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"content": "\u003cp>Darrel Lideros started investing in non-fungible tokens (NFTs) in January. He has a checklist that he swears by before he makes any investment decision: Number one, “It has to be hype,” he says. Number two, “community”—the investors have to be helpful to each other. Number three, “utility”—what does he get out of putting his money into it? Number four, “price.” And lastly, the NFT needs to have a “documented team”—the people behind it can’t be “ghosts on the internet.” He needs to be able to find them on LinkedIn.\u003c/p>\n\u003cp>Although Lideros has invested in cryptocurrency since 2018, he’s no metaverse millionaire like \u003ca href=\"https://www.garyvaynerchuk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Vee\u003c/a>. He’s a 28-year-old Daly City resident who wears Air Jordans, loves hip-hop and works for a loan company. In other words, he’s exactly the kind of investor \u003ca href=\"https://www.instagram.com/jamaltrulove/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a> is aiming to attract for his NFT project, \u003ca href=\"https://www.thebayapes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Apes\u003c/a>: young, for the culture and willing to take a risk with their money.\u003c/p>\n\u003cp>I first met Trulove in San Francisco Chinatown on a chilly evening at the beginning of February. He wore a durag, a mint green sweatsuit and Yeezy slides. I had known the man for all of five minutes before he started pitching me on The Bay Apes.\u003c/p>\n\u003cp>In person, Trulove is like that one cousin we all have who’s always telling you about their next big idea at Thanksgiving even though you don’t really know what they do for a living. Trulove himself does many things: he’s a rapper, \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">an actor\u003c/a>, a community activist, an entrepreneur, a Baydestrian through and through. Guys like him might have their heads in the clouds a bit, but if anyone has the charisma to make those big ideas happen, it’s them.\u003c/p>\n\u003cp>And Trulove is in a unique position to do so. In 2019, he received a $13.1 million payout after \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco police framed him in a murder case\u003c/a> and he was \u003ca href=\"https://www.huffpost.com/entry/framed-by-police-prison-jamal-trulove_n_5d0bea68e4b07ae90d9a5b3b\" target=\"_blank\" rel=\"noopener noreferrer\">falsely imprisoned for six years\u003c/a>. Since then, he’s invested pieces of his settlement in various creative projects. [aside postid='arts_13881132']\u003c/p>\n\u003cp>As we stood on the sidewalk in Chinatown, countless cars whizzed by and people passed, but Trulove was locked in, talking for 15 minutes straight about his idea to open a members-only nightclub in the Bay Area that caters to “hip-hop culture nightlife,” which Trulove sees as a dying breed in this ever-changing city. In Trulove’s vision, membership is linked to ownership of a Bay Apes NFT.\u003c/p>\n\u003cp>Trulove, who is Black and was born and raised in San Francisco, says he wants “to be able to go out and party with people I recognize, and with dances I recognize, music I recognize and vibe and energy.”\u003c/p>\n\u003cp>Trulove was close to making that dream a reality once before. During our interview, we stand across the street from a building with wood nailed over its windows. It’s the property where Trulove was supposed to open a nightclub called LUV SF with his Bay Apes business partner, Bennett Montoya, who previously owned \u003ca href=\"https://www.kqed.org/arts/13842227/singled-out-inside-sfpds-years-long-effort-to-kill-a-north-beach-nightclub\" target=\"_blank\" rel=\"noopener noreferrer\">Hue Lounge and Nightclub in North Beach\u003c/a>. That was back in March 2020 before—well, I think we all know what happened next. [aside postid='arts_13842227']\u003c/p>\n\u003cp>Though LUV SF never came to fruition, The Bay Apes project is on its way. The NFT collection dropped on April 20 after months of marketing to drum up hype. And it worked: At least \u003ca href=\"https://opensea.io/collection/the-bay-apes-3\" target=\"_blank\" rel=\"noopener noreferrer\">55 people have already purchased 117 Bay Apes\u003c/a> valued at a total of about $170,000 at the time of publication. But they’ve bought into a venture that still has many unknowns. For starters, Trulove hasn’t secured the venue for his new nightclub—access to which is one of the collection’s main draws. Not to mention the few government protections for cryptocurrency investors, and the possibility that the hype around NFTs will wear off.\u003c/p>\n\u003cp>Still, Trulove is confident he can build something great for Bay Area hip-hop culture with The Bay Apes, and he’s cultivated a group of investors who are drawn to the project’s promises of networking, financial opportunity and fun.\u003c/p>\n\u003cp>“It’s like damn near a whole community,” says Lideros. “You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.”\u003c/p>\n\u003cfigure id=\"attachment_13912485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1920x1313.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Promise of NFTs with Real-Life Perks\u003c/h2>\n\u003cp>Now, a lot of folks have had the letters “N-F-T” on their lips lately, but how they actually work can still be hard to grasp. So, as a primer, NFTs are basically pieces of digital art that can be sold through online marketplaces, such as \u003ca href=\"https://opensea.io/\" target=\"_blank\" rel=\"noopener noreferrer\">OpenSea\u003c/a> and \u003ca href=\"https://niftygateway.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nifty Gateway\u003c/a>, and bought with cryptocurrency, like Ether or Bitcoin. A record of the purchase lives on a permanent ledger called the blockchain (Ether is the cryptocurrency that runs on the \u003ca href=\"https://ethereum.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Ethereum blockchain\u003c/a>). NFT collections, like The Bay Apes, are a group of NFTs that all have a base design template and are produced at a finite number, like trading cards. [aside postid='forum_2010101883054']\u003c/p>\n\u003cp>But perhaps the more pertinent questions are: Why are \u003ca href=\"https://www.vulture.com/2022/02/celebrity-nft-craze.html\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities obsessed with NFTs\u003c/a>, and why have some sold for millions of dollars? In short, it’s for the same reason wealthy people pay obscene amounts of money for traditional art. Each NFT (even if it’s part of a collection) is a one-of-a-kind work whose value increases as hype builds—not to mention that they’re status symbols signifying that you’re hip to digital culture.\u003c/p>\n\u003cp>Trulove wants to use the excitement around NFTs “to not only fundraise, but also as a way to get people in,” he explains. “A way of investing into something—being a part of something—that has a value, ultimately, in this community.”\u003c/p>\n\u003cp>He may be on to something. Experts forecast that the concert industry will soon embrace NFTs. (Gucci Mane and Lupe Fiasco both have shows in June where an \u003ca href=\"https://hypebeast.com/2022/3/lupe-fiasco-gucci-mane-defy-tickets-nft-platform\" target=\"_blank\" rel=\"noopener noreferrer\">NFT will get you through the door\u003c/a>.) Trulove and his nine-person team—made up of Discord specialists, a coder, a merchandiser, a project manager, a media coordinator, an “NFT Oracle” and an artist—want to take this idea one step further by offering perks, many of which sound straight out of a hip-hop music video, at Trulove’s future nightclub.\u003c/p>\n\u003cp>Trulove is selling 2,222 unique Bay Apes NFTs depicting headshots of humanoid primates with varying hairstyles, outfits and expressions, with backgrounds of Bay Area landmarks like the Golden Gate Bridge and the Painted Ladies. (Yes, The Bay Apes collection is stylistically similar to the extremely popular \u003ca href=\"https://www.cnet.com/culture/internet/bored-ape-yacht-club-nfts-everything-you-need-to-know/\" target=\"_blank\" rel=\"noopener noreferrer\">Bored Ape Yacht Club\u003c/a> NFT series, but Trulove claims the ape idea is derived from the word’s slang meaning. As in, “I’m aping out” or “going apeshit.”)\u003c/p>\n\u003cfigure id=\"attachment_13912490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Illustrations from The Bay Apes NFT collection are on display at a mixer on Feb. 3 at Sunset Squares Pizza in San Francisco. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each NFT costs 0.5 Ether (the second most popular cryptocurrency behind Bitcoin), or a little over $1,400, at the time of writing. But why would any Bay Area resident spend hard-earned cash that could go towards rent on a digital drawing of a primate?\u003c/p>\n\u003cp>Trulove promises that those with a “male ape” in their digital wallets will be entitled to bottle service twice a month at his nightclub, while “female ape” owners can expect an open bar all night for themselves and three friends twice a month. (The genders of the apes only refer to the characters—anyone can own any Bay Ape regardless of how they identify.) But being a holder of either version of the NFT does not guarantee access to the club at all times. Trulove says this would be unsustainable; instead, Bay Apes owners simply gain the right to book a spot at the club on a specific night on a first-come, first-served basis.\u003c/p>\n\u003cp>The hyper-exclusive dynamic of the club is meant to create a source of passive income for Bay Apes owners. Trulove says those who are able to secure a booking will have the opportunity to resell their reservation, and the perks it comes with, online to the highest bidder while still retaining ownership of their NFT. This is similar to how NBA season ticket holders can resell their seats on Ticketmaster if they don’t go to a particular game.\u003c/p>\n\u003cp>[pullquote citation='Jamal Trulove, The Bay Apes founder' size='large']‘If Ethereum’s not going anywhere, we’re not going anywhere either.’[/pullquote]\u003c/p>\n\u003cp>Trulove and Montoya claim that this is the first small business model ever applied to the nightclub industry that utilizes NFTs as a mark of membership. Unlike many other NFT collections on the market, whose value is primarily determined by its desirability as a collector’s item and the community created among said collectors, The Bay Apes is selling investors on something they see as lacking on the NFT market: tangible utility linked to a physical space.\u003c/p>\n\u003cp>“After about eight months of really just learning and understanding the market and what makes an NFT valuable, I came up with real-life perks,” says Trulove. “That’s what the common person will understand. Why will they buy an NFT? If they could get real-life perks.”\u003c/p>\n\u003ch2>Everything That Glitters Isn’t Sold\u003c/h2>\n\u003cp>The Bay Apes project isn’t without a laundry list of hurdles, though. Chief among them is potential buyers’ anxieties about where their money is going. As Kamantai Fungula, a 29-year-old Oakland native interested in buying a Bay Ape, succinctly puts it: “My biggest concern is buying an NFT that ain’t worth shit.”\u003c/p>\n\u003cp>Being fleeced in the NFT market is such a common occurrence, in fact, that situations where the originator of an NFT collection disappears into thin air has a name: It’s known as being “rug-pulled.” In October, for example, investors in an NFT project that was supposed to produce a video game with the money earned through its mint, called “Evolved Apes” (it also sold simian avatars), were \u003ca href=\"https://www.vice.com/en/article/y3dyem/investors-spent-millions-on-evolved-apes-nfts-then-they-got-scammed\" target=\"_blank\" rel=\"noopener noreferrer\">hoodwinked to the tune of $2.7 million\u003c/a>.\u003c/p>\n\u003cp>Trulove says he’s aware of concerns about his project’s authenticity and that he empathizes with those who hold them. The first time he bought an NFT—which he thought was a legitimate Bored Ape—it was a rug pull. He points to The Bay Apes team’s transparency as a way of earning potential investors’ trust.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcyRTKsPRzR/\u003c/p>\n\u003cp>“In any project, you want to do your education on who the founders are, who’s pushing the project, who’s the developer. And if you look on our site, you see everybody that’s involved, the whole team,” Trulove says. “And all their Instagrams are right there, all of their social medias are right there, you can get directly at them. So we’re doing everything by the book for what we know, ultimately, because NFTs and crypto are always developing.”\u003c/p>\n\u003cp>But how can you do something “by the book” when there are no rules? Currently, there are \u003ca href=\"https://www.jonesday.com/en/insights/2021/04/nfts-key-us-legal-considerations-for-an-emerging-asset-class\" target=\"_blank\" rel=\"noopener noreferrer\">no federal government regulations on NFTs\u003c/a> in the United States, meaning strong consumer protections in this online space, if they come, are further down the road.\u003c/p>\n\u003cp>It’s the wild, wild, web out there, and it can be hard to separate the bandits from the honest lawmen on this new frontier. But as far as Sanjay Singh, 24, is concerned, The Bay Apes Team being accessible and available is sufficient to quell any fear of a rug pull.\u003c/p>\n\u003cp>“If it’s a legitimate group, you can actually message the people that are selling those NFTs and talk to them,” says Singh, who is a member of The Bay Apes whitelist (early adopters to the NFT who got the opportunity to buy it at a discounted price of 0.3 Ether). “I’ve texted them, talked to them personally, before I even bought the NFT and asked them all kinds of questions because they know everything about each and every one of their NFTs… they can tell you the whole background of the entity and what it has, what it offers.” [aside postid='arts_13897823']\u003c/p>\n\u003cp>Just like those who journeyed out to Northern California in 1849 to speculate on the Gold Rush, folks who are looking to invest in the NFT market must also be willing to take a risk on a boom-or-bust industry. Some economic experts have \u003ca href=\"https://www.nytimes.com/2022/01/27/opinion/cryptocurrency-subprime-vulnerable.html\" target=\"_blank\" rel=\"noopener noreferrer\">speculated that the entire NFT market is a bubble\u003c/a> that is set to pop, similar to the subprime mortgage collapse of the mid 2000s that was \u003ca href=\"https://www.nytimes.com/2022/02/07/opinion/crypto-nfts-folk-economics.html\" target=\"_blank\" rel=\"noopener noreferrer\">built on a system that exploited the economically vulnerable\u003c/a>.\u003c/p>\n\u003cp>However, Trulove sees the NFT market as one that’s here to stay. “If Ethereum’s not going anywhere, we’re not going anywhere either,” he says. “We’re just gonna keep on progressing and leveling up, and that smart contract will forever live on the Ethereum blockchain. And as long as we’re doing what we’re supposed to do with the NFTs and we build a value to it, it’s something that you could hold on to forever.”\u003c/p>\n\u003cp>But getting the average person to understand the intricacies of an online market that isn’t grounded in something tangible, like real estate or merchandise, is no easy feat. Nor is trying to convince people who live in a place as expensive as Northern California to drop over a thousand dollars on something without an instant return on investment.\u003c/p>\n\u003cp>I could tell Trulove was frustrated by this reality in late March, when I spoke to him on the phone as he drove to an NFT convention in Los Angeles. He admits that getting people to buy into The Bay Apes has been “an uphill battle, to a degree.” He says he’s encountered resistance when pitching his idea in tech spaces where there are few people who look like him and share his background. He also says he’s had trouble getting commitment from investors: The market value of Ether dipping at the tail end of February is a big reason why the public mint date of The Bay Apes was pushed back from Feb. 22 to the stoner’s holiday, 4/20.\u003c/p>\n\u003cp>“I’d be lying if I said I didn’t feel a lot of pressure because I created this deadline and I’m trying to convince this community of people to agree on one thing, and convert people who have never had an NFT or crypto,” Trulove says.\u003c/p>\n\u003cfigure id=\"attachment_13912486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getting buy-in aside, there’s another major issue hanging over The Bay Apes team’s heads: They haven’t yet secured a space to house their nightclub, though they have teased the possibility of \u003ca href=\"https://www.instagram.com/p/CcQxtlVtafS/\" target=\"_blank\" rel=\"noopener noreferrer\">opening the club on the water in a yacht\u003c/a> that would cruise around the Bay. In fairness, Trulove has been honest about this conundrum to potential investors. In the meantime, he has plans to do takeovers of other clubs where NFT holders will enjoy their perks and interact with “Elite Apes,” the Bay Area entertainment industry heavyweights who’ve cosigned the project.\u003c/p>\n\u003cp>There’s also the small issue of whether The Bay Apes will flip a profit when all is said and done. Running a club in the Bay Area is already a \u003ca href=\"https://www.kqed.org/arts/13907929/omicron-surge-sf-arts-cancellations-no-emergency-funding\" target=\"_blank\" rel=\"noopener noreferrer\">costly, high-risk endeavor\u003c/a> even when it isn’t financed by something as slippery and untested as an NFT investment model. Not to mention The Bay Apes club will be giving out free drinks left and right to NFT holders.\u003c/p>\n\u003cp>But Montoya claims “the nightclub can sustain the lease and be profitable.”\u003c/p>\n\u003cp>“We are always looking to give our members something, so we’re not really looking at it as like, ‘Oh, we’re gonna make money off you guys.’ We’re looking at it as a network,” Montoya says.\u003c/p>\n\u003cp>The Bay Apes team will command a 15% royalty payment anytime one of their tokens is sold on OpenSea from one owner to another. They say this is where the real money is in NFTs, not in the crowd-funding stage The Bay Apes project is currently in. For this reason, Trulove and his crew are betting on both Ether and The Bay Apes NFT collection trending upwards in value to make back the money they’ve spent, and will continue to spend, as the club nears opening time. Trulove says that’s still eight to 10 months away.\u003c/p>\n\u003ch2>Why The Bay Apes Investors Have Faith\u003c/h2>\n\u003cp>Despite all these challenges and uncertainties, Trulove’s vision has legs. Perhaps a contributing factor is The Bay Apes’ local focus. Among the Elite Apes are \u003ca href=\"https://www.instagram.com/nefthepharaoh/\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>, \u003ca href=\"http://instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, who have all changed their Instagram profile picture to a Bay Ape in their likeness to promote the project.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcYl5ZUvsER/\u003c/p>\n\u003cp>Karim Mayfield, a San Francisco native, \u003ca href=\"https://www.businesswire.com/news/home/20210121005270/en/Karim-Mayfield-Professional-Boxer-Becomes-San-Francisco%E2%80%99s-Newest-Cannabis-Dispensary-Owner\" target=\"_blank\" rel=\"noopener noreferrer\">cannabis dispensary owner\u003c/a> and retired professional boxer, is one of the high-profile people chosen to be an Elite Ape. Mayfield says he’s into the project because “it’s a good look when you tell somebody, ‘Hey, table’s on me!’ They be thinking you spent a bag!” He continued: “And again, it’s a community of people, so I’m always into communal activities.”\u003c/p>\n\u003cp>The Bay Apes team promises that their NFT will bring investors an opportunity to network with an “exclusive group getting hyphy on the Ethereum blockchain,” according to their website.\u003c/p>\n\u003cp>The first of these networking opportunities came on Feb. 3 at Sunset Squares Pizza (co-owned by Bay Apes investor David Lee). Potential Bay Apes buyers were invited to enjoy an open bar and free pizza while learning more about the project.\u003c/p>\n\u003cp>The Bay Apes team spared no expense on the mixer event (unsurprising, considering Trulove told me that he’s spent about $110,000 on marketing and paying developers). The amenities—including a golden party bus called “\u003ca href=\"https://www.instagram.com/thetwerkulator/\" target=\"_blank\" rel=\"noopener noreferrer\">The Twerkulator\u003c/a>” where attendees could vape aboard—attracted over 100 people, most of whom were people of color who looked to be under the age of 40. Some of them were dressed up—wearing knee-high boots or blazers—while others were more casual, wearing jeans and Giants caps. Almost everyone was networking while a DJ spun tracks by Cam’ron, Kanye West, Jay-Z and Beanie Sigel.\u003c/p>\n\u003cp>Moses Baca, a 38-year-old mixed martial artist who also works in private security, says he was “impressed” by the atmosphere on the night. “Seeing people mix it up like this, this is how it should be done. I’ve seen other guys with their NFT projects and I’m like, ‘This is what you guys should be doing,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13912491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Potential Bay Apes investors mingle at Sunset Squares Pizza in San Francisco on Feb. 3. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From what I gleaned from talking to people, the room was made up of a fair mix of NFT veterans and rookies, of people who were already sold on The Bay Apes idea and those who were more skeptical, and of attendees who had come to the mixer on their own accord versus those who were dragged along by a loved one. Throughout the night, I could see the beginnings of a community, something Trulove feels is of the utmost importance to the success of this project.\u003c/p>\n\u003cp>Lideros, who I met at the mixer, says that even before The Bay Apes NFT minted, he already encountered a helpful community among the nearly 2,500 people who joined \u003ca href=\"https://discord.com/invite/thebayapes\" target=\"_blank\" rel=\"noopener noreferrer\">the project’s Discord server\u003c/a>.\u003c/p>\n\u003cp>“A lot of people are new, you know, this is gonna be their first NFT they’ve ever minted,” says Lideros. “A lot of the other people are experienced, so, I mean, if you walk in there and don’t know anything, there’s gonna be like four to five people that are willing to help you right off the bat.”\u003c/p>\n\u003cp>[pullquote citation='Darrel Lideros, The Bay Apes investor' size='large']\u003cspan style=\"font-weight: 400\">‘\u003c/span>It’s like damn near a whole community. You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.’[/pullquote]\u003c/p>\n\u003cp>One of those NFT first-timers is Fungula, who says he’s interested in The Bay Apes because he is “a big fan of a bunch of the rappers that they minted as Apes,” such as Capolow. “Once they posted it, I just went more in depth myself into the Bay Apes and did my own research and I was blown away by all the Apes that they got,” Fungula says.\u003c/p>\n\u003cp>Fungula has already started spreading the gospel of The Bay Apes. “I was so excited, I just started sending the link to the [mixer] tickets to all my family,” says Fungula, who brought six people with him to the event. “I damn near was saying this is gonna change our lives.”\u003c/p>\n\u003cp>Clearly, the project has some hype surrounding it. Perhaps it’s the proximity to celebrity, the proposed perks or the eye-watering numbers we’ve seen NFTs sell for recently. But, Fungula says, a big contributing factor to his interest in The Bay Apes is its local focus, which makes it a more approachable investment in his eyes.\u003c/p>\n\u003cp>“A lot of the other [NFTs] seem more far-fetched to get out there,” Fungula says. “They don’t seem like something that I can understand–like The Bay Apes, which just feels like something I can understand, because I’m a Bay Ape.” [aside postid='arts_13906950']\u003c/p>\n\u003cp>A few months later, on 4/20, Trulove and his team showed up to Hippie Hill to celebrate The Bay Apes mint date. When Stunnaman02 took the stage to perform “Big Steppin’,” he asked the crowd: “Does anyone know what an NFT is?” This prompted some cheers (and a good amount of boos) before the rapper shouted out Trulove and encouraged fans to follow The Bay Apes’ social media.\u003c/p>\n\u003cp>It remains to be seen which response from the crowd to that question will be more apt. Trulove and his Bay Apes team are taking a risk by promising so much when so little is certain. It’s an ambitious venture—and only time will tell if they can manage to pull it off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Darrel Lideros started investing in non-fungible tokens (NFTs) in January. He has a checklist that he swears by before he makes any investment decision: Number one, “It has to be hype,” he says. Number two, “community”—the investors have to be helpful to each other. Number three, “utility”—what does he get out of putting his money into it? Number four, “price.” And lastly, the NFT needs to have a “documented team”—the people behind it can’t be “ghosts on the internet.” He needs to be able to find them on LinkedIn.\u003c/p>\n\u003cp>Although Lideros has invested in cryptocurrency since 2018, he’s no metaverse millionaire like \u003ca href=\"https://www.garyvaynerchuk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Vee\u003c/a>. He’s a 28-year-old Daly City resident who wears Air Jordans, loves hip-hop and works for a loan company. In other words, he’s exactly the kind of investor \u003ca href=\"https://www.instagram.com/jamaltrulove/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a> is aiming to attract for his NFT project, \u003ca href=\"https://www.thebayapes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Apes\u003c/a>: young, for the culture and willing to take a risk with their money.\u003c/p>\n\u003cp>I first met Trulove in San Francisco Chinatown on a chilly evening at the beginning of February. He wore a durag, a mint green sweatsuit and Yeezy slides. I had known the man for all of five minutes before he started pitching me on The Bay Apes.\u003c/p>\n\u003cp>In person, Trulove is like that one cousin we all have who’s always telling you about their next big idea at Thanksgiving even though you don’t really know what they do for a living. Trulove himself does many things: he’s a rapper, \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">an actor\u003c/a>, a community activist, an entrepreneur, a Baydestrian through and through. Guys like him might have their heads in the clouds a bit, but if anyone has the charisma to make those big ideas happen, it’s them.\u003c/p>\n\u003cp>And Trulove is in a unique position to do so. In 2019, he received a $13.1 million payout after \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco police framed him in a murder case\u003c/a> and he was \u003ca href=\"https://www.huffpost.com/entry/framed-by-police-prison-jamal-trulove_n_5d0bea68e4b07ae90d9a5b3b\" target=\"_blank\" rel=\"noopener noreferrer\">falsely imprisoned for six years\u003c/a>. Since then, he’s invested pieces of his settlement in various creative projects. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we stood on the sidewalk in Chinatown, countless cars whizzed by and people passed, but Trulove was locked in, talking for 15 minutes straight about his idea to open a members-only nightclub in the Bay Area that caters to “hip-hop culture nightlife,” which Trulove sees as a dying breed in this ever-changing city. In Trulove’s vision, membership is linked to ownership of a Bay Apes NFT.\u003c/p>\n\u003cp>Trulove, who is Black and was born and raised in San Francisco, says he wants “to be able to go out and party with people I recognize, and with dances I recognize, music I recognize and vibe and energy.”\u003c/p>\n\u003cp>Trulove was close to making that dream a reality once before. During our interview, we stand across the street from a building with wood nailed over its windows. It’s the property where Trulove was supposed to open a nightclub called LUV SF with his Bay Apes business partner, Bennett Montoya, who previously owned \u003ca href=\"https://www.kqed.org/arts/13842227/singled-out-inside-sfpds-years-long-effort-to-kill-a-north-beach-nightclub\" target=\"_blank\" rel=\"noopener noreferrer\">Hue Lounge and Nightclub in North Beach\u003c/a>. That was back in March 2020 before—well, I think we all know what happened next. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though LUV SF never came to fruition, The Bay Apes project is on its way. The NFT collection dropped on April 20 after months of marketing to drum up hype. And it worked: At least \u003ca href=\"https://opensea.io/collection/the-bay-apes-3\" target=\"_blank\" rel=\"noopener noreferrer\">55 people have already purchased 117 Bay Apes\u003c/a> valued at a total of about $170,000 at the time of publication. But they’ve bought into a venture that still has many unknowns. For starters, Trulove hasn’t secured the venue for his new nightclub—access to which is one of the collection’s main draws. Not to mention the few government protections for cryptocurrency investors, and the possibility that the hype around NFTs will wear off.\u003c/p>\n\u003cp>Still, Trulove is confident he can build something great for Bay Area hip-hop culture with The Bay Apes, and he’s cultivated a group of investors who are drawn to the project’s promises of networking, financial opportunity and fun.\u003c/p>\n\u003cp>“It’s like damn near a whole community,” says Lideros. “You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.”\u003c/p>\n\u003cfigure id=\"attachment_13912485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1920x1313.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Promise of NFTs with Real-Life Perks\u003c/h2>\n\u003cp>Now, a lot of folks have had the letters “N-F-T” on their lips lately, but how they actually work can still be hard to grasp. So, as a primer, NFTs are basically pieces of digital art that can be sold through online marketplaces, such as \u003ca href=\"https://opensea.io/\" target=\"_blank\" rel=\"noopener noreferrer\">OpenSea\u003c/a> and \u003ca href=\"https://niftygateway.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nifty Gateway\u003c/a>, and bought with cryptocurrency, like Ether or Bitcoin. A record of the purchase lives on a permanent ledger called the blockchain (Ether is the cryptocurrency that runs on the \u003ca href=\"https://ethereum.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Ethereum blockchain\u003c/a>). NFT collections, like The Bay Apes, are a group of NFTs that all have a base design template and are produced at a finite number, like trading cards. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But perhaps the more pertinent questions are: Why are \u003ca href=\"https://www.vulture.com/2022/02/celebrity-nft-craze.html\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities obsessed with NFTs\u003c/a>, and why have some sold for millions of dollars? In short, it’s for the same reason wealthy people pay obscene amounts of money for traditional art. Each NFT (even if it’s part of a collection) is a one-of-a-kind work whose value increases as hype builds—not to mention that they’re status symbols signifying that you’re hip to digital culture.\u003c/p>\n\u003cp>Trulove wants to use the excitement around NFTs “to not only fundraise, but also as a way to get people in,” he explains. “A way of investing into something—being a part of something—that has a value, ultimately, in this community.”\u003c/p>\n\u003cp>He may be on to something. Experts forecast that the concert industry will soon embrace NFTs. (Gucci Mane and Lupe Fiasco both have shows in June where an \u003ca href=\"https://hypebeast.com/2022/3/lupe-fiasco-gucci-mane-defy-tickets-nft-platform\" target=\"_blank\" rel=\"noopener noreferrer\">NFT will get you through the door\u003c/a>.) Trulove and his nine-person team—made up of Discord specialists, a coder, a merchandiser, a project manager, a media coordinator, an “NFT Oracle” and an artist—want to take this idea one step further by offering perks, many of which sound straight out of a hip-hop music video, at Trulove’s future nightclub.\u003c/p>\n\u003cp>Trulove is selling 2,222 unique Bay Apes NFTs depicting headshots of humanoid primates with varying hairstyles, outfits and expressions, with backgrounds of Bay Area landmarks like the Golden Gate Bridge and the Painted Ladies. (Yes, The Bay Apes collection is stylistically similar to the extremely popular \u003ca href=\"https://www.cnet.com/culture/internet/bored-ape-yacht-club-nfts-everything-you-need-to-know/\" target=\"_blank\" rel=\"noopener noreferrer\">Bored Ape Yacht Club\u003c/a> NFT series, but Trulove claims the ape idea is derived from the word’s slang meaning. As in, “I’m aping out” or “going apeshit.”)\u003c/p>\n\u003cfigure id=\"attachment_13912490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Illustrations from The Bay Apes NFT collection are on display at a mixer on Feb. 3 at Sunset Squares Pizza in San Francisco. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each NFT costs 0.5 Ether (the second most popular cryptocurrency behind Bitcoin), or a little over $1,400, at the time of writing. But why would any Bay Area resident spend hard-earned cash that could go towards rent on a digital drawing of a primate?\u003c/p>\n\u003cp>Trulove promises that those with a “male ape” in their digital wallets will be entitled to bottle service twice a month at his nightclub, while “female ape” owners can expect an open bar all night for themselves and three friends twice a month. (The genders of the apes only refer to the characters—anyone can own any Bay Ape regardless of how they identify.) But being a holder of either version of the NFT does not guarantee access to the club at all times. Trulove says this would be unsustainable; instead, Bay Apes owners simply gain the right to book a spot at the club on a specific night on a first-come, first-served basis.\u003c/p>\n\u003cp>The hyper-exclusive dynamic of the club is meant to create a source of passive income for Bay Apes owners. Trulove says those who are able to secure a booking will have the opportunity to resell their reservation, and the perks it comes with, online to the highest bidder while still retaining ownership of their NFT. This is similar to how NBA season ticket holders can resell their seats on Ticketmaster if they don’t go to a particular game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trulove and Montoya claim that this is the first small business model ever applied to the nightclub industry that utilizes NFTs as a mark of membership. Unlike many other NFT collections on the market, whose value is primarily determined by its desirability as a collector’s item and the community created among said collectors, The Bay Apes is selling investors on something they see as lacking on the NFT market: tangible utility linked to a physical space.\u003c/p>\n\u003cp>“After about eight months of really just learning and understanding the market and what makes an NFT valuable, I came up with real-life perks,” says Trulove. “That’s what the common person will understand. Why will they buy an NFT? If they could get real-life perks.”\u003c/p>\n\u003ch2>Everything That Glitters Isn’t Sold\u003c/h2>\n\u003cp>The Bay Apes project isn’t without a laundry list of hurdles, though. Chief among them is potential buyers’ anxieties about where their money is going. As Kamantai Fungula, a 29-year-old Oakland native interested in buying a Bay Ape, succinctly puts it: “My biggest concern is buying an NFT that ain’t worth shit.”\u003c/p>\n\u003cp>Being fleeced in the NFT market is such a common occurrence, in fact, that situations where the originator of an NFT collection disappears into thin air has a name: It’s known as being “rug-pulled.” In October, for example, investors in an NFT project that was supposed to produce a video game with the money earned through its mint, called “Evolved Apes” (it also sold simian avatars), were \u003ca href=\"https://www.vice.com/en/article/y3dyem/investors-spent-millions-on-evolved-apes-nfts-then-they-got-scammed\" target=\"_blank\" rel=\"noopener noreferrer\">hoodwinked to the tune of $2.7 million\u003c/a>.\u003c/p>\n\u003cp>Trulove says he’s aware of concerns about his project’s authenticity and that he empathizes with those who hold them. The first time he bought an NFT—which he thought was a legitimate Bored Ape—it was a rug pull. He points to The Bay Apes team’s transparency as a way of earning potential investors’ trust.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“In any project, you want to do your education on who the founders are, who’s pushing the project, who’s the developer. And if you look on our site, you see everybody that’s involved, the whole team,” Trulove says. “And all their Instagrams are right there, all of their social medias are right there, you can get directly at them. So we’re doing everything by the book for what we know, ultimately, because NFTs and crypto are always developing.”\u003c/p>\n\u003cp>But how can you do something “by the book” when there are no rules? Currently, there are \u003ca href=\"https://www.jonesday.com/en/insights/2021/04/nfts-key-us-legal-considerations-for-an-emerging-asset-class\" target=\"_blank\" rel=\"noopener noreferrer\">no federal government regulations on NFTs\u003c/a> in the United States, meaning strong consumer protections in this online space, if they come, are further down the road.\u003c/p>\n\u003cp>It’s the wild, wild, web out there, and it can be hard to separate the bandits from the honest lawmen on this new frontier. But as far as Sanjay Singh, 24, is concerned, The Bay Apes Team being accessible and available is sufficient to quell any fear of a rug pull.\u003c/p>\n\u003cp>“If it’s a legitimate group, you can actually message the people that are selling those NFTs and talk to them,” says Singh, who is a member of The Bay Apes whitelist (early adopters to the NFT who got the opportunity to buy it at a discounted price of 0.3 Ether). “I’ve texted them, talked to them personally, before I even bought the NFT and asked them all kinds of questions because they know everything about each and every one of their NFTs… they can tell you the whole background of the entity and what it has, what it offers.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just like those who journeyed out to Northern California in 1849 to speculate on the Gold Rush, folks who are looking to invest in the NFT market must also be willing to take a risk on a boom-or-bust industry. Some economic experts have \u003ca href=\"https://www.nytimes.com/2022/01/27/opinion/cryptocurrency-subprime-vulnerable.html\" target=\"_blank\" rel=\"noopener noreferrer\">speculated that the entire NFT market is a bubble\u003c/a> that is set to pop, similar to the subprime mortgage collapse of the mid 2000s that was \u003ca href=\"https://www.nytimes.com/2022/02/07/opinion/crypto-nfts-folk-economics.html\" target=\"_blank\" rel=\"noopener noreferrer\">built on a system that exploited the economically vulnerable\u003c/a>.\u003c/p>\n\u003cp>However, Trulove sees the NFT market as one that’s here to stay. “If Ethereum’s not going anywhere, we’re not going anywhere either,” he says. “We’re just gonna keep on progressing and leveling up, and that smart contract will forever live on the Ethereum blockchain. And as long as we’re doing what we’re supposed to do with the NFTs and we build a value to it, it’s something that you could hold on to forever.”\u003c/p>\n\u003cp>But getting the average person to understand the intricacies of an online market that isn’t grounded in something tangible, like real estate or merchandise, is no easy feat. Nor is trying to convince people who live in a place as expensive as Northern California to drop over a thousand dollars on something without an instant return on investment.\u003c/p>\n\u003cp>I could tell Trulove was frustrated by this reality in late March, when I spoke to him on the phone as he drove to an NFT convention in Los Angeles. He admits that getting people to buy into The Bay Apes has been “an uphill battle, to a degree.” He says he’s encountered resistance when pitching his idea in tech spaces where there are few people who look like him and share his background. He also says he’s had trouble getting commitment from investors: The market value of Ether dipping at the tail end of February is a big reason why the public mint date of The Bay Apes was pushed back from Feb. 22 to the stoner’s holiday, 4/20.\u003c/p>\n\u003cp>“I’d be lying if I said I didn’t feel a lot of pressure because I created this deadline and I’m trying to convince this community of people to agree on one thing, and convert people who have never had an NFT or crypto,” Trulove says.\u003c/p>\n\u003cfigure id=\"attachment_13912486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getting buy-in aside, there’s another major issue hanging over The Bay Apes team’s heads: They haven’t yet secured a space to house their nightclub, though they have teased the possibility of \u003ca href=\"https://www.instagram.com/p/CcQxtlVtafS/\" target=\"_blank\" rel=\"noopener noreferrer\">opening the club on the water in a yacht\u003c/a> that would cruise around the Bay. In fairness, Trulove has been honest about this conundrum to potential investors. In the meantime, he has plans to do takeovers of other clubs where NFT holders will enjoy their perks and interact with “Elite Apes,” the Bay Area entertainment industry heavyweights who’ve cosigned the project.\u003c/p>\n\u003cp>There’s also the small issue of whether The Bay Apes will flip a profit when all is said and done. Running a club in the Bay Area is already a \u003ca href=\"https://www.kqed.org/arts/13907929/omicron-surge-sf-arts-cancellations-no-emergency-funding\" target=\"_blank\" rel=\"noopener noreferrer\">costly, high-risk endeavor\u003c/a> even when it isn’t financed by something as slippery and untested as an NFT investment model. Not to mention The Bay Apes club will be giving out free drinks left and right to NFT holders.\u003c/p>\n\u003cp>But Montoya claims “the nightclub can sustain the lease and be profitable.”\u003c/p>\n\u003cp>“We are always looking to give our members something, so we’re not really looking at it as like, ‘Oh, we’re gonna make money off you guys.’ We’re looking at it as a network,” Montoya says.\u003c/p>\n\u003cp>The Bay Apes team will command a 15% royalty payment anytime one of their tokens is sold on OpenSea from one owner to another. They say this is where the real money is in NFTs, not in the crowd-funding stage The Bay Apes project is currently in. For this reason, Trulove and his crew are betting on both Ether and The Bay Apes NFT collection trending upwards in value to make back the money they’ve spent, and will continue to spend, as the club nears opening time. Trulove says that’s still eight to 10 months away.\u003c/p>\n\u003ch2>Why The Bay Apes Investors Have Faith\u003c/h2>\n\u003cp>Despite all these challenges and uncertainties, Trulove’s vision has legs. Perhaps a contributing factor is The Bay Apes’ local focus. Among the Elite Apes are \u003ca href=\"https://www.instagram.com/nefthepharaoh/\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>, \u003ca href=\"http://instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, who have all changed their Instagram profile picture to a Bay Ape in their likeness to promote the project.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Karim Mayfield, a San Francisco native, \u003ca href=\"https://www.businesswire.com/news/home/20210121005270/en/Karim-Mayfield-Professional-Boxer-Becomes-San-Francisco%E2%80%99s-Newest-Cannabis-Dispensary-Owner\" target=\"_blank\" rel=\"noopener noreferrer\">cannabis dispensary owner\u003c/a> and retired professional boxer, is one of the high-profile people chosen to be an Elite Ape. Mayfield says he’s into the project because “it’s a good look when you tell somebody, ‘Hey, table’s on me!’ They be thinking you spent a bag!” He continued: “And again, it’s a community of people, so I’m always into communal activities.”\u003c/p>\n\u003cp>The Bay Apes team promises that their NFT will bring investors an opportunity to network with an “exclusive group getting hyphy on the Ethereum blockchain,” according to their website.\u003c/p>\n\u003cp>The first of these networking opportunities came on Feb. 3 at Sunset Squares Pizza (co-owned by Bay Apes investor David Lee). Potential Bay Apes buyers were invited to enjoy an open bar and free pizza while learning more about the project.\u003c/p>\n\u003cp>The Bay Apes team spared no expense on the mixer event (unsurprising, considering Trulove told me that he’s spent about $110,000 on marketing and paying developers). The amenities—including a golden party bus called “\u003ca href=\"https://www.instagram.com/thetwerkulator/\" target=\"_blank\" rel=\"noopener noreferrer\">The Twerkulator\u003c/a>” where attendees could vape aboard—attracted over 100 people, most of whom were people of color who looked to be under the age of 40. Some of them were dressed up—wearing knee-high boots or blazers—while others were more casual, wearing jeans and Giants caps. Almost everyone was networking while a DJ spun tracks by Cam’ron, Kanye West, Jay-Z and Beanie Sigel.\u003c/p>\n\u003cp>Moses Baca, a 38-year-old mixed martial artist who also works in private security, says he was “impressed” by the atmosphere on the night. “Seeing people mix it up like this, this is how it should be done. I’ve seen other guys with their NFT projects and I’m like, ‘This is what you guys should be doing,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13912491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Potential Bay Apes investors mingle at Sunset Squares Pizza in San Francisco on Feb. 3. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From what I gleaned from talking to people, the room was made up of a fair mix of NFT veterans and rookies, of people who were already sold on The Bay Apes idea and those who were more skeptical, and of attendees who had come to the mixer on their own accord versus those who were dragged along by a loved one. Throughout the night, I could see the beginnings of a community, something Trulove feels is of the utmost importance to the success of this project.\u003c/p>\n\u003cp>Lideros, who I met at the mixer, says that even before The Bay Apes NFT minted, he already encountered a helpful community among the nearly 2,500 people who joined \u003ca href=\"https://discord.com/invite/thebayapes\" target=\"_blank\" rel=\"noopener noreferrer\">the project’s Discord server\u003c/a>.\u003c/p>\n\u003cp>“A lot of people are new, you know, this is gonna be their first NFT they’ve ever minted,” says Lideros. “A lot of the other people are experienced, so, I mean, if you walk in there and don’t know anything, there’s gonna be like four to five people that are willing to help you right off the bat.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cspan style=\"font-weight: 400\">‘\u003c/span>It’s like damn near a whole community. You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of those NFT first-timers is Fungula, who says he’s interested in The Bay Apes because he is “a big fan of a bunch of the rappers that they minted as Apes,” such as Capolow. “Once they posted it, I just went more in depth myself into the Bay Apes and did my own research and I was blown away by all the Apes that they got,” Fungula says.\u003c/p>\n\u003cp>Fungula has already started spreading the gospel of The Bay Apes. “I was so excited, I just started sending the link to the [mixer] tickets to all my family,” says Fungula, who brought six people with him to the event. “I damn near was saying this is gonna change our lives.”\u003c/p>\n\u003cp>Clearly, the project has some hype surrounding it. Perhaps it’s the proximity to celebrity, the proposed perks or the eye-watering numbers we’ve seen NFTs sell for recently. But, Fungula says, a big contributing factor to his interest in The Bay Apes is its local focus, which makes it a more approachable investment in his eyes.\u003c/p>\n\u003cp>“A lot of the other [NFTs] seem more far-fetched to get out there,” Fungula says. “They don’t seem like something that I can understand–like The Bay Apes, which just feels like something I can understand, because I’m a Bay Ape.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few months later, on 4/20, Trulove and his team showed up to Hippie Hill to celebrate The Bay Apes mint date. When Stunnaman02 took the stage to perform “Big Steppin’,” he asked the crowd: “Does anyone know what an NFT is?” This prompted some cheers (and a good amount of boos) before the rapper shouted out Trulove and encouraged fans to follow The Bay Apes’ social media.\u003c/p>\n\u003cp>It remains to be seen which response from the crowd to that question will be more apt. Trulove and his Bay Apes team are taking a risk by promising so much when so little is certain. It’s an ambitious venture—and only time will tell if they can manage to pull it off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> It’s \u003ca href=\"https://www.kqed.org/youthtakeover\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Youth Takeover week\u003c/a>. From April 25-29, we’re featuring stories by high school students from around the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Squeezing through a crowd of high school students at one of \u003ca href=\"https://www.instagram.com/theffflannels/\" target=\"_blank\" rel=\"noopener noreferrer\">The Flannels\u003c/a>’ backyard shows, listeners are in for a multi-medium artistic treat.\u003c/p>\n\u003cp>Here, an attendee might dance the night away, invigorated by the band’s buoyant, bouncy jazz-funk sound, or comb through the curated collection of art for sale, all in the same backyard.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13912576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/morris-photo-small-1.jpg\" alt=\"\" width=\"180\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/morris-photo-small-1.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/morris-photo-small-1-160x177.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>Whether it’s the handmade jackets, the oil paintings, the music or simply the chance to be a part of something fun, there’s something for everybody at a Flannels show.\u003c/p>\n\u003cp>To me, jazz has always had an enigmatic aura of inaccessibility. The genre conjures up memories of having to put on a nice shirt to go to Yoshi’s in Jack London Square with my dad, sipping a watery Shirley Temple and trying to understand the appeal of music with no words.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not the case with The Flannels.\u003c/p>\n\u003cfigure id=\"attachment_13912570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FF-28-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Flannels have goals of playing bigger stages, but for now they’re having fun throwing DIY events like their backyard party on March 25. \u003ccite>(Julian Currier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Flannels are an ensemble mostly made up of students from Oakland School for the Arts. They’ve played shows at \u003ca href=\"https://www.instagram.com/oaklandstylelab/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Style Lab\u003c/a>, a creative hub for youth artists in downtown Oakland, as well as in band members’ backyards. Most recently, they made their club debut when they opened for Tatiana & Treetop Band at \u003ca href=\"http://www.amadossf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amado’s\u003c/a> in San Francisco on April 16. These welcoming, everyone’s-invited kinds of events help make jazz less intimidating and more appealing to the entry-level listener.\u003c/p>\n\u003cp>“It really just felt like a high school party,” says The Flannels’ trumpet player, Iona Kambouridis, about the band’s backyard show on March 25. Not in the sense of a movie-esque rager, she explains, but more like a kickback in the park.\u003c/p>\n\u003cp>While most folks in attendance seemed to be between 15 and 18 years old, concertgoers ranged in age from preteens to the host’s senior-citizen neighbors who happened to stop by.\u003c/p>\n\u003cp>The group began playing summer gigs together, and after clicking, they decided to make it official by forming The Flannels. Coming from similar musical backgrounds, each member was introduced to music early in life by passionate parents. Miles Turk, the band’s drummer, recalls falling in love with live music while watching his father, the pianist \u003ca href=\"https://talent.entireproductions.com/talent/john-turk\" target=\"_blank\" rel=\"noopener noreferrer\">John Turk\u003c/a>, perform.\u003c/p>\n\u003cp>“I would go with him to gigs,” Turk says. “I would see him do what he do. Seeing someone in their element, for real, they love it.”\u003c/p>\n\u003cp>Turk acknowledges the importance, too, of having dedicated music teachers and mentors. “Those people that really love you, and put in that effort for you, they believe in you—that’s huge for any kid,” he says.\u003c/p>\n\u003cp>As for what’s next, the band is looking to expand—both eccentrically and exponentially. Guitarist Vincent Maclauchlan breaks down the group’s goals: “We want to play bigger venues, that’s definitely the goal. You know, just bigger and better things. A backyard is cool, but how about 400 in an established venue?” [aside postid='arts_13912364']\u003c/p>\n\u003cp>But even as the band pursues lofty goals like playing bigger stages and hitting the recording studio, The Flannels are still committed to the kinds of community events that make their performances so fun and free-spirited. “An idea I had was getting together a skate jam, and having a skating competition,” Blackwell says, “as well as selling art and having a music show.”\u003c/p>\n\u003cp>It’s all in concordance with the Flannels’ unpretentious approach to jazz. After all, the band has a successful track record of turning seemingly fanciful ideas into reality.\u003c/p>\n\u003cp>As Blackwell puts it, “I’m like, ‘Bro, what if I could throw this crazy party where there are two bands playing, and five artists selling art?’… And then it actually happens.”\u003c/p>\n\u003cp>The Flannels came up with their band name on a whim, and deny that it holds any profound significance. But their name perfectly encapsulates their do-it-yourself, down-to-earth vibe synonymous with an oversized plaid flannel shirt. And it’s a vibe that is not always associated with jazz music.\u003c/p>\n\u003cp>The Flannels’ laid-back atmosphere is definitely intentional. “I want to build community with music,” says Blackwell. “And as much as I think the black-tie thing is sort of cool, I think it’s more important to bring a group of people together.”\u003c/p>\n\u003cp>Presuming the Flannels continue on their upward trend—hosting shows that break triple-digit audience numbers and congregating young artists—then Blackwell may be onto something. In fact, the group’s approachable vibe could lay the foundations for a whole new generation to make its mark on jazz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Morris Hayes is a student journalist born and raised in Oakland, California. He attends Skyline High School.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> It’s \u003ca href=\"https://www.kqed.org/youthtakeover\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Youth Takeover week\u003c/a>. From April 25-29, we’re featuring stories by high school students from around the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Squeezing through a crowd of high school students at one of \u003ca href=\"https://www.instagram.com/theffflannels/\" target=\"_blank\" rel=\"noopener noreferrer\">The Flannels\u003c/a>’ backyard shows, listeners are in for a multi-medium artistic treat.\u003c/p>\n\u003cp>Here, an attendee might dance the night away, invigorated by the band’s buoyant, bouncy jazz-funk sound, or comb through the curated collection of art for sale, all in the same backyard.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13912576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/morris-photo-small-1.jpg\" alt=\"\" width=\"180\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/morris-photo-small-1.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/morris-photo-small-1-160x177.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>Whether it’s the handmade jackets, the oil paintings, the music or simply the chance to be a part of something fun, there’s something for everybody at a Flannels show.\u003c/p>\n\u003cp>To me, jazz has always had an enigmatic aura of inaccessibility. The genre conjures up memories of having to put on a nice shirt to go to Yoshi’s in Jack London Square with my dad, sipping a watery Shirley Temple and trying to understand the appeal of music with no words.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not the case with The Flannels.\u003c/p>\n\u003cfigure id=\"attachment_13912570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FF-28-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Flannels have goals of playing bigger stages, but for now they’re having fun throwing DIY events like their backyard party on March 25. \u003ccite>(Julian Currier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Flannels are an ensemble mostly made up of students from Oakland School for the Arts. They’ve played shows at \u003ca href=\"https://www.instagram.com/oaklandstylelab/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Style Lab\u003c/a>, a creative hub for youth artists in downtown Oakland, as well as in band members’ backyards. Most recently, they made their club debut when they opened for Tatiana & Treetop Band at \u003ca href=\"http://www.amadossf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amado’s\u003c/a> in San Francisco on April 16. These welcoming, everyone’s-invited kinds of events help make jazz less intimidating and more appealing to the entry-level listener.\u003c/p>\n\u003cp>“It really just felt like a high school party,” says The Flannels’ trumpet player, Iona Kambouridis, about the band’s backyard show on March 25. Not in the sense of a movie-esque rager, she explains, but more like a kickback in the park.\u003c/p>\n\u003cp>While most folks in attendance seemed to be between 15 and 18 years old, concertgoers ranged in age from preteens to the host’s senior-citizen neighbors who happened to stop by.\u003c/p>\n\u003cp>The group began playing summer gigs together, and after clicking, they decided to make it official by forming The Flannels. Coming from similar musical backgrounds, each member was introduced to music early in life by passionate parents. Miles Turk, the band’s drummer, recalls falling in love with live music while watching his father, the pianist \u003ca href=\"https://talent.entireproductions.com/talent/john-turk\" target=\"_blank\" rel=\"noopener noreferrer\">John Turk\u003c/a>, perform.\u003c/p>\n\u003cp>“I would go with him to gigs,” Turk says. “I would see him do what he do. Seeing someone in their element, for real, they love it.”\u003c/p>\n\u003cp>Turk acknowledges the importance, too, of having dedicated music teachers and mentors. “Those people that really love you, and put in that effort for you, they believe in you—that’s huge for any kid,” he says.\u003c/p>\n\u003cp>As for what’s next, the band is looking to expand—both eccentrically and exponentially. Guitarist Vincent Maclauchlan breaks down the group’s goals: “We want to play bigger venues, that’s definitely the goal. You know, just bigger and better things. A backyard is cool, but how about 400 in an established venue?” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But even as the band pursues lofty goals like playing bigger stages and hitting the recording studio, The Flannels are still committed to the kinds of community events that make their performances so fun and free-spirited. “An idea I had was getting together a skate jam, and having a skating competition,” Blackwell says, “as well as selling art and having a music show.”\u003c/p>\n\u003cp>It’s all in concordance with the Flannels’ unpretentious approach to jazz. After all, the band has a successful track record of turning seemingly fanciful ideas into reality.\u003c/p>\n\u003cp>As Blackwell puts it, “I’m like, ‘Bro, what if I could throw this crazy party where there are two bands playing, and five artists selling art?’… And then it actually happens.”\u003c/p>\n\u003cp>The Flannels came up with their band name on a whim, and deny that it holds any profound significance. But their name perfectly encapsulates their do-it-yourself, down-to-earth vibe synonymous with an oversized plaid flannel shirt. And it’s a vibe that is not always associated with jazz music.\u003c/p>\n\u003cp>The Flannels’ laid-back atmosphere is definitely intentional. “I want to build community with music,” says Blackwell. “And as much as I think the black-tie thing is sort of cool, I think it’s more important to bring a group of people together.”\u003c/p>\n\u003cp>Presuming the Flannels continue on their upward trend—hosting shows that break triple-digit audience numbers and congregating young artists—then Blackwell may be onto something. In fact, the group’s approachable vibe could lay the foundations for a whole new generation to make its mark on jazz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Morris Hayes is a student journalist born and raised in Oakland, California. He attends Skyline High School.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>During today’s Board of Supervisors meeting on whether or not to allow cars on John F. Kennedy Drive in Golden Gate Park, one of those wonderful, dammit-I-love-the-internet things happened: a San Francisco musician sang a song at the speaker’s podium. \u003c/p>\n\u003cp>https://twitter.com/CommunitySpace_/status/1519042375565279232\u003c/p>\n\u003cp>John Elliott premiered his brief, catchy song “on behalf of the dwindling community of musicians in San Francisco, and the 50% of San Franciscans who rent their homes and do not own a car,” finishing his triumphant coda just as the speaker’s allotted one-minute chime sounded. \u003c/p>\n\u003cp>(KQED readers may remember Elliott from his \u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Taylor Swift/Jake Gyllenhaal parody, “All Too Well (Jake’s Version).”\u003c/a>)\u003c/p>\n\u003cp>JFK Drive, which became car-free during the pandemic, has been at the center of strong debate over its planned return to vehicular traffic. As least now we know how one District 1 resident feels—and his \u003ca href=\"https://twitter.com/CommunitySpace_/status/1519042375565279232\" rel=\"noopener noreferrer\" target=\"_blank\">short, simple anthem\u003c/a> for all who want to keep JFK Drive car-free.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>John Elliott premiered his brief, catchy song “on behalf of the dwindling community of musicians in San Francisco, and the 50% of San Franciscans who rent their homes and do not own a car,” finishing his triumphant coda just as the speaker’s allotted one-minute chime sounded. \u003c/p>\n\u003cp>(KQED readers may remember Elliott from his \u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Taylor Swift/Jake Gyllenhaal parody, “All Too Well (Jake’s Version).”\u003c/a>)\u003c/p>\n\u003cp>JFK Drive, which became car-free during the pandemic, has been at the center of strong debate over its planned return to vehicular traffic. As least now we know how one District 1 resident feels—and his \u003ca href=\"https://twitter.com/CommunitySpace_/status/1519042375565279232\" rel=\"noopener noreferrer\" target=\"_blank\">short, simple anthem\u003c/a> for all who want to keep JFK Drive car-free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On ‘Mahal,’ Toro y Moi Shows Love to the Bay Area and His Filipino Community",
"headTitle": "On ‘Mahal,’ Toro y Moi Shows Love to the Bay Area and His Filipino Community | KQED",
"content": "\u003cp>[dropcap]W[/dropcap]hat do you do when the internet no longer feels like a realm of play and possibility, but more like an exhausting, 24/7 fire hydrant of hype, depressing news and misinformation?\u003c/p>\n\u003cp>If you’re \u003ca href=\"https://toroymoi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro y Moi\u003c/a>, you log on to eBay, buy a Filipino Jeepney, load it up with your friends and cruise around the Bay Area, from North Oakland to the Golden Gate Bridge. For one, a customized, multicolored bus—brought to the islands by American soldiers during World War II and \u003ca href=\"https://www.caranddriver.com/news/a15344340/the-history-of-the-jeepney-the-philippines-mass-transit-solution/\" target=\"_blank\" rel=\"noopener noreferrer\">adapted into public transit\u003c/a>—makes eye-catching content for music videos.\u003c/p>\n\u003cp>But for Oakland singer-songwriter and producer Toro y Moi—real name Chaz Bear—the bus has also become a place to connect one-on-one with other artists, listeners and the local community at large.\u003c/p>\n\u003cp>Over the past couple of weeks, he’s been driving it to local businesses like \u003ca href=\"https://www.lowergrandradio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lower Grand Radio\u003c/a> and \u003ca href=\"https://www.fobkitchen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FOB Kitchen\u003c/a>, meeting fans and playing songs from his new album, \u003ci>Mahal\u003c/i> (out April 29 via \u003ca href=\"https://deadoceans.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dead Oceans\u003c/a>), an oozing psych-rock project that pays homage to his Filipino roots and diasporic fanbase.\u003c/p>\n\u003cp>https://youtu.be/xI0alDWn2tM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For [the Jeepney] to have this story of this American machine going to the Philippines, being taken apart, remade, brought back to the States, and then shipped to the Bay and purchased by another Filipino-American—I feel like I see myself in it in some ways, being essentially like this multicultural thing,” says Bear, sipping a decaf iced coffee on a sunny, spring morning.\u003c/p>\n\u003cp>We’re listening to birds chirp under a canopy of leaves in the front yard of \u003ca href=\"https://companyrecordlabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Company Record Label and Art Studio\u003c/a>, his headquarters in an Oakland neighborhood filled with industrial warehouses. His powder blue Jeepney, decked out with miniature horse sculptures, horns and other ornamental tchotchkes, is parked outside.\u003c/p>\n\u003cp>“Now that I’ve literally found a vehicle to communicate my appreciation, it feels really good,” he says, chuckling at the accidental pun. “And it’s brought me closer to my Filipino community in the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13912455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-800x560.jpg\" alt=\"\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-1536x1074.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi hosts a popup at FOB Kitchen in Oakland on April 15. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]hose personal connections have been creative fuel for Bear lately, after two years of pandemic isolation and too much scrolling. The internet was where Bear first found his tribe. But now, he says, he needs a physical community.\u003c/p>\n\u003cp>“I made the shift to focus on local communities around 2016, when I started working on this record,” he says. “It’s mainly because it’s been a nightmare since Trump was president, and I think I just found the importance of reaching out to my POC community and subcultural community. [I’m] trying to just sort of find the language, find how to say it and how to speak it.”\u003c/p>\n\u003cfigure id=\"attachment_13912452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans showed up to hang out with Toro y Moi at FOB Kitchen, a Filipino restaurant in Oakland, on April 15. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before streaming and social media giants were the cultural forces they are now, Bear got his start in the late Aughts era of taste-making music blogs. He left his native South Carolina for Berkeley, and over the years—after collaborations with influential artists like \u003ca href=\"https://www.youtube.com/watch?v=b11EobcNdhw\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=OdXNvCOAs0w\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Scott\u003c/a>—he became a big name capable of commanding crowds of thousands at music festivals like Outside Lands, Afropunk and Coachella (where he just made a guest appearance April 23 during Flume’s set).\u003c/p>\n\u003cp>But although Bear could easily relocate to Los Angeles or New York for higher-profile opportunities, he’s happy to stay in Oakland, where he operates comfortably outside of the mainstream music industry. The Bay Area’s multiculturalism, alternative subcultures and activism—where artists of color can experiment and be weird—were big draws for him when he arrived here a decade ago and noticed the first two rows at his first show were packed with Filipino teens.\u003c/p>\n\u003cp>\u003ci>Mahal\u003c/i>, a title that means “love” in Tagalog, invites listeners to get lost in its jammy, \u003ci>wah\u003c/i>–pedal-laden sound that departs from the tightly produced, perfectionist approach of years past. His visuals for \u003ci>Mahal\u003c/i> reflect the change too. The cover of his 2019 album \u003ca href=\"https://www.kqed.org/arts/13848868/tory-y-moi-is-the-most-regular-famous-person-youll-ever-meet\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Outer Peace\u003c/i>\u003c/a> showed Bear sitting on a yoga ball, diligently working away at his laptop (its lead single, “\u003ca href=\"https://www.youtube.com/watch?v=Jm6hDWBZXc4\" target=\"_blank\" rel=\"noopener noreferrer\">Freelance\u003c/a>,” is a digital nomad anthem). But after spending the first year of the pandemic mostly interacting from behind a screen, the mood on \u003ci>Mahal\u003c/i>, whose cover shows the Jeepney parked in front of the Golden Gate Bridge, is all about getting out and cutting loose. [aside postid='arts_13905208']\u003c/p>\n\u003cp>“It’s a nice antithesis to the internet and the digital age,” Bear says. The album’s Summer of Love-meets-\u003ci>Summer of Soul\u003c/i> sound and aesthetic is on full display in his single “\u003ca href=\"https://www.youtube.com/watch?v=CvcoxunP7KU\" target=\"_blank\" rel=\"noopener noreferrer\">The Loop\u003c/a>,” a laid-back funk track where distorted, sprawling guitar solos accompany footage of Bear and friends cruising along the Pacific coast and goofing around.\u003c/p>\n\u003cp>https://youtu.be/CvcoxunP7KU\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=qSKlCWGaaao\" target=\"_blank\" rel=\"noopener noreferrer\">Magazine\u003c/a>,” another single from \u003ci>Mahal\u003c/i> that references environmental destruction and frustration with the modern world, features a duet with \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>, the uncategorizable Bay Area artist (signed to Flying Lotus’ Brainfeeder label) whose idiosyncratic jazz pop tells sci-fi sagas. “My lyrics are always just going to be a little bit more on the melancholy side, just because that’s what’s interesting to me,” Bear says. “How that feeling never leaves, but every other feeling does.”\u003c/p>\n\u003cp>The breezy, happy-go-lucky “Millennium” is a collaboration with The Mattson 2, a Los Angeles jazz duo comprised of twin guitarist brothers whose music Bear has released through Company Records.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qSKlCWGaaao\u003c/p>\n\u003cp>“We’re used to everything being so polished, and as music consumers we’re so quick to be like, ‘Oh no, that’s off’ because we’re so used to hearing Auto-Tune,” Bear says of his approach, noting that he first experimented with a grittier rock sound on 2015’s \u003ci>What For\u003c/i>. “I just try to almost challenge the listener.”\u003c/p>\n\u003cp>So was the process fun or nerve-wracking for such a meticulous producer? “It’s both. It’s definitely like, ‘OK, this might be a mistake,’ but also, I need to do this.”\u003c/p>\n\u003cp>[dropcap]B[/dropcap]ear is gearing up for a tour that kicks off in Ohio on April 29 with kindred spirits \u003ca href=\"http://www.khruangbin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Khruangbin\u003c/a>, the Texas trio whose soothing psychedelia has been on repeat for many during the stressful past two years. And \u003ci>Mahal\u003c/i> is his first release on the label Dead Oceans, where he’s in good company with Khruangbin, Japanese Breakfast, Mitski and Phoebe Bridgers.\u003c/p>\n\u003cp>“I feel like there’s been a response to the big EDM boom and the whole wave of mainstream rap and electronic [music],” he says. “I do feel like bands are making a comeback, and guitar-based music is alive and well.”\u003c/p>\n\u003cfigure id=\"attachment_13912454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/toro-y-moi-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi shows one of his paintings at Company Studio in Oakland. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear shows me around his workspace inside of Company, which he shares with a few other artists, including business partner Brendan Nakahara. His senior dog, Michael, trails us as he pulls out a few of his abstract paintings of colorful, floral designs. Much like his music, the aesthetic is streamlined yet embraces quirks and subtle imperfections.\u003c/p>\n\u003cp>It’s no secret that streaming doesn’t earn much these days. Even if you’re an artist like Bear, who boasts over three million monthly listeners on Spotify, you have to find other sources of income. He’s decided not to focus on merch, like a lot of musicians do: “We found ourselves packing T-shirts for two or three weeks and we were like, ‘Man, is this what we want to do?’” he says, adding, “It quickly reminds you of the capitalist game that we’re all a part of.”\u003c/p>\n\u003cfigure id=\"attachment_13912464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/toro-y-moi-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi’s dog, Michael. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear and Nakahara operate Company as a client-facing creative studio. They’ve worked on campaigns for big brands like Nike and Vans, but lately they’ve turned their focus to local establishments like \u003ca href=\"https://www.googleadservices.com/pagead/aclk?sa=L&ai=DChcSEwjHrcqenbD3AhV5DK0GHVTlAogYABAAGgJwdg&ae=2&ohost=www.google.com&cid=CAESauD2mLq40UmTU5dv3xTYBSKYpExvkUmD6I5IAaTdgsXjHPdK2Fw2aEZfVfGofqK-kiQtK0n59lm8-MrGN0l5wXm1QwRcrMxDsy4fjpJbOXwA7FvxCPAg0ZmPeftBh1ccNhrEtXNnE8fv6yw&sig=AOD64_1oqColadj1Hxc834nQkh4_jH2ydw&q&adurl&ved=2ahUKEwjEpcCenbD3AhWwHjQIHUyaA3UQ0Qx6BAgEEAE\" target=\"_blank\" rel=\"noopener noreferrer\">Red Bay Coffee\u003c/a>, the Black-owned Oakland roaster getting picked up by major retailers.\u003c/p>\n\u003cp>Over the last few years, Bear has thought a lot about his definition of success. And for him, it’s more about cultivating deeper relationships and using his resources to help grow the local scene rather than constantly chasing bigger-faster-more.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I want to work with companies in the Bay Area to raise the general interest in the Bay. There is so much to offer here outside of tech,” he says. “It feels good to be here, so I’m going to try to stay.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hat do you do when the internet no longer feels like a realm of play and possibility, but more like an exhausting, 24/7 fire hydrant of hype, depressing news and misinformation?\u003c/p>\n\u003cp>If you’re \u003ca href=\"https://toroymoi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro y Moi\u003c/a>, you log on to eBay, buy a Filipino Jeepney, load it up with your friends and cruise around the Bay Area, from North Oakland to the Golden Gate Bridge. For one, a customized, multicolored bus—brought to the islands by American soldiers during World War II and \u003ca href=\"https://www.caranddriver.com/news/a15344340/the-history-of-the-jeepney-the-philippines-mass-transit-solution/\" target=\"_blank\" rel=\"noopener noreferrer\">adapted into public transit\u003c/a>—makes eye-catching content for music videos.\u003c/p>\n\u003cp>But for Oakland singer-songwriter and producer Toro y Moi—real name Chaz Bear—the bus has also become a place to connect one-on-one with other artists, listeners and the local community at large.\u003c/p>\n\u003cp>Over the past couple of weeks, he’s been driving it to local businesses like \u003ca href=\"https://www.lowergrandradio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lower Grand Radio\u003c/a> and \u003ca href=\"https://www.fobkitchen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FOB Kitchen\u003c/a>, meeting fans and playing songs from his new album, \u003ci>Mahal\u003c/i> (out April 29 via \u003ca href=\"https://deadoceans.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dead Oceans\u003c/a>), an oozing psych-rock project that pays homage to his Filipino roots and diasporic fanbase.\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/xI0alDWn2tM'\n title='//www.youtube.com/embed/xI0alDWn2tM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For [the Jeepney] to have this story of this American machine going to the Philippines, being taken apart, remade, brought back to the States, and then shipped to the Bay and purchased by another Filipino-American—I feel like I see myself in it in some ways, being essentially like this multicultural thing,” says Bear, sipping a decaf iced coffee on a sunny, spring morning.\u003c/p>\n\u003cp>We’re listening to birds chirp under a canopy of leaves in the front yard of \u003ca href=\"https://companyrecordlabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Company Record Label and Art Studio\u003c/a>, his headquarters in an Oakland neighborhood filled with industrial warehouses. His powder blue Jeepney, decked out with miniature horse sculptures, horns and other ornamental tchotchkes, is parked outside.\u003c/p>\n\u003cp>“Now that I’ve literally found a vehicle to communicate my appreciation, it feels really good,” he says, chuckling at the accidental pun. “And it’s brought me closer to my Filipino community in the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13912455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-800x560.jpg\" alt=\"\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-1536x1074.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi hosts a popup at FOB Kitchen in Oakland on April 15. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hose personal connections have been creative fuel for Bear lately, after two years of pandemic isolation and too much scrolling. The internet was where Bear first found his tribe. But now, he says, he needs a physical community.\u003c/p>\n\u003cp>“I made the shift to focus on local communities around 2016, when I started working on this record,” he says. “It’s mainly because it’s been a nightmare since Trump was president, and I think I just found the importance of reaching out to my POC community and subcultural community. [I’m] trying to just sort of find the language, find how to say it and how to speak it.”\u003c/p>\n\u003cfigure id=\"attachment_13912452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans showed up to hang out with Toro y Moi at FOB Kitchen, a Filipino restaurant in Oakland, on April 15. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before streaming and social media giants were the cultural forces they are now, Bear got his start in the late Aughts era of taste-making music blogs. He left his native South Carolina for Berkeley, and over the years—after collaborations with influential artists like \u003ca href=\"https://www.youtube.com/watch?v=b11EobcNdhw\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=OdXNvCOAs0w\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Scott\u003c/a>—he became a big name capable of commanding crowds of thousands at music festivals like Outside Lands, Afropunk and Coachella (where he just made a guest appearance April 23 during Flume’s set).\u003c/p>\n\u003cp>But although Bear could easily relocate to Los Angeles or New York for higher-profile opportunities, he’s happy to stay in Oakland, where he operates comfortably outside of the mainstream music industry. The Bay Area’s multiculturalism, alternative subcultures and activism—where artists of color can experiment and be weird—were big draws for him when he arrived here a decade ago and noticed the first two rows at his first show were packed with Filipino teens.\u003c/p>\n\u003cp>\u003ci>Mahal\u003c/i>, a title that means “love” in Tagalog, invites listeners to get lost in its jammy, \u003ci>wah\u003c/i>–pedal-laden sound that departs from the tightly produced, perfectionist approach of years past. His visuals for \u003ci>Mahal\u003c/i> reflect the change too. The cover of his 2019 album \u003ca href=\"https://www.kqed.org/arts/13848868/tory-y-moi-is-the-most-regular-famous-person-youll-ever-meet\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Outer Peace\u003c/i>\u003c/a> showed Bear sitting on a yoga ball, diligently working away at his laptop (its lead single, “\u003ca href=\"https://www.youtube.com/watch?v=Jm6hDWBZXc4\" target=\"_blank\" rel=\"noopener noreferrer\">Freelance\u003c/a>,” is a digital nomad anthem). But after spending the first year of the pandemic mostly interacting from behind a screen, the mood on \u003ci>Mahal\u003c/i>, whose cover shows the Jeepney parked in front of the Golden Gate Bridge, is all about getting out and cutting loose. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a nice antithesis to the internet and the digital age,” Bear says. The album’s Summer of Love-meets-\u003ci>Summer of Soul\u003c/i> sound and aesthetic is on full display in his single “\u003ca href=\"https://www.youtube.com/watch?v=CvcoxunP7KU\" target=\"_blank\" rel=\"noopener noreferrer\">The Loop\u003c/a>,” a laid-back funk track where distorted, sprawling guitar solos accompany footage of Bear and friends cruising along the Pacific coast and goofing around.\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/CvcoxunP7KU'\n title='//www.youtube.com/embed/CvcoxunP7KU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=qSKlCWGaaao\" target=\"_blank\" rel=\"noopener noreferrer\">Magazine\u003c/a>,” another single from \u003ci>Mahal\u003c/i> that references environmental destruction and frustration with the modern world, features a duet with \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>, the uncategorizable Bay Area artist (signed to Flying Lotus’ Brainfeeder label) whose idiosyncratic jazz pop tells sci-fi sagas. “My lyrics are always just going to be a little bit more on the melancholy side, just because that’s what’s interesting to me,” Bear says. “How that feeling never leaves, but every other feeling does.”\u003c/p>\n\u003cp>The breezy, happy-go-lucky “Millennium” is a collaboration with The Mattson 2, a Los Angeles jazz duo comprised of twin guitarist brothers whose music Bear has released through Company Records.\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/qSKlCWGaaao'\n title='//www.youtube.com/embed/qSKlCWGaaao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We’re used to everything being so polished, and as music consumers we’re so quick to be like, ‘Oh no, that’s off’ because we’re so used to hearing Auto-Tune,” Bear says of his approach, noting that he first experimented with a grittier rock sound on 2015’s \u003ci>What For\u003c/i>. “I just try to almost challenge the listener.”\u003c/p>\n\u003cp>So was the process fun or nerve-wracking for such a meticulous producer? “It’s both. It’s definitely like, ‘OK, this might be a mistake,’ but also, I need to do this.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>ear is gearing up for a tour that kicks off in Ohio on April 29 with kindred spirits \u003ca href=\"http://www.khruangbin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Khruangbin\u003c/a>, the Texas trio whose soothing psychedelia has been on repeat for many during the stressful past two years. And \u003ci>Mahal\u003c/i> is his first release on the label Dead Oceans, where he’s in good company with Khruangbin, Japanese Breakfast, Mitski and Phoebe Bridgers.\u003c/p>\n\u003cp>“I feel like there’s been a response to the big EDM boom and the whole wave of mainstream rap and electronic [music],” he says. “I do feel like bands are making a comeback, and guitar-based music is alive and well.”\u003c/p>\n\u003cfigure id=\"attachment_13912454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/toro-y-moi-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi shows one of his paintings at Company Studio in Oakland. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear shows me around his workspace inside of Company, which he shares with a few other artists, including business partner Brendan Nakahara. His senior dog, Michael, trails us as he pulls out a few of his abstract paintings of colorful, floral designs. Much like his music, the aesthetic is streamlined yet embraces quirks and subtle imperfections.\u003c/p>\n\u003cp>It’s no secret that streaming doesn’t earn much these days. Even if you’re an artist like Bear, who boasts over three million monthly listeners on Spotify, you have to find other sources of income. He’s decided not to focus on merch, like a lot of musicians do: “We found ourselves packing T-shirts for two or three weeks and we were like, ‘Man, is this what we want to do?’” he says, adding, “It quickly reminds you of the capitalist game that we’re all a part of.”\u003c/p>\n\u003cfigure id=\"attachment_13912464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/toro-y-moi-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi’s dog, Michael. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear and Nakahara operate Company as a client-facing creative studio. They’ve worked on campaigns for big brands like Nike and Vans, but lately they’ve turned their focus to local establishments like \u003ca href=\"https://www.googleadservices.com/pagead/aclk?sa=L&ai=DChcSEwjHrcqenbD3AhV5DK0GHVTlAogYABAAGgJwdg&ae=2&ohost=www.google.com&cid=CAESauD2mLq40UmTU5dv3xTYBSKYpExvkUmD6I5IAaTdgsXjHPdK2Fw2aEZfVfGofqK-kiQtK0n59lm8-MrGN0l5wXm1QwRcrMxDsy4fjpJbOXwA7FvxCPAg0ZmPeftBh1ccNhrEtXNnE8fv6yw&sig=AOD64_1oqColadj1Hxc834nQkh4_jH2ydw&q&adurl&ved=2ahUKEwjEpcCenbD3AhWwHjQIHUyaA3UQ0Qx6BAgEEAE\" target=\"_blank\" rel=\"noopener noreferrer\">Red Bay Coffee\u003c/a>, the Black-owned Oakland roaster getting picked up by major retailers.\u003c/p>\n\u003cp>Over the last few years, Bear has thought a lot about his definition of success. And for him, it’s more about cultivating deeper relationships and using his resources to help grow the local scene rather than constantly chasing bigger-faster-more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I want to work with companies in the Bay Area to raise the general interest in the Bay. There is so much to offer here outside of tech,” he says. “It feels good to be here, so I’m going to try to stay.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Marketing Win? Stern Grove Lineup Announced via Public Transportation",
"headTitle": "Marketing Win? Stern Grove Lineup Announced via Public Transportation | KQED",
"content": "\u003cp>\u003cstrong>Update, May 3: \u003c/strong>Stern Grove Festival has officially announced its lineup. It’s the same slate of artists that appeared to have been accidentally revealed through a Muni ad in April.\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>The 2022 Stern Grove Festival lineup was announced Friday in a small masterwork of accidental marketing genius: placing an ad on a Muni bus and letting the public do the rest.\u003c/p>\n\u003cp>The lineup features Tower of Power and Too Short (June 12), Toro y Moi and Hello Yello (June 19), Liz Phair and Madi Diaz (June 26), Cold War Kids and Geographer (July 3), Old Crow Medicine Show and Molly Tuttle (July 10), Cat Power and Spellling (July 17), LeAnn Rimes and Amythyst Kiah (July 24), San Francisco Symphony (July 31), Taj Mahal and Monophonics (Aug. 7) and the Big Picnic with Phil Lesh & Friends and Midnight North (Aug. 14), according to the Muni ad.\u003c/p>\n\u003cfigure id=\"attachment_13912348\" class=\"wp-caption aligncenter\" style=\"max-width: 740px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM.png\" alt=\"A screenshot of the Reddit posting from Friday, April 22, showing an advertisement for Stern Grove's 2022 lineup with Too Short, Cat Power, Liz Phair, Phil Lesh and others.\" width=\"740\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM.png 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM-160x179.png 160w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot of the Reddit posting from Friday, April 22, showing an advertisement for Stern Grove’s 2022 lineup with Too Short, Cat Power, Liz Phair, Phil Lesh and others. \u003ccite>(via Reddit / u/normalizevictory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ad in question, \u003ca href=\"https://datebook.sfchronicle.com/music/muni-ad-leaks-stern-grove-festival-2022-lineup-with-liz-phair-and-cat-power\" target=\"_blank\" rel=\"noopener noreferrer\">first reported\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>, notes that all performances for the festival’s 85th season will still be free. Advance reservations for entry, added in in recent years, will again be required.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED reached out to festival representatives to confirm the lineup in the Muni bus ad. The response neither confirmed nor denied the lineup, and \u003ca href=\"https://twitter.com/sterngrovefest/status/1518007943928500224\" target=\"_blank\" rel=\"noopener noreferrer\">directed us to this tweet\u003c/a>.\u003c/p>\n\u003cp>Photos of the ad surfaced \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/u9kf1a/muni_leaking_the_stern_grove_lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">on Reddit\u003c/a> and other social media on Friday, giving organizers at the Stern Grove Festival either a) extreme frustration at the leaked lineup, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">not planned for release until May 3\u003c/a>, or b) a scramble to try and put a positive spin on the situation.\u003c/p>\n\u003cp>https://twitter.com/andyfedy/status/1517612025706258435\u003c/p>\n\u003cp>Let us help with that positive spin: In an age when festival lineup announcements are tightly controlled and embargoed, this type of covert leaked announcement basically reflects a competent understanding of marketing and communications in the social media age. Namely, how word-of-mouth online carries far more human impact than any branded content, and how clueing the public in on a “secret” is \u003ca href=\"https://twitter.com/CatZhang1/status/1514440150822137862\" target=\"_blank\" rel=\"noopener noreferrer\">worth far more social clout\u003c/a> than a formal press release spread across all media outlets.\u003c/p>\n\u003cp>For example: remarked one Reddit user, echoing others, “\u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/u9kf1a/muni_leaking_the_stern_grove_lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">Dude, better lineup than Outside Lands\u003c/a>.”\u003c/p>\n\u003cp>What’s more, giving the honors of quietly announcing the lineup to Muni shows a laudable support of city services at a time when public transportation has suffered, and been further devalued, in San Francisco. Ridership on Muni and BART \u003ca href=\"https://www.bart.gov/news/articles/2020/news20200317\" target=\"_blank\" rel=\"noopener noreferrer\">fell drastically\u003c/a> during the COVID pandemic, and ridesharing services like Uber and Lyft continue their attempts to take over the city streets by supplanting traditional public transit.\u003c/p>\n\u003cp>In other words: Didn’t take the bus on Friday? You missed out on the inside scoop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival’s official website, which promises that a lineup announcement is coming on May 3, is here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Originally leaked via bus ad, the lineup features Liz Phair, Toro y Moi, Cat Power, Tower of Power and Too Short and more.",
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"twTitle": "Stern Grove Lineup Announced via MUNI Ad: Phil Lesh, Liz Phair, Cat Power, Too Short, Old Crow Medicine Show, More",
"socialTitle": "Stern Grove Lineup Announced via MUNI Ad: Phil Lesh, Liz Phair, Cat Power, Too Short, Old Crow Medicine Show, More %%page%% %%sep%% KQED",
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"twDescription": "In a stroke of marketing genius, Liz Phair, Cat Power, Too Short, Phil Lesh, Tower of Power and others were announced as performers at the 2022 Stern Grove Festival via a bus advertisement.",
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"title": "Stern Grove Lineup Announced via MUNI Ad: Phil Lesh, Liz Phair, Cat Power, Too Short, Old Crow Medicine Show, More | KQED",
"ogDescription": "In a stroke of marketing genius, Liz Phair, Cat Power, Too Short, Phil Lesh, Tower of Power and others were announced as performers at the 2022 Stern Grove Festival via a bus advertisement.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, May 3: \u003c/strong>Stern Grove Festival has officially announced its lineup. It’s the same slate of artists that appeared to have been accidentally revealed through a Muni ad in April.\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>The 2022 Stern Grove Festival lineup was announced Friday in a small masterwork of accidental marketing genius: placing an ad on a Muni bus and letting the public do the rest.\u003c/p>\n\u003cp>The lineup features Tower of Power and Too Short (June 12), Toro y Moi and Hello Yello (June 19), Liz Phair and Madi Diaz (June 26), Cold War Kids and Geographer (July 3), Old Crow Medicine Show and Molly Tuttle (July 10), Cat Power and Spellling (July 17), LeAnn Rimes and Amythyst Kiah (July 24), San Francisco Symphony (July 31), Taj Mahal and Monophonics (Aug. 7) and the Big Picnic with Phil Lesh & Friends and Midnight North (Aug. 14), according to the Muni ad.\u003c/p>\n\u003cfigure id=\"attachment_13912348\" class=\"wp-caption aligncenter\" style=\"max-width: 740px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM.png\" alt=\"A screenshot of the Reddit posting from Friday, April 22, showing an advertisement for Stern Grove's 2022 lineup with Too Short, Cat Power, Liz Phair, Phil Lesh and others.\" width=\"740\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM.png 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-22-at-8.11.09-PM-160x179.png 160w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot of the Reddit posting from Friday, April 22, showing an advertisement for Stern Grove’s 2022 lineup with Too Short, Cat Power, Liz Phair, Phil Lesh and others. \u003ccite>(via Reddit / u/normalizevictory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ad in question, \u003ca href=\"https://datebook.sfchronicle.com/music/muni-ad-leaks-stern-grove-festival-2022-lineup-with-liz-phair-and-cat-power\" target=\"_blank\" rel=\"noopener noreferrer\">first reported\u003c/a> by the \u003cem>San Francisco Chronicle\u003c/em>, notes that all performances for the festival’s 85th season will still be free. Advance reservations for entry, added in in recent years, will again be required.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED reached out to festival representatives to confirm the lineup in the Muni bus ad. The response neither confirmed nor denied the lineup, and \u003ca href=\"https://twitter.com/sterngrovefest/status/1518007943928500224\" target=\"_blank\" rel=\"noopener noreferrer\">directed us to this tweet\u003c/a>.\u003c/p>\n\u003cp>Photos of the ad surfaced \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/u9kf1a/muni_leaking_the_stern_grove_lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">on Reddit\u003c/a> and other social media on Friday, giving organizers at the Stern Grove Festival either a) extreme frustration at the leaked lineup, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">not planned for release until May 3\u003c/a>, or b) a scramble to try and put a positive spin on the situation.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Let us help with that positive spin: In an age when festival lineup announcements are tightly controlled and embargoed, this type of covert leaked announcement basically reflects a competent understanding of marketing and communications in the social media age. Namely, how word-of-mouth online carries far more human impact than any branded content, and how clueing the public in on a “secret” is \u003ca href=\"https://twitter.com/CatZhang1/status/1514440150822137862\" target=\"_blank\" rel=\"noopener noreferrer\">worth far more social clout\u003c/a> than a formal press release spread across all media outlets.\u003c/p>\n\u003cp>For example: remarked one Reddit user, echoing others, “\u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/u9kf1a/muni_leaking_the_stern_grove_lineup/\" target=\"_blank\" rel=\"noopener noreferrer\">Dude, better lineup than Outside Lands\u003c/a>.”\u003c/p>\n\u003cp>What’s more, giving the honors of quietly announcing the lineup to Muni shows a laudable support of city services at a time when public transportation has suffered, and been further devalued, in San Francisco. Ridership on Muni and BART \u003ca href=\"https://www.bart.gov/news/articles/2020/news20200317\" target=\"_blank\" rel=\"noopener noreferrer\">fell drastically\u003c/a> during the COVID pandemic, and ridesharing services like Uber and Lyft continue their attempts to take over the city streets by supplanting traditional public transit.\u003c/p>\n\u003cp>In other words: Didn’t take the bus on Friday? You missed out on the inside scoop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival’s official website, which promises that a lineup announcement is coming on May 3, is here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Is The $385 Blue Note Festival in Napa Worth It? Yeah, Probably—But Reluctantly.",
"headTitle": "Is The $385 Blue Note Festival in Napa Worth It? Yeah, Probably—But Reluctantly. | KQED",
"content": "\u003cp>The first-ever \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival in Napa\u003c/a> was announced Thursday, and two things happened: my eyes widened at the incredible lineup, and then my brain fell out at the ticket price.\u003c/p>\n\u003cp>The two-day festival on July 30 and 31 hosts so many all-stars that to list just half is like a first draft for a Jazz and Hip-Hop Hall of Fame. It’s got resident artist Robert Glasper, Maxwell, Erykah Badu, Yasiin Bey & Talib Kweli as Black Star, Thundercat, Anderson .Paak, Flying Lotus, the Wu-Tang Clan’s GZA, Christian Scott, Pharaohe Monch, Ledisi, Terrace Martin, BJ the Chicago Kid and plenty more, including \u003ca href=\"https://www.youtube.com/watch?v=cxLpHCDhsTQ\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Jazzy Jeff\u003c/a>, all playing solo or in different configurations.\u003c/p>\n\u003cp>Did I mention Dave Chappelle is hosting?\u003c/p>\n\u003cp>Here’s the thing: Tickets for this festival are $385 each. In line with nationwide trends in festival ticket pricing, that’s \u003cem>three hundred and eighty-five dollars\u003c/em> for one two-day, general-admission ticket, and that’s before “convenience” fees, which have \u003ca href=\"https://www.vox.com/the-goods/2019/6/12/18662992/ticket-fees-ticketmaster-stubhub-ftc-regulation\" target=\"_blank\" rel=\"noopener noreferrer\">soared astronomically\u003c/a> in recent years.\u003c/p>\n\u003cp>[aside postID='arts_13831858']For reference, the last time I bought tickets from Ticketmaster, to see Paul McCartney, my charges included a 23% service fee, a 5% facility charge, and a 3% order processing fee. Our $189.50 tickets suddenly became $250 tickets. (Because my daughter saves ticket stubs, I also willfully opted to pay an extra $10 to send them in the mail at a time when first-class postage costs 58¢).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If equal percentages get charged on top of this Napa festival’s face value of $385, you’re looking at possibly paying $504.35 per ticket to the Blue Note Jazz Festival at Charles Krug Winery, to sip Cabernet Sauvignon while watching Black Star do “\u003ca href=\"https://www.youtube.com/watch?v=EuJaStSL0xM\" target=\"_blank\" rel=\"noopener noreferrer\">Redefinition\u003c/a>” among the vineyards, in the upscale, chi-chi confines of Napa Valley.\u003c/p>\n\u003cp>Is this really what we are doing, people?\u003c/p>\n\u003cp>If the answer’s yes—if you’ve been in this festival-pricing dilemma before, either with Outside Lands (\u003ca href=\"https://sfoutsidelands.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">more expensive\u003c/a> than the Blue Note festival) or Coachella (\u003ca href=\"https://www.coachella.com/passes\" target=\"_blank\" rel=\"noopener noreferrer\">much more expensive\u003c/a> than the Blue Note festival)—then you’re probably used to “festival math.” You’ve already added up the acts you want to see, calculated roughly how much it would cost to catch each playing separately, in a club, theater or arena, added up all \u003cem>those\u003c/em> costs, and realized: hey, even at $385, that’s a lot of bang for my buck to see so many of my favorites in one weekend.\u003c/p>\n\u003cp>Add the cruel reality that \u003ca href=\"https://www.digitalmusicnews.com/2018/09/27/spotify-declining-royalty-payouts/\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ album royalties have evaporated\u003c/a> in order to \u003ca href=\"https://www.nme.com/news/music/artists-criticise-spotify-ceo-daniel-eks-investment-in-ai-defence-tech-3107864\" target=\"_blank\" rel=\"noopener noreferrer\">make Spotify CEO Daniel Ek a multibillionaire who invests in defense technology\u003c/a>, or the \u003ca href=\"https://theconversation.com/denying-black-musicians-their-royalties-has-a-history-emerging-out-of-slavery-144397\" target=\"_blank\" rel=\"noopener noreferrer\">historic exploitation of Black musicians in America\u003c/a> which substantial festival guarantees can help repair, or the possibility that you’ve just gotten a huge tax return (just kidding, you probably didn’t—thanks, Paul Ryan!), or just that you haven’t taken your loved one out on a nice weekend getaway for the past two years, you start to say to yourself, “You know what? Why not? Let’s do it up.”\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not everyone is in that position, though, and certainly not your average rap fan, and certainly not the surge of younger people getting into jazz \u003ca href=\"https://lnwy.co/read/new-golden-age-jazz/\" target=\"_blank\" rel=\"noopener noreferrer\">thanks to some of the very acts on this bill\u003c/a>. Unless they were born into privilege or have a trust fund, they definitely wouldn’t throw down for VIP tickets ($850), or VIP parking (an additional $150). Having lived in Sonoma County my whole life, and for decades \u003ca href=\"https://www.kqed.org/arts/11625922/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country\" target=\"_blank\" rel=\"noopener noreferrer\">covered the region’s wine country-branded lifestyle experiences thinly veiled as music festivals\u003c/a>, I can tell you that weekend hotel and Airbnb rates are excessively high for these weekends, and concessions at festivals up here ain’t exactly $6 ballgame hot dogs, either.\u003c/p>\n\u003cp>(It’s worthy to note that there \u003cem>is\u003c/em> a free shuttle to this festival, but from an as-yet-determined parking area with an as-yet-determined parking fee, while \u003ca href=\"https://www.valleymusictravel.com/events/coachella/shuttles/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella shuttles are $75–$84\u003c/a>. And technically, public transportation to the festival exists, sort of, in the form of the Napa Valley Wine Train, which changed ownership several years ago after \u003ca href=\"https://www.theguardian.com/us-news/2015/sep/13/napa-wine-train-laughing-while-black\" target=\"_blank\" rel=\"noopener noreferrer\">kicking 10 Black women off the train mid-excursion\u003c/a> for “laughing while Black.”)\u003c/p>\n\u003cp>[aside postID='arts_11625922']If I sound like a hater, let me remind you: I hereby place my hand on a stack of Blue Note LPs and vow under oath that this festival has an incredible, historic lineup. But I’ll also remind you that the \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Entertainment Group\u003c/a> is not associated at all with the famed jazz label \u003ca href=\"https://www.bluenote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Records\u003c/a>, and books rock, smooth jazz, funk, fusion and folk acts at its seven Blue Note venues and other clubs and theaters around the world, aided in part by \u003ca href=\"https://www.forbes.com/sites/rebeccalerner/2017/06/15/all-that-jazz-inside-over-35-years-at-the-blue-note-jazz-club/?sh=6ab8b31e2c30\" target=\"_blank\" rel=\"noopener noreferrer\">sponsorships with corporate giants Intel, Seagram\u003c/a> and \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Sony\u003c/a>.\u003c/p>\n\u003cp>And look, I accept there’s no going back to the days of events like the \u003ca href=\"https://en.wikipedia.org/wiki/Harlem_Cultural_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Harlem Cultural Festival\u003c/a>, made famous by the Oscar-wining documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" target=\"_blank\" rel=\"noopener noreferrer\">Summer of Soul\u003c/a>\u003c/em>, where daily admission was completely free. (Unless you’re talking about an anomaly like the Hardly Strictly Bluegrass festival, which is \u003ca href=\"https://bohemian.com/banjo-banker-1/\" target=\"_blank\" rel=\"noopener noreferrer\">paid for by a finance-sector billionaire’s estate\u003c/a>). The problems inherent with today’s festival prices are not unique to the Blue Note Jazz Festival. And I firmly believe that music is a source of joy like no other, and musicians who create that joy should be paid.\u003c/p>\n\u003cp>But with festival ticket prices already out of reach for so many, especially in the communities from which jazz and hip-hop grew, and with bot-enabled instant ticket scalping an epidemic not only \u003ca href=\"https://www.theatlantic.com/technology/archive/2019/11/discord-scalpers-harry-styles-ticket-resale-verified-fan/602647/\" target=\"_blank\" rel=\"noopener noreferrer\">rampant\u003c/a> but \u003ca href=\"https://www.aei.org/carpe-diem/ticket-scalping-a-market-that-only-exists-because-musicians-under-supply-and-under-price-tickets-to-their-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">encouraged\u003c/a> and \u003ca href=\"https://www.thestar.com/news/investigations/2018/09/19/we-went-undercover-as-ticket-scalpers-and-ticketmaster-offered-to-help-us-do-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">systemically enabled\u003c/a> in 2022, I have to wonder: should joy really be for sale to the highest bidder?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival\u003c/a> runs July 30 and 31 at Charles Krug Winery in Napa. Tickets go on sale April 26; \u003ca href=\"https://bluenotejazzfestival.com/napa-tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first-ever \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival in Napa\u003c/a> was announced Thursday, and two things happened: my eyes widened at the incredible lineup, and then my brain fell out at the ticket price.\u003c/p>\n\u003cp>The two-day festival on July 30 and 31 hosts so many all-stars that to list just half is like a first draft for a Jazz and Hip-Hop Hall of Fame. It’s got resident artist Robert Glasper, Maxwell, Erykah Badu, Yasiin Bey & Talib Kweli as Black Star, Thundercat, Anderson .Paak, Flying Lotus, the Wu-Tang Clan’s GZA, Christian Scott, Pharaohe Monch, Ledisi, Terrace Martin, BJ the Chicago Kid and plenty more, including \u003ca href=\"https://www.youtube.com/watch?v=cxLpHCDhsTQ\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Jazzy Jeff\u003c/a>, all playing solo or in different configurations.\u003c/p>\n\u003cp>Did I mention Dave Chappelle is hosting?\u003c/p>\n\u003cp>Here’s the thing: Tickets for this festival are $385 each. In line with nationwide trends in festival ticket pricing, that’s \u003cem>three hundred and eighty-five dollars\u003c/em> for one two-day, general-admission ticket, and that’s before “convenience” fees, which have \u003ca href=\"https://www.vox.com/the-goods/2019/6/12/18662992/ticket-fees-ticketmaster-stubhub-ftc-regulation\" target=\"_blank\" rel=\"noopener noreferrer\">soared astronomically\u003c/a> in recent years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For reference, the last time I bought tickets from Ticketmaster, to see Paul McCartney, my charges included a 23% service fee, a 5% facility charge, and a 3% order processing fee. Our $189.50 tickets suddenly became $250 tickets. (Because my daughter saves ticket stubs, I also willfully opted to pay an extra $10 to send them in the mail at a time when first-class postage costs 58¢).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If equal percentages get charged on top of this Napa festival’s face value of $385, you’re looking at possibly paying $504.35 per ticket to the Blue Note Jazz Festival at Charles Krug Winery, to sip Cabernet Sauvignon while watching Black Star do “\u003ca href=\"https://www.youtube.com/watch?v=EuJaStSL0xM\" target=\"_blank\" rel=\"noopener noreferrer\">Redefinition\u003c/a>” among the vineyards, in the upscale, chi-chi confines of Napa Valley.\u003c/p>\n\u003cp>Is this really what we are doing, people?\u003c/p>\n\u003cp>If the answer’s yes—if you’ve been in this festival-pricing dilemma before, either with Outside Lands (\u003ca href=\"https://sfoutsidelands.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">more expensive\u003c/a> than the Blue Note festival) or Coachella (\u003ca href=\"https://www.coachella.com/passes\" target=\"_blank\" rel=\"noopener noreferrer\">much more expensive\u003c/a> than the Blue Note festival)—then you’re probably used to “festival math.” You’ve already added up the acts you want to see, calculated roughly how much it would cost to catch each playing separately, in a club, theater or arena, added up all \u003cem>those\u003c/em> costs, and realized: hey, even at $385, that’s a lot of bang for my buck to see so many of my favorites in one weekend.\u003c/p>\n\u003cp>Add the cruel reality that \u003ca href=\"https://www.digitalmusicnews.com/2018/09/27/spotify-declining-royalty-payouts/\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ album royalties have evaporated\u003c/a> in order to \u003ca href=\"https://www.nme.com/news/music/artists-criticise-spotify-ceo-daniel-eks-investment-in-ai-defence-tech-3107864\" target=\"_blank\" rel=\"noopener noreferrer\">make Spotify CEO Daniel Ek a multibillionaire who invests in defense technology\u003c/a>, or the \u003ca href=\"https://theconversation.com/denying-black-musicians-their-royalties-has-a-history-emerging-out-of-slavery-144397\" target=\"_blank\" rel=\"noopener noreferrer\">historic exploitation of Black musicians in America\u003c/a> which substantial festival guarantees can help repair, or the possibility that you’ve just gotten a huge tax return (just kidding, you probably didn’t—thanks, Paul Ryan!), or just that you haven’t taken your loved one out on a nice weekend getaway for the past two years, you start to say to yourself, “You know what? Why not? Let’s do it up.”\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not everyone is in that position, though, and certainly not your average rap fan, and certainly not the surge of younger people getting into jazz \u003ca href=\"https://lnwy.co/read/new-golden-age-jazz/\" target=\"_blank\" rel=\"noopener noreferrer\">thanks to some of the very acts on this bill\u003c/a>. Unless they were born into privilege or have a trust fund, they definitely wouldn’t throw down for VIP tickets ($850), or VIP parking (an additional $150). Having lived in Sonoma County my whole life, and for decades \u003ca href=\"https://www.kqed.org/arts/11625922/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country\" target=\"_blank\" rel=\"noopener noreferrer\">covered the region’s wine country-branded lifestyle experiences thinly veiled as music festivals\u003c/a>, I can tell you that weekend hotel and Airbnb rates are excessively high for these weekends, and concessions at festivals up here ain’t exactly $6 ballgame hot dogs, either.\u003c/p>\n\u003cp>(It’s worthy to note that there \u003cem>is\u003c/em> a free shuttle to this festival, but from an as-yet-determined parking area with an as-yet-determined parking fee, while \u003ca href=\"https://www.valleymusictravel.com/events/coachella/shuttles/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella shuttles are $75–$84\u003c/a>. And technically, public transportation to the festival exists, sort of, in the form of the Napa Valley Wine Train, which changed ownership several years ago after \u003ca href=\"https://www.theguardian.com/us-news/2015/sep/13/napa-wine-train-laughing-while-black\" target=\"_blank\" rel=\"noopener noreferrer\">kicking 10 Black women off the train mid-excursion\u003c/a> for “laughing while Black.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If I sound like a hater, let me remind you: I hereby place my hand on a stack of Blue Note LPs and vow under oath that this festival has an incredible, historic lineup. But I’ll also remind you that the \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Entertainment Group\u003c/a> is not associated at all with the famed jazz label \u003ca href=\"https://www.bluenote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Records\u003c/a>, and books rock, smooth jazz, funk, fusion and folk acts at its seven Blue Note venues and other clubs and theaters around the world, aided in part by \u003ca href=\"https://www.forbes.com/sites/rebeccalerner/2017/06/15/all-that-jazz-inside-over-35-years-at-the-blue-note-jazz-club/?sh=6ab8b31e2c30\" target=\"_blank\" rel=\"noopener noreferrer\">sponsorships with corporate giants Intel, Seagram\u003c/a> and \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Sony\u003c/a>.\u003c/p>\n\u003cp>And look, I accept there’s no going back to the days of events like the \u003ca href=\"https://en.wikipedia.org/wiki/Harlem_Cultural_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Harlem Cultural Festival\u003c/a>, made famous by the Oscar-wining documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" target=\"_blank\" rel=\"noopener noreferrer\">Summer of Soul\u003c/a>\u003c/em>, where daily admission was completely free. (Unless you’re talking about an anomaly like the Hardly Strictly Bluegrass festival, which is \u003ca href=\"https://bohemian.com/banjo-banker-1/\" target=\"_blank\" rel=\"noopener noreferrer\">paid for by a finance-sector billionaire’s estate\u003c/a>). The problems inherent with today’s festival prices are not unique to the Blue Note Jazz Festival. And I firmly believe that music is a source of joy like no other, and musicians who create that joy should be paid.\u003c/p>\n\u003cp>But with festival ticket prices already out of reach for so many, especially in the communities from which jazz and hip-hop grew, and with bot-enabled instant ticket scalping an epidemic not only \u003ca href=\"https://www.theatlantic.com/technology/archive/2019/11/discord-scalpers-harry-styles-ticket-resale-verified-fan/602647/\" target=\"_blank\" rel=\"noopener noreferrer\">rampant\u003c/a> but \u003ca href=\"https://www.aei.org/carpe-diem/ticket-scalping-a-market-that-only-exists-because-musicians-under-supply-and-under-price-tickets-to-their-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">encouraged\u003c/a> and \u003ca href=\"https://www.thestar.com/news/investigations/2018/09/19/we-went-undercover-as-ticket-scalpers-and-ticketmaster-offered-to-help-us-do-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">systemically enabled\u003c/a> in 2022, I have to wonder: should joy really be for sale to the highest bidder?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival\u003c/a> runs July 30 and 31 at Charles Krug Winery in Napa. Tickets go on sale April 26; \u003ca href=\"https://bluenotejazzfestival.com/napa-tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "charles-mingus-100-centennial-bay-area-political-jazz",
"title": "Charles Mingus at 100: A Roiling, Political Jazz Figure Made for the 21st Century",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the summer of 1939, a 17-year-old bassist named Charles Mingus made a fateful trip to the Bay Area.\u003c/p>\n\u003cp>While already possessed by extraordinary ambition—a racially ambiguous jazz artist drawn to Stravinsky and Ellington, the blues, and church call-and-response worship—the protean bassist had felt misaligned for every path that presented itself. That included his 1939 gigs which brought him to Oakland and San Francisco with the Floyd Ray Orchestra, a now-forgotten Los Angeles-based dance band.\u003c/p>\n\u003cp>An encounter with North Beach artist Farwell Taylor, however, changed the course of Mingus’s life, and initiated a decades-long connection to the Bay Area. Their fast friendship introduced the teenager to a world of poets and painters, philosophers and novelists. Providing the young bassist and composer with refuge whenever money was thin and moral support when depression closed in, Taylor opened up an infinite vista into which the bassist gradually expanded. And expanded. And \u003cem>expanded\u003c/em>.\u003c/p>\n\u003cp>On April 22, 2022, Charles Mingus would have been 100 years old. A singular composer, volatile bandleader, outspoken activist and virtuosic improviser, Mingus created a body of music as profound, diverse and emotionally unbridled as any in American music. And his centennial coincides with a moment in American history, and in the Bay Area especially, uncannily primed for his prescient music and its social and political overtones.\u003c/p>\n\u003cfigure id=\"attachment_13912262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.3pix-800x300.jpg\" alt=\"Mingus smiling, scowling, and musing\" width=\"800\" height=\"300\" class=\"size-medium wp-image-13912262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix-800x300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix-1020x382.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix-768x288.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix-1536x575.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mingus was a musician of many emotions, reflected in his evocative compositions. \u003ccite>(Courtesy Sue Mingus, Jazz Workshop Inc.; Tom Copi/Michael Ochs Archives/Getty Images; Jean-Pierre Leloir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Mingus Dealt With All the Muses’\u003c/h2>\n\u003cp>Within jazz, Mingus intersected on stage and in the studio with artists spanning the entire 20th century, from Louis Armstrong and Charlie Parker to Randy Brecker and John Scofield. Beyond jazz, his breadth remains just as imposing. Collaborating with leading figures across numerous disciplines, including Langston Hughes and Alvin Ailey, Joni Mitchell and Dimitri Tiomkin, Jean Shepherd and John Cassavetes, “Mingus dealt with all the muses,” alto saxophonist Charles McPherson says today.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tTwluCOgq5w&feature=share&fbclid=IwAR0CJOihWAyIzoeiV1byGGINvDubmxuWYRL_LW1ywJ1gQeIVVrFsFIth6TY\u003c/p>\n\u003cp>McPherson played and recorded intermittently with Mingus from 1960-72, and decades later, he continues to sound awed when discussing the scope of the composer’s creative realm.\u003c/p>\n\u003cp>“He wrote pieces protesting social injustice,” McPherson says. “He wrote love songs dealing with \u003cem>eros\u003c/em>, romantic love, and sometimes he wrote love songs with reverence dealing with \u003cem>agape\u003c/em>, love of God. He wrote from different angles. Sometimes it was dance, like ‘\u003ca href=\"https://www.youtube.com/watch?v=Kw1BWwiPJCY\" rel=\"noopener noreferrer\" target=\"_blank\">Ysabel’s Table Dance\u003c/a>,’ or blues and folk music and bebop. He loved Charlie Parker. He was very knowledgable about Western classical music: Stravinsky, Hindemith, Prokofiev. More than anything, he revered Duke Ellington. You stir all that up, that’s how you get a Charles Mingus.”\u003c/p>\n\u003cfigure id=\"attachment_13912235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.McPherson-800x533.jpg\" alt=\"Mingus with goatee and hat and glasses, and McPherson, holding a saxophone, in a beanie\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13912235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Mingus with Charles McPherson. “He wrote from different angles,” McPherson says of the jazz titan. \u003ccite>(Courtesy Sue Mingus/Jazz Workshop, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Distinct Bay Area Ingredient\u003c/h2>\n\u003cp>Mingus absorbed plenty from his Los Angeles upbringing, including several disillusioned years delivering mail, or ghostwriting Hollywood film scores for Dimitri Tiomkin. But he seemed most in tune in San Francisco’s bohemian circles.\u003c/p>\n\u003cp>Even after he moved to New York City in 1951, the Bay Area served as Mingus’ second home. He returned repeatedly to settle into its clubs for extended residencies, and to commune with Farwell Taylor. It’s no coincidence that some of his signature artistic triumphs took place here. (Certain Bay Area markers found their way into his recordings, also: cable car bells and foghorns in his version of “\u003ca href=\"https://www.youtube.com/watch?v=QUo5gD6WlyA\" rel=\"noopener noreferrer\" target=\"_blank\">A Foggy Day\u003c/a>,” or an ode to Taylor titled “\u003ca href=\"https://www.youtube.com/watch?v=Q2HnleSPNYw\" rel=\"noopener noreferrer\" target=\"_blank\">Far Wells, Mill Valley\u003c/a>.”)\u003c/p>\n\u003cp>Rather than presenting polished compositions, Mingus treated performance as an in-progress process, often billing his confederation of musicians the “Mingus Jazz Workshop.” It was a moniker picked up by the North Beach nightclub that became one of his primary San Francisco outlets, where he recorded the thrilling 1964 album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=F2DzPmJkFFw\" rel=\"noopener noreferrer\" target=\"_blank\">Right Now: Live at the Jazz Workshop\u003c/a>\u003c/em> for Berkeley label Fantasy Records. Just a few months later, he made an epochal appearance at the Monterey Jazz Festival with a big band, premiering his roiling, political opus “\u003ca href=\"https://www.youtube.com/watch?v=fECCAOpVCR4\" rel=\"noopener noreferrer\" target=\"_blank\">Meditations on Integration\u003c/a>” (as well as an extended medley of Ellingtonia), released on \u003cem>Mingus at Monterey\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13912250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-800x528.jpg\" alt=\"A saxophonist and bassist share the stage in deep concentration\" width=\"800\" height=\"528\" class=\"size-medium wp-image-13912250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clifford Jordan and Charles Mingus on stage in Paris, 1964. \u003ccite>(Charles Edridge/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Social and Political Overtones Ahead of Their Time\u003c/h2>\n\u003cp>In 2022, the scope of Mingus’ legacy is enduring and, indeed, increasing. He was a pioneering entrepreneur who was among the first jazz musicians to launch his own label, Debut Records, independently releasing a catalog eventually acquired by Fantasy in Berkeley. His DIY efforts rippled across the music business, connecting to future Bay Area independent labels like \u003ca href=\"https://www.kqed.org/arts/13910091/how-415-records-made-san-francisco-a-punk-and-new-wave-powerhouse\" rel=\"noopener noreferrer\" target=\"_blank\">415 Records\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13845645/how-san-francisco-punk-reacted-to-harvey-milk-and-george-moscones-deaths\" rel=\"noopener noreferrer\" target=\"_blank\">Alternative Tentacles\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13807461/hiero-day-2017-music-highlights-and-photo-gallery\" rel=\"noopener noreferrer\" target=\"_blank\">Hieroglyphics Imperium\u003c/a>.\u003c/p>\n\u003cp>In much the same way, Mingus’s experimental bent as an artist often intersected with his radical opposition to white supremacy and prejudice. The felicitous marriage of activism and aesthetics has also resonated deeply in the Bay Area, across the decades.\u003c/p>\n\u003cp>“He started using mixed media and prerecorded sounds in his recordings, all this stuff you start to see incredible young composers like \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\" rel=\"noopener noreferrer\" target=\"_blank\">Samora Pinderhughes\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13887363/ambrose-akinmusire-soundtracks-black-resistance-from-oakland-to-the-world\" rel=\"noopener noreferrer\" target=\"_blank\">Ambrose Akinmusire\u003c/a> doing today,” notes San Francisco bassist Marcus Shelby.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when taking a political stance could end a Black musician’s career, Mingus explicitly connected the struggle for civil rights in America with Black resistance to oppression abroad. Sometimes he christened a tune with a title that amplified its impact, like the insistently pugnacious “Haitian Fight Song,” also recorded as “\u003ca href=\"https://www.youtube.com/watch?v=w0E1XTqUlCc\" rel=\"noopener noreferrer\" target=\"_blank\">II B.S.\u003c/a>,” which Barack Obama selected in 2016 for one his famous playlists.\u003c/p>\n\u003cp>In the liner notes to the 1957 album \u003cem>The Clown\u003c/em> that introduced “Haitian Fight Song,” Mingus wrote that “my solo in it is a deeply concentrated one. I can’t play it right unless I’m thinking about prejudice and hate and persecution, and how unfair it is. There’s sadness and cries in it, but also determination. And it usually ends with my feeling: ‘I told them! I hope somebody heard me.’”\u003c/p>\n\u003cp>Other times, a provocative title seemed to have little relationship to the music itself. His outrage at the massacre that ended the 1971 Attica Prison riot manifested on his late career masterpiece \u003cem>Changes Two\u003c/em> with “\u003ca href=\"https://www.youtube.com/watch?v=OTRf9Ef6nuA\" rel=\"noopener noreferrer\" target=\"_blank\">Free Cell Block F, ‘Tis Nazi USA\u003c/a>,” a beautiful piece that evokes a much more pleasant scenario than its title implies.\u003c/p>\n\u003cfigure id=\"attachment_13912245\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.JazzWorkshop.jpg\" alt=\"\" width=\"600\" height=\"699\" class=\"size-full wp-image-13912245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.JazzWorkshop.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.JazzWorkshop-160x186.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover detail from ‘Right Now! Live at the Jazz Workshop,’ recorded in San Francisco in 1964. \u003ccite>(Fantasy Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Presaging the Bay Area’s Activist Movements\u003c/h2>\n\u003cp>Mingus’s gift for transforming news of the day and historical events into deeply personal and cutting edge musical expression is another legacy that has rippled through the Bay Area music scene in the work of composers and bandleaders like \u003ca href=\"https://www.kqed.org/arts/13214017/celebrating-30-years-of-challenging-music-from-asian-improv\" rel=\"noopener noreferrer\" target=\"_blank\">Jon Jang\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13214017/celebrating-30-years-of-challenging-music-from-asian-improv\" rel=\"noopener noreferrer\" target=\"_blank\">Francis Wong\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13832643/jazz-is-protest-music-in-angela-davis-anthony-brown-collaboration\" rel=\"noopener noreferrer\" target=\"_blank\">Anthony Brown\u003c/a>.\u003c/p>\n\u003cp>“He inspired me to create music about the world around me and really use music as a way to highlight issues,” says Shelby, who across his career has composed and recorded a series of suites inspired by abolitionists, civil rights leaders, and Negro League baseball. “That came straight from Mingus and Nina Simone.”\u003c/p>\n\u003cp>In an era when prison abolition had far less public purchase than at today’s organizations like Oakland’s \u003ca href=\"https://www.kqed.org/arts/13863810/critical-resistance-prison-abolition-oakland-temescal-baby-world\" rel=\"noopener noreferrer\" target=\"_blank\">Critical Resistance\u003c/a>, Mingus released “\u003ca href=\"https://www.youtube.com/watch?v=IM6vIURo5OI\" rel=\"noopener noreferrer\" target=\"_blank\">Remember Rockefeller at Attica\u003c/a>,” pointing a finger at the New York governor who ordered guards and police to retake the prison.\u003c/p>\n\u003cp>Mingus knew Black uplift as well as Black suffering; his “\u003ca href=\"https://www.youtube.com/watch?v=E7hoX7golZI\" rel=\"noopener noreferrer\" target=\"_blank\">Better Git It It Your Soul\u003c/a>” could be the de facto soundtrack to Oakland’s annual \u003ca href=\"https://www.kqed.org/arts/13909853/black-joy-parade-2022-oakland-photos\" rel=\"noopener noreferrer\" target=\"_blank\">Black Joy Parade\u003c/a>. As for groups like \u003ca href=\"https://www.kqed.org/news/11842392/how-moms-4-housing-changed-laws-and-inspired-a-movement\" rel=\"noopener noreferrer\" target=\"_blank\">Moms 4 Housing fighting the eviction crisis\u003c/a> in the Bay Area, look no further than the 1966 film \u003cem>Mingus\u003c/em>. In one scene, \u003ca href=\"https://www.openculture.com/2012/08/charles_mingus_evicted_in_1966_film.html\" rel=\"noopener noreferrer\" target=\"_blank\">to protest his impending eviction\u003c/a>, Mingus \u003ca href=\"https://www.youtube.com/watch?v=hqb_QUsnKbg\" rel=\"noopener noreferrer\" target=\"_blank\">loads and fires a rifle\u003c/a> into his apartment ceiling.\u003c/p>\n\u003cp>After chuckling, Mingus begins singing under his breath: “My country ’tis of thee / Sweet land of slavery.”\u003c/p>\n\u003cfigure id=\"attachment_13912242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.Albums-800x264.jpg\" alt=\"Three album covers showing Mingus smoking, an open sea, and an abstract painting\" width=\"800\" height=\"264\" class=\"size-medium wp-image-13912242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums-1020x337.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums-1536x507.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of many essential Mingus titles: ‘The Black Saint and the Sinner Lady,’ ‘Mingus at Monterey,’ and ‘Mingus Ah Um.’ \u003ccite>(Impulse Records/Fantasy Records/Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Essential Recordings\u003c/h2>\n\u003cp>For the uninitiated, a short list of essential Mingus albums cluster within the decade between 1955-1965, and include Mingus’s first extended programmatic work on the 1956 Atlantic album \u003cem>Pithecanthropus Erectus\u003c/em>. Especially crucial is his popular breakthrough and Columbia Records bestseller \u003cem>Mingus Ah Um\u003c/em>, from 1959. \u003cem>Ah Um\u003c/em> features his oft-played tribute to Lester Young, “\u003ca href=\"https://www.youtube.com/watch?v=CWWO_VcdnHY\" rel=\"noopener noreferrer\" target=\"_blank\">Goodbye Pork Pie Hat\u003c/a>,” as well as “\u003ca href=\"https://www.youtube.com/watch?v=CutrIZzTJl0\" rel=\"noopener noreferrer\" target=\"_blank\">Fables of Faubus\u003c/a>,” his anthem mocking the Arkansas governor who called in the Arkansas National Guard to prevent the desegregation of Little Rock Central High School.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xPWvA1EiezI\u003c/p>\n\u003cp>His elemental 1960 nonet session for Atlantic, \u003cem>Blues & Roots\u003c/em>, is a personal favorite, and, like \u003cem>Ah Um\u003c/em>, it prominently features Oakland-raised saxophonist John Handy, an essential part of Mingus’ musical world during his most celebrated period. The 1962 RCA release \u003cem>Tijuana Moods\u003c/em> is another classic, a wild, border-town dispatch unlike anything else in his discography (recorded in 1957, it was one of several Mingus masterpieces that took years to surface, delaying recognition of his genius).\u003c/p>\n\u003cp>Just last week, the historic jazz label Candid relaunched by reissuing five albums, including 1960’s \u003cem>Charles Mingus Presents Charles Mingus\u003c/em>. It’s a spectacular quartet session with Eric Dolphy that includes “\u003ca href=\"https://www.youtube.com/watch?v=K4WSwtM7nyI\" rel=\"noopener noreferrer\" target=\"_blank\">Original Faubus Fables\u003c/a>,” with the chanted lyrics about the governor that had been repressed by Columbia (“Oh, Lord, don’t let ’em shoot us … 2-4-6-8/Brainwash and teach you hate”) as well as quintessentially Mingusian contrafact “\u003ca href=\"https://www.youtube.com/watch?v=aYbpAkOKLmU\" rel=\"noopener noreferrer\" target=\"_blank\">All the Things You Could Be by Now If Sigmund Freud’s Wife Was Your Mother\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vFpuizHSkjY\u003c/p>\n\u003cp>And for sheer immersive pleasure, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=zFA0FYQo0Gg\" rel=\"noopener noreferrer\" target=\"_blank\">The Black Saint and the Sinner Lady\u003c/a>\u003c/em>, his 1963 ballet score for Impulse Records, is another \u003cem>sui generis\u003c/em> project. Combining the ecstatic release of flamenco with the earthy heft of the blues, it’s a fantastical longform journey, seething with fire and beauty. (Mingus wrote the liner notes with his psychotherapist).\u003c/p>\n\u003cp>The list could go on and on; Mingus recorded at least a half dozen other bona fide masterpieces in this period. But he created some of his most vivid and visceral music in his final decade. \u003c/p>\n\u003cfigure id=\"attachment_13912249\" class=\"wp-caption aligncenter\" style=\"max-width: 622px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.WHiteHouse.jpg\" alt=\"Mingus, in a wheelchair, surrounded by\" width=\"622\" height=\"424\" class=\"size-full wp-image-13912249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.WHiteHouse.jpg 622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.WHiteHouse-160x109.jpg 160w\" sizes=\"(max-width: 622px) 100vw, 622px\">\u003cfigcaption class=\"wp-caption-text\">Mingus appeared the White House jazz festival of 1978, hosted by President Jimmy Carter. Traditionally unbreakable, Mingus broke into tears when the president, placing his arm around Mingus, paid his life and achievements due respect. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Inhabiting a Singular Vision\u003c/h2>\n\u003cp>Mingus’ band often featured rising stars and established veterans, but Mingus didn’t seem to care about a player’s name recognition. More than anything, he valued a musician’s ability to inhabit his music without relying on jazz clichés.\u003c/p>\n\u003cp>In fact, Mingus’ discography is dotted with obscure players, such as \u003ca href=\"https://www.discogs.com/artist/253067-Shafi-Hadi\" rel=\"noopener noreferrer\" target=\"_blank\">Shafi Hadi\u003c/a>, remembered only for their work with him. This is exemplified by \u003cem>\u003ca href=\"https://resonancerecords.org/product/charles-mingus-the-lost-album-from-ronnie-scotts-cd/\" target=\"_blank\" rel=\"noopener noreferrer\">The Lost Album from Ronnie Scott’s\u003c/a>\u003c/em>, due out on April 29 from Resonance Records.\u003c/p>\n\u003cp>[aside postID='arts_13850922']\u003cem>The Lost Album\u003c/em> was originally intended to be an official release for Columbia. Instead, this searing three-disc live session from a short-lived incarnation of Mingus’s sextet was recorded in the summer of 1972, just before the label infamously dropped its entire jazz roster (except for Miles Davis) in what historian Ted Gioia called \u003ca href=\"https://tedgioia.substack.com/p/the-worst-day-in-jazz-history?s=r\">the worst day in jazz history\u003c/a>.\u003c/p>\n\u003cp>Detroit-raised altoist Charles McPherson, who by 1972 was nearing the end of his intermittent 12-year association with Mingus, anchored the band, which also featured tenor saxophonist Bobby Jones (a fluent improviser who made his only significant mark with Mingus from 1970-74). Mingus’s longtime drummer Dannie Richmond had decamped to join the pop band Mark-Almond (he returned to the fold in 1973), and was replaced by Roy Brooks, a stellar Detroit musician who augmented his drums with an eerie-sounding musical saw on several tracks.\u003c/p>\n\u003cp>The obscure pianist John Foster makes a powerful impression on \u003cem>The Lost Album\u003c/em>, though the album’s standout surprise is 19-year-old Oakland trumpet phenomenon Jon Faddis, perhaps best known now to younger listeners as \u003ca href=\"https://www.gqindia.com/content/jazz-for-hip-hop-heads\" target=\"_blank\" rel=\"noopener noreferrer\">the uncle of hip-hop producer Madlib\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vAn_gyNcvN4\u003c/p>\n\u003ch2>‘He Lived, Breathed and Embodied the Music’\u003c/h2>\n\u003cp>For a taste of Mingus’ music in person, saxophonist David Slusser’s band \u003ca href=\"https://davidslusser.com/stray-horns\" rel=\"noopener noreferrer\" target=\"_blank\">The Stray Horns\u003c/a> celebrate Mingus’ centennial on Saturday, April 23, at the California Jazz Conservatory. A repertory group that’s presented Slusser’s arrangements of music by Duke Ellington, Sun Ra, and band namesake Billy Strayhorn, the piano-less septet includes heavyweight saxophonists David Boyce and Sheldon Brown. The CJC show includes a new excerpt from “Meditations on Integration,” based more on an album of Mingus \u003ca href=\"https://youtu.be/GjCR3jVjsH4?t=42\" target=\"_blank\" rel=\"noopener noreferrer\">rehearsing the band at UCLA\u003c/a> than the famous \u003cem>Mingus at Monterey\u003c/em> version recorded a few days later.\u003c/p>\n\u003cp>“That’s the biggest challenge doing a Mingus tribute,” Slusser says. “He’s one of a kind, and he’s directing everything from the bass. Whatever he does, it’s the bottom note. He controls the harmony and the band in an almost stream-of-consciousness way. It’s hard to capture for a written ensemble the way he lived and breathed and embodied the music. We’ll play the main themes and have duos explore these breakout themes in tandem, so it’s like a conversation between two soloists that reflects the process of integration. People have to occupy a musical space and have a dialogue. It’s a great challenge.”\u003c/p>\n\u003cp>As for Farwell Taylor, who at his Bay Area home introduced Mingus to the Vedanta Hindu faith, he left his mark on Mingus right up until the end: the aging composer requested that his ashes be scattered in the Ganges, a task fulfilled by his widow, Sue Mingus, after his death in 1979 at the age of 56 from Lou Gehrig’s disease.\u003c/p>\n\u003cp>In the world of Charles Mingus, nothing came easy. But in striving to express his entire outsized soul, he created music so dauntingly beautiful and nakedly human, it sounds as powerful today as when it was recorded.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Charles Mingus at 100: A Roiling, Political Jazz Figure Made for the 21st Century | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the summer of 1939, a 17-year-old bassist named Charles Mingus made a fateful trip to the Bay Area.\u003c/p>\n\u003cp>While already possessed by extraordinary ambition—a racially ambiguous jazz artist drawn to Stravinsky and Ellington, the blues, and church call-and-response worship—the protean bassist had felt misaligned for every path that presented itself. That included his 1939 gigs which brought him to Oakland and San Francisco with the Floyd Ray Orchestra, a now-forgotten Los Angeles-based dance band.\u003c/p>\n\u003cp>An encounter with North Beach artist Farwell Taylor, however, changed the course of Mingus’s life, and initiated a decades-long connection to the Bay Area. Their fast friendship introduced the teenager to a world of poets and painters, philosophers and novelists. Providing the young bassist and composer with refuge whenever money was thin and moral support when depression closed in, Taylor opened up an infinite vista into which the bassist gradually expanded. And expanded. And \u003cem>expanded\u003c/em>.\u003c/p>\n\u003cp>On April 22, 2022, Charles Mingus would have been 100 years old. A singular composer, volatile bandleader, outspoken activist and virtuosic improviser, Mingus created a body of music as profound, diverse and emotionally unbridled as any in American music. And his centennial coincides with a moment in American history, and in the Bay Area especially, uncannily primed for his prescient music and its social and political overtones.\u003c/p>\n\u003cfigure id=\"attachment_13912262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.3pix-800x300.jpg\" alt=\"Mingus smiling, scowling, and musing\" width=\"800\" height=\"300\" class=\"size-medium wp-image-13912262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix-800x300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix-1020x382.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix-768x288.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix-1536x575.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.3pix.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mingus was a musician of many emotions, reflected in his evocative compositions. \u003ccite>(Courtesy Sue Mingus, Jazz Workshop Inc.; Tom Copi/Michael Ochs Archives/Getty Images; Jean-Pierre Leloir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Mingus Dealt With All the Muses’\u003c/h2>\n\u003cp>Within jazz, Mingus intersected on stage and in the studio with artists spanning the entire 20th century, from Louis Armstrong and Charlie Parker to Randy Brecker and John Scofield. Beyond jazz, his breadth remains just as imposing. Collaborating with leading figures across numerous disciplines, including Langston Hughes and Alvin Ailey, Joni Mitchell and Dimitri Tiomkin, Jean Shepherd and John Cassavetes, “Mingus dealt with all the muses,” alto saxophonist Charles McPherson says today.\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/tTwluCOgq5w'\n title='//www.youtube.com/embed/tTwluCOgq5w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>McPherson played and recorded intermittently with Mingus from 1960-72, and decades later, he continues to sound awed when discussing the scope of the composer’s creative realm.\u003c/p>\n\u003cp>“He wrote pieces protesting social injustice,” McPherson says. “He wrote love songs dealing with \u003cem>eros\u003c/em>, romantic love, and sometimes he wrote love songs with reverence dealing with \u003cem>agape\u003c/em>, love of God. He wrote from different angles. Sometimes it was dance, like ‘\u003ca href=\"https://www.youtube.com/watch?v=Kw1BWwiPJCY\" rel=\"noopener noreferrer\" target=\"_blank\">Ysabel’s Table Dance\u003c/a>,’ or blues and folk music and bebop. He loved Charlie Parker. He was very knowledgable about Western classical music: Stravinsky, Hindemith, Prokofiev. More than anything, he revered Duke Ellington. You stir all that up, that’s how you get a Charles Mingus.”\u003c/p>\n\u003cfigure id=\"attachment_13912235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.McPherson-800x533.jpg\" alt=\"Mingus with goatee and hat and glasses, and McPherson, holding a saxophone, in a beanie\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13912235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.McPherson.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Mingus with Charles McPherson. “He wrote from different angles,” McPherson says of the jazz titan. \u003ccite>(Courtesy Sue Mingus/Jazz Workshop, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Distinct Bay Area Ingredient\u003c/h2>\n\u003cp>Mingus absorbed plenty from his Los Angeles upbringing, including several disillusioned years delivering mail, or ghostwriting Hollywood film scores for Dimitri Tiomkin. But he seemed most in tune in San Francisco’s bohemian circles.\u003c/p>\n\u003cp>Even after he moved to New York City in 1951, the Bay Area served as Mingus’ second home. He returned repeatedly to settle into its clubs for extended residencies, and to commune with Farwell Taylor. It’s no coincidence that some of his signature artistic triumphs took place here. (Certain Bay Area markers found their way into his recordings, also: cable car bells and foghorns in his version of “\u003ca href=\"https://www.youtube.com/watch?v=QUo5gD6WlyA\" rel=\"noopener noreferrer\" target=\"_blank\">A Foggy Day\u003c/a>,” or an ode to Taylor titled “\u003ca href=\"https://www.youtube.com/watch?v=Q2HnleSPNYw\" rel=\"noopener noreferrer\" target=\"_blank\">Far Wells, Mill Valley\u003c/a>.”)\u003c/p>\n\u003cp>Rather than presenting polished compositions, Mingus treated performance as an in-progress process, often billing his confederation of musicians the “Mingus Jazz Workshop.” It was a moniker picked up by the North Beach nightclub that became one of his primary San Francisco outlets, where he recorded the thrilling 1964 album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=F2DzPmJkFFw\" rel=\"noopener noreferrer\" target=\"_blank\">Right Now: Live at the Jazz Workshop\u003c/a>\u003c/em> for Berkeley label Fantasy Records. Just a few months later, he made an epochal appearance at the Monterey Jazz Festival with a big band, premiering his roiling, political opus “\u003ca href=\"https://www.youtube.com/watch?v=fECCAOpVCR4\" rel=\"noopener noreferrer\" target=\"_blank\">Meditations on Integration\u003c/a>” (as well as an extended medley of Ellingtonia), released on \u003cem>Mingus at Monterey\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13912250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-800x528.jpg\" alt=\"A saxophonist and bassist share the stage in deep concentration\" width=\"800\" height=\"528\" class=\"size-medium wp-image-13912250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Jordan.Paris_.60s.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clifford Jordan and Charles Mingus on stage in Paris, 1964. \u003ccite>(Charles Edridge/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Social and Political Overtones Ahead of Their Time\u003c/h2>\n\u003cp>In 2022, the scope of Mingus’ legacy is enduring and, indeed, increasing. He was a pioneering entrepreneur who was among the first jazz musicians to launch his own label, Debut Records, independently releasing a catalog eventually acquired by Fantasy in Berkeley. His DIY efforts rippled across the music business, connecting to future Bay Area independent labels like \u003ca href=\"https://www.kqed.org/arts/13910091/how-415-records-made-san-francisco-a-punk-and-new-wave-powerhouse\" rel=\"noopener noreferrer\" target=\"_blank\">415 Records\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13845645/how-san-francisco-punk-reacted-to-harvey-milk-and-george-moscones-deaths\" rel=\"noopener noreferrer\" target=\"_blank\">Alternative Tentacles\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13807461/hiero-day-2017-music-highlights-and-photo-gallery\" rel=\"noopener noreferrer\" target=\"_blank\">Hieroglyphics Imperium\u003c/a>.\u003c/p>\n\u003cp>In much the same way, Mingus’s experimental bent as an artist often intersected with his radical opposition to white supremacy and prejudice. The felicitous marriage of activism and aesthetics has also resonated deeply in the Bay Area, across the decades.\u003c/p>\n\u003cp>“He started using mixed media and prerecorded sounds in his recordings, all this stuff you start to see incredible young composers like \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\" rel=\"noopener noreferrer\" target=\"_blank\">Samora Pinderhughes\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13887363/ambrose-akinmusire-soundtracks-black-resistance-from-oakland-to-the-world\" rel=\"noopener noreferrer\" target=\"_blank\">Ambrose Akinmusire\u003c/a> doing today,” notes San Francisco bassist Marcus Shelby.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when taking a political stance could end a Black musician’s career, Mingus explicitly connected the struggle for civil rights in America with Black resistance to oppression abroad. Sometimes he christened a tune with a title that amplified its impact, like the insistently pugnacious “Haitian Fight Song,” also recorded as “\u003ca href=\"https://www.youtube.com/watch?v=w0E1XTqUlCc\" rel=\"noopener noreferrer\" target=\"_blank\">II B.S.\u003c/a>,” which Barack Obama selected in 2016 for one his famous playlists.\u003c/p>\n\u003cp>In the liner notes to the 1957 album \u003cem>The Clown\u003c/em> that introduced “Haitian Fight Song,” Mingus wrote that “my solo in it is a deeply concentrated one. I can’t play it right unless I’m thinking about prejudice and hate and persecution, and how unfair it is. There’s sadness and cries in it, but also determination. And it usually ends with my feeling: ‘I told them! I hope somebody heard me.’”\u003c/p>\n\u003cp>Other times, a provocative title seemed to have little relationship to the music itself. His outrage at the massacre that ended the 1971 Attica Prison riot manifested on his late career masterpiece \u003cem>Changes Two\u003c/em> with “\u003ca href=\"https://www.youtube.com/watch?v=OTRf9Ef6nuA\" rel=\"noopener noreferrer\" target=\"_blank\">Free Cell Block F, ‘Tis Nazi USA\u003c/a>,” a beautiful piece that evokes a much more pleasant scenario than its title implies.\u003c/p>\n\u003cfigure id=\"attachment_13912245\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.JazzWorkshop.jpg\" alt=\"\" width=\"600\" height=\"699\" class=\"size-full wp-image-13912245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.JazzWorkshop.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.JazzWorkshop-160x186.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover detail from ‘Right Now! Live at the Jazz Workshop,’ recorded in San Francisco in 1964. \u003ccite>(Fantasy Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Presaging the Bay Area’s Activist Movements\u003c/h2>\n\u003cp>Mingus’s gift for transforming news of the day and historical events into deeply personal and cutting edge musical expression is another legacy that has rippled through the Bay Area music scene in the work of composers and bandleaders like \u003ca href=\"https://www.kqed.org/arts/13214017/celebrating-30-years-of-challenging-music-from-asian-improv\" rel=\"noopener noreferrer\" target=\"_blank\">Jon Jang\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13214017/celebrating-30-years-of-challenging-music-from-asian-improv\" rel=\"noopener noreferrer\" target=\"_blank\">Francis Wong\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13832643/jazz-is-protest-music-in-angela-davis-anthony-brown-collaboration\" rel=\"noopener noreferrer\" target=\"_blank\">Anthony Brown\u003c/a>.\u003c/p>\n\u003cp>“He inspired me to create music about the world around me and really use music as a way to highlight issues,” says Shelby, who across his career has composed and recorded a series of suites inspired by abolitionists, civil rights leaders, and Negro League baseball. “That came straight from Mingus and Nina Simone.”\u003c/p>\n\u003cp>In an era when prison abolition had far less public purchase than at today’s organizations like Oakland’s \u003ca href=\"https://www.kqed.org/arts/13863810/critical-resistance-prison-abolition-oakland-temescal-baby-world\" rel=\"noopener noreferrer\" target=\"_blank\">Critical Resistance\u003c/a>, Mingus released “\u003ca href=\"https://www.youtube.com/watch?v=IM6vIURo5OI\" rel=\"noopener noreferrer\" target=\"_blank\">Remember Rockefeller at Attica\u003c/a>,” pointing a finger at the New York governor who ordered guards and police to retake the prison.\u003c/p>\n\u003cp>Mingus knew Black uplift as well as Black suffering; his “\u003ca href=\"https://www.youtube.com/watch?v=E7hoX7golZI\" rel=\"noopener noreferrer\" target=\"_blank\">Better Git It It Your Soul\u003c/a>” could be the de facto soundtrack to Oakland’s annual \u003ca href=\"https://www.kqed.org/arts/13909853/black-joy-parade-2022-oakland-photos\" rel=\"noopener noreferrer\" target=\"_blank\">Black Joy Parade\u003c/a>. As for groups like \u003ca href=\"https://www.kqed.org/news/11842392/how-moms-4-housing-changed-laws-and-inspired-a-movement\" rel=\"noopener noreferrer\" target=\"_blank\">Moms 4 Housing fighting the eviction crisis\u003c/a> in the Bay Area, look no further than the 1966 film \u003cem>Mingus\u003c/em>. In one scene, \u003ca href=\"https://www.openculture.com/2012/08/charles_mingus_evicted_in_1966_film.html\" rel=\"noopener noreferrer\" target=\"_blank\">to protest his impending eviction\u003c/a>, Mingus \u003ca href=\"https://www.youtube.com/watch?v=hqb_QUsnKbg\" rel=\"noopener noreferrer\" target=\"_blank\">loads and fires a rifle\u003c/a> into his apartment ceiling.\u003c/p>\n\u003cp>After chuckling, Mingus begins singing under his breath: “My country ’tis of thee / Sweet land of slavery.”\u003c/p>\n\u003cfigure id=\"attachment_13912242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.Albums-800x264.jpg\" alt=\"Three album covers showing Mingus smoking, an open sea, and an abstract painting\" width=\"800\" height=\"264\" class=\"size-medium wp-image-13912242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums-1020x337.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums-1536x507.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.Albums.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of many essential Mingus titles: ‘The Black Saint and the Sinner Lady,’ ‘Mingus at Monterey,’ and ‘Mingus Ah Um.’ \u003ccite>(Impulse Records/Fantasy Records/Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Essential Recordings\u003c/h2>\n\u003cp>For the uninitiated, a short list of essential Mingus albums cluster within the decade between 1955-1965, and include Mingus’s first extended programmatic work on the 1956 Atlantic album \u003cem>Pithecanthropus Erectus\u003c/em>. Especially crucial is his popular breakthrough and Columbia Records bestseller \u003cem>Mingus Ah Um\u003c/em>, from 1959. \u003cem>Ah Um\u003c/em> features his oft-played tribute to Lester Young, “\u003ca href=\"https://www.youtube.com/watch?v=CWWO_VcdnHY\" rel=\"noopener noreferrer\" target=\"_blank\">Goodbye Pork Pie Hat\u003c/a>,” as well as “\u003ca href=\"https://www.youtube.com/watch?v=CutrIZzTJl0\" rel=\"noopener noreferrer\" target=\"_blank\">Fables of Faubus\u003c/a>,” his anthem mocking the Arkansas governor who called in the Arkansas National Guard to prevent the desegregation of Little Rock Central High School.\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/xPWvA1EiezI'\n title='//www.youtube.com/embed/xPWvA1EiezI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His elemental 1960 nonet session for Atlantic, \u003cem>Blues & Roots\u003c/em>, is a personal favorite, and, like \u003cem>Ah Um\u003c/em>, it prominently features Oakland-raised saxophonist John Handy, an essential part of Mingus’ musical world during his most celebrated period. The 1962 RCA release \u003cem>Tijuana Moods\u003c/em> is another classic, a wild, border-town dispatch unlike anything else in his discography (recorded in 1957, it was one of several Mingus masterpieces that took years to surface, delaying recognition of his genius).\u003c/p>\n\u003cp>Just last week, the historic jazz label Candid relaunched by reissuing five albums, including 1960’s \u003cem>Charles Mingus Presents Charles Mingus\u003c/em>. It’s a spectacular quartet session with Eric Dolphy that includes “\u003ca href=\"https://www.youtube.com/watch?v=K4WSwtM7nyI\" rel=\"noopener noreferrer\" target=\"_blank\">Original Faubus Fables\u003c/a>,” with the chanted lyrics about the governor that had been repressed by Columbia (“Oh, Lord, don’t let ’em shoot us … 2-4-6-8/Brainwash and teach you hate”) as well as quintessentially Mingusian contrafact “\u003ca href=\"https://www.youtube.com/watch?v=aYbpAkOKLmU\" rel=\"noopener noreferrer\" target=\"_blank\">All the Things You Could Be by Now If Sigmund Freud’s Wife Was Your Mother\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/vFpuizHSkjY'\n title='//www.youtube.com/embed/vFpuizHSkjY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And for sheer immersive pleasure, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=zFA0FYQo0Gg\" rel=\"noopener noreferrer\" target=\"_blank\">The Black Saint and the Sinner Lady\u003c/a>\u003c/em>, his 1963 ballet score for Impulse Records, is another \u003cem>sui generis\u003c/em> project. Combining the ecstatic release of flamenco with the earthy heft of the blues, it’s a fantastical longform journey, seething with fire and beauty. (Mingus wrote the liner notes with his psychotherapist).\u003c/p>\n\u003cp>The list could go on and on; Mingus recorded at least a half dozen other bona fide masterpieces in this period. But he created some of his most vivid and visceral music in his final decade. \u003c/p>\n\u003cfigure id=\"attachment_13912249\" class=\"wp-caption aligncenter\" style=\"max-width: 622px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Mingus.WHiteHouse.jpg\" alt=\"Mingus, in a wheelchair, surrounded by\" width=\"622\" height=\"424\" class=\"size-full wp-image-13912249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.WHiteHouse.jpg 622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Mingus.WHiteHouse-160x109.jpg 160w\" sizes=\"(max-width: 622px) 100vw, 622px\">\u003cfigcaption class=\"wp-caption-text\">Mingus appeared the White House jazz festival of 1978, hosted by President Jimmy Carter. Traditionally unbreakable, Mingus broke into tears when the president, placing his arm around Mingus, paid his life and achievements due respect. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Inhabiting a Singular Vision\u003c/h2>\n\u003cp>Mingus’ band often featured rising stars and established veterans, but Mingus didn’t seem to care about a player’s name recognition. More than anything, he valued a musician’s ability to inhabit his music without relying on jazz clichés.\u003c/p>\n\u003cp>In fact, Mingus’ discography is dotted with obscure players, such as \u003ca href=\"https://www.discogs.com/artist/253067-Shafi-Hadi\" rel=\"noopener noreferrer\" target=\"_blank\">Shafi Hadi\u003c/a>, remembered only for their work with him. This is exemplified by \u003cem>\u003ca href=\"https://resonancerecords.org/product/charles-mingus-the-lost-album-from-ronnie-scotts-cd/\" target=\"_blank\" rel=\"noopener noreferrer\">The Lost Album from Ronnie Scott’s\u003c/a>\u003c/em>, due out on April 29 from Resonance Records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Lost Album\u003c/em> was originally intended to be an official release for Columbia. Instead, this searing three-disc live session from a short-lived incarnation of Mingus’s sextet was recorded in the summer of 1972, just before the label infamously dropped its entire jazz roster (except for Miles Davis) in what historian Ted Gioia called \u003ca href=\"https://tedgioia.substack.com/p/the-worst-day-in-jazz-history?s=r\">the worst day in jazz history\u003c/a>.\u003c/p>\n\u003cp>Detroit-raised altoist Charles McPherson, who by 1972 was nearing the end of his intermittent 12-year association with Mingus, anchored the band, which also featured tenor saxophonist Bobby Jones (a fluent improviser who made his only significant mark with Mingus from 1970-74). Mingus’s longtime drummer Dannie Richmond had decamped to join the pop band Mark-Almond (he returned to the fold in 1973), and was replaced by Roy Brooks, a stellar Detroit musician who augmented his drums with an eerie-sounding musical saw on several tracks.\u003c/p>\n\u003cp>The obscure pianist John Foster makes a powerful impression on \u003cem>The Lost Album\u003c/em>, though the album’s standout surprise is 19-year-old Oakland trumpet phenomenon Jon Faddis, perhaps best known now to younger listeners as \u003ca href=\"https://www.gqindia.com/content/jazz-for-hip-hop-heads\" target=\"_blank\" rel=\"noopener noreferrer\">the uncle of hip-hop producer Madlib\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/vAn_gyNcvN4'\n title='//www.youtube.com/embed/vAn_gyNcvN4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘He Lived, Breathed and Embodied the Music’\u003c/h2>\n\u003cp>For a taste of Mingus’ music in person, saxophonist David Slusser’s band \u003ca href=\"https://davidslusser.com/stray-horns\" rel=\"noopener noreferrer\" target=\"_blank\">The Stray Horns\u003c/a> celebrate Mingus’ centennial on Saturday, April 23, at the California Jazz Conservatory. A repertory group that’s presented Slusser’s arrangements of music by Duke Ellington, Sun Ra, and band namesake Billy Strayhorn, the piano-less septet includes heavyweight saxophonists David Boyce and Sheldon Brown. The CJC show includes a new excerpt from “Meditations on Integration,” based more on an album of Mingus \u003ca href=\"https://youtu.be/GjCR3jVjsH4?t=42\" target=\"_blank\" rel=\"noopener noreferrer\">rehearsing the band at UCLA\u003c/a> than the famous \u003cem>Mingus at Monterey\u003c/em> version recorded a few days later.\u003c/p>\n\u003cp>“That’s the biggest challenge doing a Mingus tribute,” Slusser says. “He’s one of a kind, and he’s directing everything from the bass. Whatever he does, it’s the bottom note. He controls the harmony and the band in an almost stream-of-consciousness way. It’s hard to capture for a written ensemble the way he lived and breathed and embodied the music. We’ll play the main themes and have duos explore these breakout themes in tandem, so it’s like a conversation between two soloists that reflects the process of integration. People have to occupy a musical space and have a dialogue. It’s a great challenge.”\u003c/p>\n\u003cp>As for Farwell Taylor, who at his Bay Area home introduced Mingus to the Vedanta Hindu faith, he left his mark on Mingus right up until the end: the aging composer requested that his ashes be scattered in the Ganges, a task fulfilled by his widow, Sue Mingus, after his death in 1979 at the age of 56 from Lou Gehrig’s disease.\u003c/p>\n\u003cp>In the world of Charles Mingus, nothing came easy. But in striving to express his entire outsized soul, he created music so dauntingly beautiful and nakedly human, it sounds as powerful today as when it was recorded.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Green Day, SZA, Post Malone to Headline Outside Lands 2022",
"headTitle": "Green Day, SZA, Post Malone to Headline Outside Lands 2022 | KQED",
"content": "\u003cp>After a successful pandemic-era return last Halloween, \u003ca href=\"https://sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> comes back to Golden Gate Park Aug. 5-7 with headliners R&B singer SZA, rapper Post Malone and Berkeley pop-punk icons Green Day.\u003c/p>\n\u003cp>The festival attracts tens of thousands music fans to San Francisco each year for a weekend of performances, culinary delights and cannabis. The rest of the lineup, announced today, also features rappers Jack Harlow, Lil Uzi Vert and Pusha T; alternative rock acts like Weezer, Phoebe Bridgers, Mitski and Washed Out; electronic musicians Disclosure and Polo & Pan; and glitchy, experimental hyperpop artists 100 Gecs and Pussy Riot. [aside postid='arts_13905536']\u003c/p>\n\u003cp>In addition to Green Day, there are several Bay Area hometown heroes on the lineup, including rapper Larry June and orchestral pop artist Spellling. The rave-like SOMA Tent, which debuted last year, also makes a return with Dirtybird Records founder Claude Von Stroke, TOKiMONSTA and more.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>\u003cstrong>Green Day\u003cbr>\nPost Malone\u003cbr>\nSZA\u003cbr>\nJack Harlow\u003cbr>\nWeezer\u003cbr>\nPhoebe Bridgers\u003cbr>\nIllenium\u003cbr>\nLil Uzi Vert\u003cbr>\nKali Uchis\u003cbr>\nDisclosure\u003cbr>\nMitski\u003cbr>\nPolo & Pan\u003cbr>\nAnitta\u003cbr>\nDominic Fike\u003cbr>\nOliver Tree\u003cbr>\nMac DeMarco\u003cbr>\nPusha T\u003cbr>\nMt. Joy\u003cbr>\nKim Petras\u003cbr>\nLocal Natives\u003cbr>\nThe Marías\u003cbr>\nLarry June\u003cbr>\n100 Gecs\u003cbr>\nParcels\u003cbr>\nDayglow\u003cbr>\nPurple Disco Machine\u003cbr>\nHiatus Kaiyote\u003cbr>\nWashed Out\u003cbr>\nAshe\u003cbr>\nSurf Mesa\u003cbr>\nWet Leg\u003cbr>\nSam Fender\u003cbr>\nRole Model\u003cbr>\nBaby Tate\u003cbr>\nThe Backseat Lovers\u003cbr>\nAmber Mark\u003cbr>\nBest Coast\u003cbr>\nFranc Moody\u003cbr>\nPussy Riot\u003cbr>\nDuckwrth\u003cbr>\nEmpress Of\u003cbr>\nRostam\u003cbr>\nZoe Wees\u003cbr>\nFaye Webster\u003cbr>\nGriff\u003cbr>\nAnna Lunoe\u003cbr>\nKennyHoopla\u003cbr>\nMaxo Kream\u003cbr>\nLido Pimienta\u003cbr>\nBriston Maroney\u003cbr>\nSampa The Great\u003cbr>\nDel Water Gap\u003cbr>\nRobert Glasper\u003cbr>\nInner Wave\u003cbr>\nTyla Yaweh\u003cbr>\nGlaive\u003cbr>\nThe Beths\u003cbr>\nPetey\u003cbr>\nOdie\u003cbr>\nBenny Sings\u003cbr>\nThuy\u003cbr>\nMICHELLE\u003cbr>\nJelani Aryeh\u003cbr>\nWilderado\u003cbr>\nCory Henry\u003cbr>\nThe Emo Night Tour\u003cbr>\nPawPaw Rod\u003cbr>\nL’Rain\u003cbr>\nCassandra Jenkins\u003cbr>\nUnusual Demont\u003cbr>\nForester\u003cbr>\nThe BLSSM\u003cbr>\nSPELLLING\u003cbr>\nTre’ Amani\u003c/strong>\u003c/p>\n\u003ch2>Soma Tent\u003c/h2>\n\u003cp>\u003cstrong>Claude VonStroke\u003cbr>\nDixon\u003cbr>\nTOKiMONSTA\u003cbr>\nAbsolute.\u003cbr>\nAMÉMÉ\u003cbr>\nANNA\u003cbr>\nAvalon Emerson\u003cbr>\nBarry Can’t Swim\u003cbr>\nCassian\u003cbr>\nDJ Minx\u003cbr>\nDJ Seinfeld\u003cbr>\nEllen Allien\u003cbr>\nIndia Jordan\u003cbr>\nJ. Worra\u003cbr>\nJOPLYN\u003cbr>\nMajor League Djz\u003cbr>\nMPHD b2b Tiffany Tyson\u003cbr>\nPerel\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The festival returns Aug. 5-7 with performances by Pusha T, Phoebe Bridgers and many more. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a successful pandemic-era return last Halloween, \u003ca href=\"https://sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> comes back to Golden Gate Park Aug. 5-7 with headliners R&B singer SZA, rapper Post Malone and Berkeley pop-punk icons Green Day.\u003c/p>\n\u003cp>The festival attracts tens of thousands music fans to San Francisco each year for a weekend of performances, culinary delights and cannabis. The rest of the lineup, announced today, also features rappers Jack Harlow, Lil Uzi Vert and Pusha T; alternative rock acts like Weezer, Phoebe Bridgers, Mitski and Washed Out; electronic musicians Disclosure and Polo & Pan; and glitchy, experimental hyperpop artists 100 Gecs and Pussy Riot. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to Green Day, there are several Bay Area hometown heroes on the lineup, including rapper Larry June and orchestral pop artist Spellling. The rave-like SOMA Tent, which debuted last year, also makes a return with Dirtybird Records founder Claude Von Stroke, TOKiMONSTA and more.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>\u003cstrong>Green Day\u003cbr>\nPost Malone\u003cbr>\nSZA\u003cbr>\nJack Harlow\u003cbr>\nWeezer\u003cbr>\nPhoebe Bridgers\u003cbr>\nIllenium\u003cbr>\nLil Uzi Vert\u003cbr>\nKali Uchis\u003cbr>\nDisclosure\u003cbr>\nMitski\u003cbr>\nPolo & Pan\u003cbr>\nAnitta\u003cbr>\nDominic Fike\u003cbr>\nOliver Tree\u003cbr>\nMac DeMarco\u003cbr>\nPusha T\u003cbr>\nMt. Joy\u003cbr>\nKim Petras\u003cbr>\nLocal Natives\u003cbr>\nThe Marías\u003cbr>\nLarry June\u003cbr>\n100 Gecs\u003cbr>\nParcels\u003cbr>\nDayglow\u003cbr>\nPurple Disco Machine\u003cbr>\nHiatus Kaiyote\u003cbr>\nWashed Out\u003cbr>\nAshe\u003cbr>\nSurf Mesa\u003cbr>\nWet Leg\u003cbr>\nSam Fender\u003cbr>\nRole Model\u003cbr>\nBaby Tate\u003cbr>\nThe Backseat Lovers\u003cbr>\nAmber Mark\u003cbr>\nBest Coast\u003cbr>\nFranc Moody\u003cbr>\nPussy Riot\u003cbr>\nDuckwrth\u003cbr>\nEmpress Of\u003cbr>\nRostam\u003cbr>\nZoe Wees\u003cbr>\nFaye Webster\u003cbr>\nGriff\u003cbr>\nAnna Lunoe\u003cbr>\nKennyHoopla\u003cbr>\nMaxo Kream\u003cbr>\nLido Pimienta\u003cbr>\nBriston Maroney\u003cbr>\nSampa The Great\u003cbr>\nDel Water Gap\u003cbr>\nRobert Glasper\u003cbr>\nInner Wave\u003cbr>\nTyla Yaweh\u003cbr>\nGlaive\u003cbr>\nThe Beths\u003cbr>\nPetey\u003cbr>\nOdie\u003cbr>\nBenny Sings\u003cbr>\nThuy\u003cbr>\nMICHELLE\u003cbr>\nJelani Aryeh\u003cbr>\nWilderado\u003cbr>\nCory Henry\u003cbr>\nThe Emo Night Tour\u003cbr>\nPawPaw Rod\u003cbr>\nL’Rain\u003cbr>\nCassandra Jenkins\u003cbr>\nUnusual Demont\u003cbr>\nForester\u003cbr>\nThe BLSSM\u003cbr>\nSPELLLING\u003cbr>\nTre’ Amani\u003c/strong>\u003c/p>\n\u003ch2>Soma Tent\u003c/h2>\n\u003cp>\u003cstrong>Claude VonStroke\u003cbr>\nDixon\u003cbr>\nTOKiMONSTA\u003cbr>\nAbsolute.\u003cbr>\nAMÉMÉ\u003cbr>\nANNA\u003cbr>\nAvalon Emerson\u003cbr>\nBarry Can’t Swim\u003cbr>\nCassian\u003cbr>\nDJ Minx\u003cbr>\nDJ Seinfeld\u003cbr>\nEllen Allien\u003cbr>\nIndia Jordan\u003cbr>\nJ. Worra\u003cbr>\nJOPLYN\u003cbr>\nMajor League Djz\u003cbr>\nMPHD b2b Tiffany Tyson\u003cbr>\nPerel\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "mills-college-music-department-experimental-avant-garde-northeastern",
"title": "With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest",
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"headTitle": "With the Future Uncertain, Mills’ Experimental ‘Music in the Fault Zone’ is Feted in Four-Day Fest | KQED",
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"content": "\u003cp>The festival’s name wasn’t intended to evoke the increasingly precarious status of the Bay Area’s most celebrated outpost for new music. But it’s hard not to read a double meaning into \u003cem>\u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\">Music in the Fault Zone\u003c/a>: Experimental Music at Mills College (1939 to the present)\u003c/em>.\u003c/p>\n\u003cp>A program of eight concerts that runs over four days, April 21-24, \u003cem>Music in the Fault Zone\u003c/em> brings together a broad swath of the world’s most venturesome musicians, many of whom studied at Mills. Together, they’ll perform works by epochal Mills-associated composers, including Pauline Oliveros, Darius Milhaud, John Cage, Lou Harrison, Roscoe Mitchell, Robert Ashley, Anthony Braxton, Terry Riley and Henry Cowell.\u003c/p>\n\u003cp>Presented by the Mills College Music Department and the \u003ca href=\"https://www.mills.edu/academics/graduate-programs/music/center-contemporary-music/index.php\">Center for Contemporary Music\u003c/a>, the festival showcases a priceless legacy—and one that’s at risk, as seismic forces threaten to swallow a music program that’s long served as a proving ground for the future of music the world over.\u003c/p>\n\u003cfigure id=\"attachment_13912032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912032\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg\" alt=\"An elderly man at a string of laptops on stage.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick, perhaps best known for his late-1960s album ‘Silver Apples of the Moon,’ co-founded the San Francisco Tape Music Center at Mills College in 1961. He is shown here in New York City in 2004. \u003ccite>(Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Acquired last year by \u003ca href=\"https://www.kqed.org/news/11888178/mills-college-to-merge-with-northeastern-university-after-months-long-court-battle\">Northeastern University\u003c/a>, Mills is “merging” with the non-profit Boston school in a deal that’s slated for completion on July 1. Efforts by Mills alumni to halt the process haven’t gained legal traction, and much of their campaign has focused on the loss of yet another all-women undergraduate institution. (The loss of Mills leaves just under three dozen of them across the United States.)\u003c/p>\n\u003cp>While the graduate music program has always accepted men, women figured prominently in the Center for Contemporary Music long before they were welcomed at other music schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_12248119']“When I first moved to the Bay Area from Fresno in 1967, I spent a lot of time there because that’s where the action was,” says composer Charles Amirkhanian, who has collaborated with, commissioned and presented dozens of musicians associated with Mills as music director at KPFA from 1969-1992 and as founder of the new music organization and festival \u003ca href=\"https://www.otherminds.org/team/charles-amirkhanian/\">Other Minds\u003c/a>.\u003c/p>\n\u003cp>Pauline Oliveros, who co-founded the San Francisco Tape Music Center in 1961 with composers Ramon Sender and Morton Subotnick, became director of the pioneering electronic music laboratory (later re-named the Center for Contemporary Music) when it moved to Mills in the fall of 1966, “which inspired a bunch of woman,” Amirkhanian says.\u003c/p>\n\u003cp>“It was a way station for people like Laurie Anderson. I remember seeing a concert she gave in the Mills cafeteria for about 10 people. We were so stunned by what she did. She couldn’t get a gig anywhere else, but Mills welcomed her. It’s sad to think such a big piece of music history is evaporating.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gcl6dS4_HnU\u003c/p>\n\u003cp>Northeastern has revealed few details about what the campus will look like after the merger establishes what’s to be known as Mills College at Northeastern University and the overlapping Mills Institute, which is slated to focus on “advancing women’s leadership and to empowering BIPOC and first-generation students,” according to Northeastern.\u003c/p>\n\u003cp>“Mills and Northeastern are working closely together to create new programs that leverage each institution’s unique strengths,” a representative from Northeastern told KQED, when asked about plans regarding the Center for Contemporary Music and its extensive, historically important archive, which contains scores of recordings and cutting-edge instruments dating back 60 years. “Mills’ world-renowned music program remains a high priority for both institutions, and so is the preservation of the program’s historical archives. ”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oUfd6KI90gQ\u003c/p>\n\u003cp>Featuring two concerts per day with intimate afternoon sessions in Lisser Hall, followed by evening performances in the gorgeous Littlefield Concert Hall, \u003cem>Music in the Fault Zone \u003c/em>conveys a proper sense of what’s at stake. The festival kicks off Thursday, April 21, with a celebration of the late Oliveros, titled “Pauline Dreams,” by her partner, the playwright, poet and sound artist Ione, joined by Anne Hege, Brenda Hutchinson and Jennifer Wilsey.\u003c/p>\n\u003cfigure id=\"attachment_13912040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg\" alt=\"A young woman with glasses sits at a tape machine; An African-American woman in her 60s or 70s smiles at the camera, wearing a black and blue patterned shirt.\" width=\"800\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-1020x440.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-768x331.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_.jpg 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros (left) was a professor at Mills College and director of what came to be called its Center for Contemporary Music; Oliveros’ partner Ione (right) will perform a tribute to Oliveros with Anne Hege, Brenda Hutchinson and Jennifer Wilsey on April 21 as part of ‘Music in the Fault Zone.’ \u003ccite>(Oliveros Courtesy the CCM Archive, Mills College; Ione courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening-night program also includes the ambient Americana of Saariselka, a project by Mills graduates Marielle Jakobson and Chuck Johnson; Gamelan Encinal performing works by John Cage, Lou Harrison and Daniel Schmidt; and a closing set by feminist noise reggaeton duo Las Sucias featuring Mills alumni Danishta Rivero and Alexandra Buschman. Like all \u003cem>Fault Zone \u003c/em>concerts, it will be available for viewing via livestream.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RDlTgY5n5_c\u003c/p>\n\u003cp>Thursday’s evening concert includes Opera Parallèle’s Nicole Paiement conducting “La création du monde” and “L’homme et son désir” by French composer Darius Milhaud, who taught at Mills from 1940-71 after fleeing the Nazis (among his many students was the future jazz star Dave Brubeck).\u003c/p>\n\u003cp>The other half of Thursday’s program features works by Art Ensemble of Chicago co-founder Roscoe Mitchell, whose influence still reverberates widely in the Bay Area after his 12-year stint as a Mills professor holding the Darius Milhaud Chair of Composition. Pianist Sarah Cahill and violinist Kate Stenberg perform the world premiere of Mitchell’s “Cards in 3D Colors,” and Steed Cowart conducts “Distant Radio Transmission” for improvisers and orchestra along with “Sustain and Run” for orchestra and solo improvisers (including Mitchell himself).\u003c/p>\n\u003cfigure id=\"attachment_13885086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1536x1028.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime Mills College professor Roscoe Mitchell. \u003ccite>(Ken Weiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sheer density of musicians and composers brought together on the festival’s stage echoes the creative frisson sparked at Mills over the decades, as adventurous musicians regularly flew into each other’s orbit. For percussionist William Winant, going to work in the Mills music building was a daily sojourn into the unknown. For some four decades, the his studio door stayed open to sonic adventures with protean artists who’d then go on to compose music for him.\u003c/p>\n\u003cp>On Friday night at \u003cem>Fault Zone\u003c/em>, as part of an improvisational trio with James Fei and David Rosenboom, Winant performs the music of the legendary composer/multi-instrumentalist Anthony Braxton, who taught at Mills from 1985 to 1990. Saturday evening’s concert concludes with a duo improvisation featuring Winant and French bass virtuoso Joëlle Léandre, who served as Milhaud Professor for several years in the aughts.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vcBhXjCb8R8\u003c/p>\n\u003cp>“That was one of the incredible things, I never knew who would be across the hall,” Winant said. “Roscoe, Braxton, Lou Harrison, Joëlle Léandre.\u003c/p>\n\u003cp>“She would hear me practicing for hour after hour, and she would be doing her thing. We got to be good friends. When she was invited to come play the festival she asked to do a duo with me, and I was very touched. She’s one of the great artists of all time, one of the best bassists I’ve ever heard.”\u003c/p>\n\u003cp>Winant performs in two different settings Saturday. The concert opens with a work by David Behrman performed by a trio with Winant, computer music pioneer John Bischoff, and harpist Zeena Parkins, the current Darius Milhaud Chair in Composition. The final concert concludes with a performance by the William Winant Percussion Ensemble playing music by John Cage, Lou Harrison, and Steed Cowart.\u003c/p>\n\u003cp>The future of music at Mills is uncertain at best. Winant worries that \u003cem>Fault Lines\u003c/em> will bring down the boom upon an astonishing legacy.\u003c/p>\n\u003cfigure id=\"attachment_13912022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant-800x533.jpeg\" alt=\"A white man plays a variety of drums as a seated audience looks on.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Winant performs as part of ‘Music in the Fault Zone’ at Mills on April 24. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a feeling it’s the end of an era,” he said. “It would be good if Northeastern keeps the program going, but I’m not sure if they’re aware of the incredible history over the last 100 years, in terms of supporting innovative and creative music. For a small little college, it’s incredible. And it continues in the 21st century. Mills is still producing amazing students all the time.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cem>‘Music In the Fault Zone’ runs April 21–24 at Mills College in Oakland. \u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction\u003c/strong>: A previous version of this article classified Northeastern University as a for-profit college. It is a 501(c)(3), a non-profit university, and not a for-profit college. KQED regrets the error. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch a KQED ‘Spark’ episode about Pauline Oliveros from 2004 below:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eQ2W42bOQxY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The festival’s name wasn’t intended to evoke the increasingly precarious status of the Bay Area’s most celebrated outpost for new music. But it’s hard not to read a double meaning into \u003cem>\u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\">Music in the Fault Zone\u003c/a>: Experimental Music at Mills College (1939 to the present)\u003c/em>.\u003c/p>\n\u003cp>A program of eight concerts that runs over four days, April 21-24, \u003cem>Music in the Fault Zone\u003c/em> brings together a broad swath of the world’s most venturesome musicians, many of whom studied at Mills. Together, they’ll perform works by epochal Mills-associated composers, including Pauline Oliveros, Darius Milhaud, John Cage, Lou Harrison, Roscoe Mitchell, Robert Ashley, Anthony Braxton, Terry Riley and Henry Cowell.\u003c/p>\n\u003cp>Presented by the Mills College Music Department and the \u003ca href=\"https://www.mills.edu/academics/graduate-programs/music/center-contemporary-music/index.php\">Center for Contemporary Music\u003c/a>, the festival showcases a priceless legacy—and one that’s at risk, as seismic forces threaten to swallow a music program that’s long served as a proving ground for the future of music the world over.\u003c/p>\n\u003cfigure id=\"attachment_13912032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912032\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg\" alt=\"An elderly man at a string of laptops on stage.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick, perhaps best known for his late-1960s album ‘Silver Apples of the Moon,’ co-founded the San Francisco Tape Music Center at Mills College in 1961. He is shown here in New York City in 2004. \u003ccite>(Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Acquired last year by \u003ca href=\"https://www.kqed.org/news/11888178/mills-college-to-merge-with-northeastern-university-after-months-long-court-battle\">Northeastern University\u003c/a>, Mills is “merging” with the non-profit Boston school in a deal that’s slated for completion on July 1. Efforts by Mills alumni to halt the process haven’t gained legal traction, and much of their campaign has focused on the loss of yet another all-women undergraduate institution. (The loss of Mills leaves just under three dozen of them across the United States.)\u003c/p>\n\u003cp>While the graduate music program has always accepted men, women figured prominently in the Center for Contemporary Music long before they were welcomed at other music schools.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When I first moved to the Bay Area from Fresno in 1967, I spent a lot of time there because that’s where the action was,” says composer Charles Amirkhanian, who has collaborated with, commissioned and presented dozens of musicians associated with Mills as music director at KPFA from 1969-1992 and as founder of the new music organization and festival \u003ca href=\"https://www.otherminds.org/team/charles-amirkhanian/\">Other Minds\u003c/a>.\u003c/p>\n\u003cp>Pauline Oliveros, who co-founded the San Francisco Tape Music Center in 1961 with composers Ramon Sender and Morton Subotnick, became director of the pioneering electronic music laboratory (later re-named the Center for Contemporary Music) when it moved to Mills in the fall of 1966, “which inspired a bunch of woman,” Amirkhanian says.\u003c/p>\n\u003cp>“It was a way station for people like Laurie Anderson. I remember seeing a concert she gave in the Mills cafeteria for about 10 people. We were so stunned by what she did. She couldn’t get a gig anywhere else, but Mills welcomed her. It’s sad to think such a big piece of music history is evaporating.”\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/Gcl6dS4_HnU'\n title='//www.youtube.com/embed/Gcl6dS4_HnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Northeastern has revealed few details about what the campus will look like after the merger establishes what’s to be known as Mills College at Northeastern University and the overlapping Mills Institute, which is slated to focus on “advancing women’s leadership and to empowering BIPOC and first-generation students,” according to Northeastern.\u003c/p>\n\u003cp>“Mills and Northeastern are working closely together to create new programs that leverage each institution’s unique strengths,” a representative from Northeastern told KQED, when asked about plans regarding the Center for Contemporary Music and its extensive, historically important archive, which contains scores of recordings and cutting-edge instruments dating back 60 years. “Mills’ world-renowned music program remains a high priority for both institutions, and so is the preservation of the program’s historical archives. ”\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/oUfd6KI90gQ'\n title='//www.youtube.com/embed/oUfd6KI90gQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featuring two concerts per day with intimate afternoon sessions in Lisser Hall, followed by evening performances in the gorgeous Littlefield Concert Hall, \u003cem>Music in the Fault Zone \u003c/em>conveys a proper sense of what’s at stake. The festival kicks off Thursday, April 21, with a celebration of the late Oliveros, titled “Pauline Dreams,” by her partner, the playwright, poet and sound artist Ione, joined by Anne Hege, Brenda Hutchinson and Jennifer Wilsey.\u003c/p>\n\u003cfigure id=\"attachment_13912040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg\" alt=\"A young woman with glasses sits at a tape machine; An African-American woman in her 60s or 70s smiles at the camera, wearing a black and blue patterned shirt.\" width=\"800\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-1020x440.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-768x331.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_.jpg 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros (left) was a professor at Mills College and director of what came to be called its Center for Contemporary Music; Oliveros’ partner Ione (right) will perform a tribute to Oliveros with Anne Hege, Brenda Hutchinson and Jennifer Wilsey on April 21 as part of ‘Music in the Fault Zone.’ \u003ccite>(Oliveros Courtesy the CCM Archive, Mills College; Ione courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening-night program also includes the ambient Americana of Saariselka, a project by Mills graduates Marielle Jakobson and Chuck Johnson; Gamelan Encinal performing works by John Cage, Lou Harrison and Daniel Schmidt; and a closing set by feminist noise reggaeton duo Las Sucias featuring Mills alumni Danishta Rivero and Alexandra Buschman. Like all \u003cem>Fault Zone \u003c/em>concerts, it will be available for viewing via livestream.\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/RDlTgY5n5_c'\n title='//www.youtube.com/embed/RDlTgY5n5_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thursday’s evening concert includes Opera Parallèle’s Nicole Paiement conducting “La création du monde” and “L’homme et son désir” by French composer Darius Milhaud, who taught at Mills from 1940-71 after fleeing the Nazis (among his many students was the future jazz star Dave Brubeck).\u003c/p>\n\u003cp>The other half of Thursday’s program features works by Art Ensemble of Chicago co-founder Roscoe Mitchell, whose influence still reverberates widely in the Bay Area after his 12-year stint as a Mills professor holding the Darius Milhaud Chair of Composition. Pianist Sarah Cahill and violinist Kate Stenberg perform the world premiere of Mitchell’s “Cards in 3D Colors,” and Steed Cowart conducts “Distant Radio Transmission” for improvisers and orchestra along with “Sustain and Run” for orchestra and solo improvisers (including Mitchell himself).\u003c/p>\n\u003cfigure id=\"attachment_13885086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1536x1028.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime Mills College professor Roscoe Mitchell. \u003ccite>(Ken Weiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sheer density of musicians and composers brought together on the festival’s stage echoes the creative frisson sparked at Mills over the decades, as adventurous musicians regularly flew into each other’s orbit. For percussionist William Winant, going to work in the Mills music building was a daily sojourn into the unknown. For some four decades, the his studio door stayed open to sonic adventures with protean artists who’d then go on to compose music for him.\u003c/p>\n\u003cp>On Friday night at \u003cem>Fault Zone\u003c/em>, as part of an improvisational trio with James Fei and David Rosenboom, Winant performs the music of the legendary composer/multi-instrumentalist Anthony Braxton, who taught at Mills from 1985 to 1990. Saturday evening’s concert concludes with a duo improvisation featuring Winant and French bass virtuoso Joëlle Léandre, who served as Milhaud Professor for several years in the aughts.\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/vcBhXjCb8R8'\n title='//www.youtube.com/embed/vcBhXjCb8R8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“That was one of the incredible things, I never knew who would be across the hall,” Winant said. “Roscoe, Braxton, Lou Harrison, Joëlle Léandre.\u003c/p>\n\u003cp>“She would hear me practicing for hour after hour, and she would be doing her thing. We got to be good friends. When she was invited to come play the festival she asked to do a duo with me, and I was very touched. She’s one of the great artists of all time, one of the best bassists I’ve ever heard.”\u003c/p>\n\u003cp>Winant performs in two different settings Saturday. The concert opens with a work by David Behrman performed by a trio with Winant, computer music pioneer John Bischoff, and harpist Zeena Parkins, the current Darius Milhaud Chair in Composition. The final concert concludes with a performance by the William Winant Percussion Ensemble playing music by John Cage, Lou Harrison, and Steed Cowart.\u003c/p>\n\u003cp>The future of music at Mills is uncertain at best. Winant worries that \u003cem>Fault Lines\u003c/em> will bring down the boom upon an astonishing legacy.\u003c/p>\n\u003cfigure id=\"attachment_13912022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant-800x533.jpeg\" alt=\"A white man plays a variety of drums as a seated audience looks on.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Winant performs as part of ‘Music in the Fault Zone’ at Mills on April 24. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a feeling it’s the end of an era,” he said. “It would be good if Northeastern keeps the program going, but I’m not sure if they’re aware of the incredible history over the last 100 years, in terms of supporting innovative and creative music. For a small little college, it’s incredible. And it continues in the 21st century. Mills is still producing amazing students all the time.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cem>‘Music In the Fault Zone’ runs April 21–24 at Mills College in Oakland. \u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction\u003c/strong>: A previous version of this article classified Northeastern University as a for-profit college. It is a 501(c)(3), a non-profit university, and not a for-profit college. KQED regrets the error. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch a KQED ‘Spark’ episode about Pauline Oliveros from 2004 below:\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/eQ2W42bOQxY'\n title='//www.youtube.com/embed/eQ2W42bOQxY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Kendrick Lamar will release a new album on May 13—the follow-up to ‘DAMN,’ the rapper announced today. \u003c/p>\n\u003cp>\u003cem>Mr. Morale & the Big Steppers\u003c/em> will be out next month, according to a tweet and a website announcement by Kendrick Lamar.\u003c/p>\n\u003cp>No tracklist or features were announced, nor further details, only \u003ca href=\"https://oklama.com/step\" rel=\"noopener noreferrer\" target=\"_blank\">a message\u003c/a> that read: “All factual information for this release will come directly from this source only.”\u003c/p>\n\u003cp>[aside postID='arts_10886808']The website also includes \u003ca href=\"https://oklama.com/nuthoughts\" rel=\"noopener noreferrer\" target=\"_blank\">Kendrick’s message from August 2021\u003c/a>, announcing this next album as his last for TDE, his label.\u003c/p>\n\u003cp>It reads, in part:\u003c/p>\n\u003cblockquote>\u003cp>I spend most of my days with fleeting thoughts. Writing. Listening. And collecting old Beach cruisers. The morning rides keep me on a hill of silence.\u003c/p>\n\u003cp>I go months without a phone.\u003c/p>\n\u003cp>Love, loss, and grief have disturbed my comfort zone, but the glimmers of God speak through my music and family.\u003c/p>\u003c/blockquote>\n\u003cp>Read Kendrick Lamar’s message from August 2021 \u003ca href=\"https://oklama.com/nuthoughts\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>, and more coverage related to Kendrick Lamar \u003ca href=\"https://www.kqed.org/arts/tag/kendrick-lamar\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kendrick Lamar will release a new album on May 13—the follow-up to ‘DAMN,’ the rapper announced today. \u003c/p>\n\u003cp>\u003cem>Mr. Morale & the Big Steppers\u003c/em> will be out next month, according to a tweet and a website announcement by Kendrick Lamar.\u003c/p>\n\u003cp>No tracklist or features were announced, nor further details, only \u003ca href=\"https://oklama.com/step\" rel=\"noopener noreferrer\" target=\"_blank\">a message\u003c/a> that read: “All factual information for this release will come directly from this source only.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The website also includes \u003ca href=\"https://oklama.com/nuthoughts\" rel=\"noopener noreferrer\" target=\"_blank\">Kendrick’s message from August 2021\u003c/a>, announcing this next album as his last for TDE, his label.\u003c/p>\n\u003cp>It reads, in part:\u003c/p>\n\u003cblockquote>\u003cp>I spend most of my days with fleeting thoughts. Writing. Listening. And collecting old Beach cruisers. The morning rides keep me on a hill of silence.\u003c/p>\n\u003cp>I go months without a phone.\u003c/p>\n\u003cp>Love, loss, and grief have disturbed my comfort zone, but the glimmers of God speak through my music and family.\u003c/p>\u003c/blockquote>\n\u003cp>Read Kendrick Lamar’s message from August 2021 \u003ca href=\"https://oklama.com/nuthoughts\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>, and more coverage related to Kendrick Lamar \u003ca href=\"https://www.kqed.org/arts/tag/kendrick-lamar\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Our memories, our dreams and our emotions—these are the parts of us that exemplify our humanity. But in Janelle Monáe’s new collection of short stories, \u003cem>The Memory Librarian and Other Stories of Dirty Computer, \u003c/em>those are the things that contaminate us—they make us “dirty.”\u003c/p>\n\u003cp>[aside postid='arts_13910572']The Afrofuturistic world of \u003ca href=\"https://www.npr.org/sections/allsongs/2018/04/27/606066039/janelle-mon-e-strips-the-hardware-for-humanity\" target=\"_blank\" rel=\"noopener noreferrer\">“Dirty Computer,”\u003c/a> first explored in Monáe’s Grammy-nominated album from 2018, now fills the pages of a new book. Co-written with authors Alaya Dawn Johnson, Danny Lore, Eve L. Ewing, Yohanca Delgado and Sheree Renee Thomas, the five fictional narratives find Black and queer protagonists grappling with how to embrace their full selves in a world set on erasing their individuality.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/126833375/janelle-mon-e\">Janelle Monáe \u003c/a>spoke to NPR’s\u003cem> Weekend Edition\u003c/em> about the nightmare that sparked the sci-fi world of “Dirty Computer,” the oppressive revolution her characters live under, and creating art in a way that feels authentic.\u003c/p>\n\u003cp>\u003cem>The Memory Librarian \u003c/em>hits bookstore shelves on April 19.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On the inspiration behind “Dirty Computer”\u003c/strong>\u003c/p>\n\u003cp>It came to me in a nightmare, actually—a nightmare that I was kidnapped. I went to the movies, I got popcorn, was [sitting down] and everybody was scattering out of the theater. I was like, “I just want to watch a movie.” One of the ushers was trying to tell me to come through a back way so that they could protect me because they’re kidnapping people. I did not listen to the usher, and I was kidnapped. All of my memories were wiped clean. I didn’t know who I was. The only thing that I remembered [was] just showing up as somebody completely different.\u003c/p>\n\u003cp>[aside postid='arts_13847819']And so, I put all of that energy into the album: Why would somebody want to erase who I am? Why would they want to erase all of these folks’ memories? And I put that into, you know, representing a community full of people whose stories are being erased, whose identities are being erased.\u003c/p>\n\u003cp>\u003cstrong>On the “New Dawn Revolution” that has taken place in the short stories\u003c/strong>\u003c/p>\n\u003cp>New Dawn is evil. They are “divide and conquer” people—start with marginalized people first, make them hate themselves, erase their memories of who they are and create them into something we want them to be so we can control and we can have power.\u003c/p>\n\u003cp>\u003cstrong>On Seshet, the titular character in the short story, “The Memory Librarian”\u003c/strong>\u003c/p>\n\u003cp>This particular story explores the sort of precarious position of a Black queer woman trying to navigate her authority and her vulnerability within an institution of power. They tell her, “You can be powerful if you just do this.” And so, it touches on how identity is exploited by politics. Seshet oversees all of Little Delta, and Little Delta is an area that is the intersection of the New Dawn order and this sort of rebellious sub-world. Seshet is sort of like this insider-outsider that represents that intersection and conflict.\u003c/p>\n\u003cp>I came up with this particular story by asking myself: What if you were the person who knew everybody’s memories and you also knew everybody’s secrets? What does that mean when you want to fall in love, when you know everybody’s secrets? How do you fall in love? How are you truthful? Can you be truthful?\u003c/p>\n\u003cp>\u003cstrong>On being your authentic self as an artist\u003c/strong>\u003c/p>\n\u003cp>I think I’m becoming more and more authentic in the way that I express that truthfulness. I’m in this space where I’m just like [in] the most “I don’t have anything to prove” space in my life that I’ve ever been in. I think having conversations with women, with artists who’ve come into the industry—there have been moments, specifically at the beginning of their careers, where we have felt like, “Okay, we got to prove that we can do this, we can do that, we can do this, etc.”\u003c/p>\n\u003cp>[aside postid='arts_13824844']Sometimes what you really want to do can take a backseat because you feel like, “I have to prove this first and then I’ll get to that.” And I’m at a space where I’m making the most fun music I’ve ever made, just for the people that I love and care about around me, for us to vibe out to. [I’m] just curating my life in a way where I can do that. You know, giving myself permission—and I think with this book, I hope that people feel the permission to show up as their authentic selves. When the world tells you that everything about you—your queerness, your Blackness, you being a woman, you wanting to be an artist on your own terms—when people try and stop that process from happening to you, you then saying, “I give myself this permission.”\u003c/p>\n\u003cp>\u003cstrong>On whether the fictional Pynk Hotel—which exists outside the constructs of binaries, monogamy and capitalism—is a reflection of Monáe’s ideal world\u003c/strong>\u003c/p>\n\u003cp>It is a world that I would like to see more of. When Danny Lore and I were working on [the short story] “Nevermind,” we wanted to get an opportunity to talk about what it means to discuss sexuality plurality, gender plurality and nonconformity. What is personal identity versus national conformity? These are all themes within the story. What does it mean to search for acceptance and love? I think with “Nevermind,” where the Pynk Hotel exists—and you saw it in my video, Pynk—[the characters] survive a battle at the Pynk Hotel. Not only a battle for the hotel’s survival against New Dawn, but a battle over what its ideals of feminism mean as it stretches to embrace all identities.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PaYvlVR_BEc\u003c/p>\n\u003cp>\u003cstrong>On whether it’s possible to love someone with whom you fundamentally disagree\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think we’re having those conversations within our communities. We’re having those conversations about a more radical approach to community, love and forgiveness. I don’t have all of those. That’s why I love books. I love sci-fi. I love fiction. I love being able to ask myself, “Hmm, which one of these characters am I? Would I make that decision? 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"content": "\u003cdiv class=\"post-body\">\u003cp>The Afrofuturistic world of \u003ca href=\"https://www.npr.org/sections/allsongs/2018/04/27/606066039/janelle-mon-e-strips-the-hardware-for-humanity\" target=\"_blank\" rel=\"noopener noreferrer\">“Dirty Computer,”\u003c/a> first explored in Monáe’s Grammy-nominated album from 2018, now fills the pages of a new book. Co-written with authors Alaya Dawn Johnson, Danny Lore, Eve L. Ewing, Yohanca Delgado and Sheree Renee Thomas, the five fictional narratives find Black and queer protagonists grappling with how to embrace their full selves in a world set on erasing their individuality.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/126833375/janelle-mon-e\">Janelle Monáe \u003c/a>spoke to NPR’s\u003cem> Weekend Edition\u003c/em> about the nightmare that sparked the sci-fi world of “Dirty Computer,” the oppressive revolution her characters live under, and creating art in a way that feels authentic.\u003c/p>\n\u003cp>\u003cem>The Memory Librarian \u003c/em>hits bookstore shelves on April 19.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so, I put all of that energy into the album: Why would somebody want to erase who I am? Why would they want to erase all of these folks’ memories? And I put that into, you know, representing a community full of people whose stories are being erased, whose identities are being erased.\u003c/p>\n\u003cp>\u003cstrong>On the “New Dawn Revolution” that has taken place in the short stories\u003c/strong>\u003c/p>\n\u003cp>New Dawn is evil. They are “divide and conquer” people—start with marginalized people first, make them hate themselves, erase their memories of who they are and create them into something we want them to be so we can control and we can have power.\u003c/p>\n\u003cp>\u003cstrong>On Seshet, the titular character in the short story, “The Memory Librarian”\u003c/strong>\u003c/p>\n\u003cp>This particular story explores the sort of precarious position of a Black queer woman trying to navigate her authority and her vulnerability within an institution of power. They tell her, “You can be powerful if you just do this.” And so, it touches on how identity is exploited by politics. Seshet oversees all of Little Delta, and Little Delta is an area that is the intersection of the New Dawn order and this sort of rebellious sub-world. Seshet is sort of like this insider-outsider that represents that intersection and conflict.\u003c/p>\n\u003cp>I came up with this particular story by asking myself: What if you were the person who knew everybody’s memories and you also knew everybody’s secrets? What does that mean when you want to fall in love, when you know everybody’s secrets? How do you fall in love? How are you truthful? Can you be truthful?\u003c/p>\n\u003cp>\u003cstrong>On being your authentic self as an artist\u003c/strong>\u003c/p>\n\u003cp>I think I’m becoming more and more authentic in the way that I express that truthfulness. I’m in this space where I’m just like [in] the most “I don’t have anything to prove” space in my life that I’ve ever been in. I think having conversations with women, with artists who’ve come into the industry—there have been moments, specifically at the beginning of their careers, where we have felt like, “Okay, we got to prove that we can do this, we can do that, we can do this, etc.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Cypress Hill Documentary 'Insane in the Brain' Chronicles a Blazing Triumph",
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"content": "\u003cp>If you come to \u003cem>Cypress Hill: Insane in the Brain\u003c/em> expecting weed smoke, raucous live footage and a gritty back story—congratulations! There’s an ample amount of all three.\u003c/p>\n\u003cp>You’ll also get the usual documentary staples: archival footage, personal stories, and a smattering of glowing commentary from hip-hop insiders, including Ice-T and Chuck D. What elevates Insane in the Brain—a Showtime production \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">premiering, naturally, on 4/20\u003c/a>—is its journey through the sheer unlikelihood of Cypress Hill’s success, and the barriers they overcame to achieve it.\u003c/p>\n\u003cp>[aside postid='arts_13909610']The film is directed by Estevan Oriol—a longtime friend and tour manager to the band, as well as a talented photographer and music video director in his own right. Across 87 minutes, Oriol effectively breaks down the great number of cultural and legal barriers that could have prevented B-Real, Sen Dog and DJ Muggs from becoming global stars with record sales exceeding 20 million. And he does it from a uniquely personal perspective.\u003c/p>\n\u003cp>First, the Los Angeles group managed to get out from being under gang affiliations, and the danger that posed. (B-Real recounts getting shot in the back by rival gang members in the 1980s.) Second, they had to wheedle their way into a hip-hop scene sorely lacking in Latino representation. (Cypress Hill was the first Latino rap group to go platinum.)\u003c/p>\n\u003cp>Third, they had to stay out of jail while publicly flouting anti-marijuana laws all over the world. (Much is made here of the fact that Cypress Hill were one of the first artists to openly and enthusiastically smoke weed on stage nightly, including during a now-infamous appearance on \u003cem>SNL\u003c/em> that \u003ca href=\"https://youtu.be/U3CJ4AO5-p4?t=169\" rel=\"noopener noreferrer\" target=\"_blank\">earned them a lifetime ban\u003c/a> from the show.) Fourth, they needed to transcend genres. A major source of their success in the 1990s was winning over crowds at alternative rock festivals like Lollapalooza and the UK’s Reading Festival. (They warmly recall their time on the road with Nirvana and Hole here.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ezoTkEIivrY\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> explains exactly how Cypress Hill smoothly scaled all those hurdles. And the trio’s combination of savvy, tenacity, talent and plain old-fashioned good luck is fairly remarkable to behold. One particularly delightful portion features DJ Muggs admitting he’d never heard the word “concept” until Def Jam’s Bill Stephney told him Cypress Hill needed one. Muggs went home, pondered it, then told his friends: “Y’all gotta be the Cheech and Chong of this motherfucka.” (Stoners will be thrilled to hear that the weed movie legends do show up for a bizarre interview.)\u003c/p>\n\u003cp>Certain nuggets in the documentary seem tailor-made to delight hardcore fans—particularly some early demos, recorded before B-Real had landed on the nasal delivery that gave Cypress Hill their unmistakable sound. But casual viewers will enjoy it as a story about triumphing over odds, and one that also happens to come with some hilarious anecdotes. (The night Sen Dog took too many mushrooms and got into a fight with a hat someone threw onstage is worth a viewing alone.)\u003c/p>\n\u003cp>[aside postid='arts_13906331']That’s not to say the documentary doesn’t take some liberties. The narrative that Cypress Hill were underdogs because they were from the West Coast doesn’t hold up to even casual scrutiny. And there’s an unchecked assertion by one commentator here that Cypress Hill is the biggest selling hip-hop group of all time. They’re not—the Beastie Boys are. (The story of Cypress Hill luring away the Beasties’ percussionist Eric Bobo in the ’90s is told in some depth here, so knowledge of the New York trio’s success shouldn’t be news to Oriol.)\u003c/p>\n\u003cp>Still, it’s impossible to finish watching \u003cem>Insane in the Brain\u003c/em> without a heightened respect for Cypress Hill. Not just because they took Southern California Latino culture to a worldwide audience, but because they made it look easy when it patently wasn’t.\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> is also a reminder that when Cypress Hill was calling for the legalization of cannabis 30 years ago, it wasn’t just a schtick. They constantly advocated for the proposal at a time when—nearly three decades of reggae anthems like \u003ca href=\"https://www.youtube.com/watch?v=j6QkVTx2d88\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Tosh’s “Legalize It”\u003c/a> aside—such a prospect still felt impossible. That B-Real owns a chain of dispensaries now (see: \u003ca href=\"https://drgreenthumbsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Greenthumb’s\u003c/a> in San Francisco’s Mission District) is a major vindication.\u003c/p>\n\u003cp>The documentary closes with a juxtaposition that drives home the heart of the movie. Shortly after seeing Cypress Hill receive a star on the Hollywood Walk of Fame—the first hip-hop group to do so—the credits roll with a section dedicated to the plethora of their friends who didn’t make it. That these three misfits from South Gate did defies almost all of the odds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cypress Hill: Insane in the Brain’ premieres Wednesday, April 20, at 8pm on Showtime. \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s not to say the documentary doesn’t take some liberties. The narrative that Cypress Hill were underdogs because they were from the West Coast doesn’t hold up to even casual scrutiny. And there’s an unchecked assertion by one commentator here that Cypress Hill is the biggest selling hip-hop group of all time. They’re not—the Beastie Boys are. (The story of Cypress Hill luring away the Beasties’ percussionist Eric Bobo in the ’90s is told in some depth here, so knowledge of the New York trio’s success shouldn’t be news to Oriol.)\u003c/p>\n\u003cp>Still, it’s impossible to finish watching \u003cem>Insane in the Brain\u003c/em> without a heightened respect for Cypress Hill. Not just because they took Southern California Latino culture to a worldwide audience, but because they made it look easy when it patently wasn’t.\u003c/p>\n\u003cp>\u003cem>Insane in the Brain\u003c/em> is also a reminder that when Cypress Hill was calling for the legalization of cannabis 30 years ago, it wasn’t just a schtick. They constantly advocated for the proposal at a time when—nearly three decades of reggae anthems like \u003ca href=\"https://www.youtube.com/watch?v=j6QkVTx2d88\" rel=\"noopener noreferrer\" target=\"_blank\">Peter Tosh’s “Legalize It”\u003c/a> aside—such a prospect still felt impossible. That B-Real owns a chain of dispensaries now (see: \u003ca href=\"https://drgreenthumbsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Greenthumb’s\u003c/a> in San Francisco’s Mission District) is a major vindication.\u003c/p>\n\u003cp>The documentary closes with a juxtaposition that drives home the heart of the movie. Shortly after seeing Cypress Hill receive a star on the Hollywood Walk of Fame—the first hip-hop group to do so—the credits roll with a section dedicated to the plethora of their friends who didn’t make it. That these three misfits from South Gate did defies almost all of the odds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cypress Hill: Insane in the Brain’ premieres Wednesday, April 20, at 8pm on Showtime. \u003ca href=\"https://www.sho.com/titles/3509312/cypress-hill-insane-in-the-brain\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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",
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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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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"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.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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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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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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