\u003c/a> donated $100 of his own money to get the publication off the ground.\u003c/p>\n\u003cp>The tome closes out with brand new, refreshingly legible essays by Vale and one-time intern Cecily Chen, as well as an oral history of punk by Jello Biafra, guided by Vale himself. (“We missed the ’60s,” Biafra notes. “We were in such despair. The sex wasn’t as good; the drugs were nowhere near as good … The reason punk felt so good was: not only was music really powerful and exciting again, but it was such a great weapon to attack everyone else with!”) All the closing essays offer intimate perspectives and nostalgic eyes on the zine’s run.\u003c/p>\n\u003cp>If you’ve always imagined \u003cem>Search & Destroy\u003c/em> as a lightning-in-a-bottle piece of punk history, it absolutely is. The writing here is visceral, entirely reflective of an essential moment in rock ‘n’ roll and packed full of fascinating, extraordinarily creative humans. But the format of this book represents a missed opportunity. As a zine that went out of its way to embrace professional print rather than scrappy xeroxing, \u003cem>Search & Destroy\u003c/em> deserved a much more thoughtful print job than this.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://mitpress.mit.edu/9781965874264/search-and-destroy/\">Search & Destroy: The Complete Archive\u003c/a>’ edited by V. Vale, Cecily Chen and Mitch Anzuoni is out on Jan. 20, 2026 from Inpatient Press.\u003c/em>\u003c/p>\n\n",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"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.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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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": {
"id": "closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"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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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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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",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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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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"here-and-now": {
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"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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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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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"
}
},
"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": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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