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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In February and March, ahead of the orchestra’s spring 2023 European tour, the symphony will perform a series of concerts spotlighting guest pianists \u003ca href=\"https://pierrelaurentaimard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pierre-Laurent Aimard\u003c/a>, \u003ca href=\"https://conorhanick.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Conor Hanick\u003c/a>, \u003ca href=\"https://www.langlangofficial.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lang Lang\u003c/a> and \u003ca href=\"http://yujawang.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yuja Wang\u003c/a>.\u003c/p>\n\u003cp>Russian-German pianist \u003ca href=\"https://www.igor-levit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Igor Levit\u003c/a> is this season’s artist in residence. His performances in June 2023 will feature two Orchestral Series concerts, a Great Performers solo recital and a chamber music concert with members of the orchestra.\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/HSyJNWyRZ8Y'\n title='//www.youtube.com/embed/HSyJNWyRZ8Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Igor Levit is perhaps the hottest pianist in Europe at the moment,” said Salonen in his statement, adding that he’s “especially excited that Igor has decided to play the Busoni Piano Concerto with us, which is the strangest piano concerto ever written. It’s about 75 minutes long and needs a big orchestra and a chorus. And it’s a massive but utterly fascinating journey, full of beauty, struggle, love, and pain.”\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>\u003ca href=\"https://www.sfsymphony.org/subscribe\" target=\"_blank\" rel=\"noopener noreferrer\">Subscription packages\u003c/a> for the 2022-2023 season are available starting March 29, and \u003ca href=\"https://www.sfsymphony.org/calendar\" target=\"_blank\" rel=\"noopener noreferrer\">single tickets\u003c/a> go on sale July 16. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Over their decade-plus as a band, \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> has been through a lot together, and they’re processing love and grief on their two new singles, “Beyond Me” and “This Time Around.” Both tracks are part of a new, self-released LP that the Bay Area band is putting out song by song, once a month. [aside postid='arts_13903130']\u003c/p>\n\u003cp>“This Time Around,” out today, is a cover of a \u003ca href=\"https://www.youtube.com/watch?v=FDi6C8AeTVI\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Pratt song\u003c/a> that lead singer Lalin St. Juste and producer and bassist Aki Ehara gravitated towards while navigating an incredibly challenging time. The duo, once a married couple, is the band’s main songwriting force; during the pandemic, they divorced after St. Juste came out as a lesbian. Fortunately, they remain close collaborators and good friends.\u003c/p>\n\u003cp>It might be tempting to draw parallels to other great inter-band breakup songs, like No Doubt’s “Don’t Speak” and Fleetwood Mac’s “Dreams,” but “This Time Around” comes from a place of empathy and understanding of the way relationships change, and how people drift in and out of our lives.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=3579124282/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I felt like even though we needed to heal and mourn in our own ways separately, we could connect musically through this song,” Ehara wrote in a statement about the track. “I knew that this was a song that resonated with each of us. Even through the challenges we were facing, we’d always shared a deep musical connection. I think in starting the [Jessica Pratt] cover, I was hoping to reconnect to that musical bond that brought us together years ago.”\u003c/p>\n\u003cp>“This Time Around” is a quiet contemplation that foregrounds St. Juste’s delicate voice over piano and strings. While Pratt’s original is lo-fi and acoustic, with a mix that conjures the fuzziness of a dusty record player, The Seshen’s take lends it a more full-bodied sheen that brings out its sparse beauty in a different way.\u003c/p>\n\u003cp>“Beyond Me,” released in February, is more propulsive and high-energy, although still introspective. St. Juste wrote the lyrics about tuning into her inner world through the meditation practice she developed during the pandemic. “What I find / when I arrive / The parts of me / I tried to hide,” she sings.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2343391112/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Seshen will release three more songs from their forthcoming LP, one per month, via \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> and streaming platforms. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Over their decade-plus as a band, \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> has been through a lot together, and they’re processing love and grief on their two new singles, “Beyond Me” and “This Time Around.” Both tracks are part of a new, self-released LP that the Bay Area band is putting out song by song, once a month. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This Time Around,” out today, is a cover of a \u003ca href=\"https://www.youtube.com/watch?v=FDi6C8AeTVI\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Pratt song\u003c/a> that lead singer Lalin St. Juste and producer and bassist Aki Ehara gravitated towards while navigating an incredibly challenging time. The duo, once a married couple, is the band’s main songwriting force; during the pandemic, they divorced after St. Juste came out as a lesbian. Fortunately, they remain close collaborators and good friends.\u003c/p>\n\u003cp>It might be tempting to draw parallels to other great inter-band breakup songs, like No Doubt’s “Don’t Speak” and Fleetwood Mac’s “Dreams,” but “This Time Around” comes from a place of empathy and understanding of the way relationships change, and how people drift in and out of our lives.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=3579124282/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I felt like even though we needed to heal and mourn in our own ways separately, we could connect musically through this song,” Ehara wrote in a statement about the track. “I knew that this was a song that resonated with each of us. Even through the challenges we were facing, we’d always shared a deep musical connection. I think in starting the [Jessica Pratt] cover, I was hoping to reconnect to that musical bond that brought us together years ago.”\u003c/p>\n\u003cp>“This Time Around” is a quiet contemplation that foregrounds St. Juste’s delicate voice over piano and strings. While Pratt’s original is lo-fi and acoustic, with a mix that conjures the fuzziness of a dusty record player, The Seshen’s take lends it a more full-bodied sheen that brings out its sparse beauty in a different way.\u003c/p>\n\u003cp>“Beyond Me,” released in February, is more propulsive and high-energy, although still introspective. St. Juste wrote the lyrics about tuning into her inner world through the meditation practice she developed during the pandemic. “What I find / when I arrive / The parts of me / I tried to hide,” she sings.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2343391112/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Seshen will release three more songs from their forthcoming LP, one per month, via \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> and streaming platforms. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13910987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910987\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg\" alt=\"DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">B\u003c/span>eing “outside” has grown into a term that signifies the amount of work put in, the battles you’ve survived and the love you’ve received. It’s a badge of honor.\u003c/p>\n\u003cp>When I think about people who’ve \u003cem>really been outside\u003c/em>, I think of folks who’ve turned human interaction into a lucrative business model and some sort of spiritual exchange. People like \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Last week, she hosted a birthday party for East Oakland lyricist \u003ca href=\"https://www.instagram.com/whoisallblack/\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK\u003c/a>. A few days prior, I saw her dancing in the booth while DJing an event with visual artist \u003ca href=\"https://www.instagram.com/yanory_norwood/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanory Norwood.\u003c/a> Last month I spotted her cutting up and spinning records with a bunch of fly sisters on the \u003ca href=\"https://www.instagram.com/tiptopshape_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tip Top Shape\u003c/a> float at the \u003ca href=\"https://www.instagram.com/blackjoyparade/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Joy Parade\u003c/a>.\u003c/p>\n\u003cp>And this Friday, March 25, ShellHeart DJs at the \u003ca href=\"https://www.instagram.com/turfinc/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Inc.\u003c/a>-hosted “Dance Your Style 2022” battle; she’s joined by \u003ca href=\"https://www.instagram.com/djladyryan/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Lady Ryan\u003c/a>, \u003ca href=\"https://www.instagram.com/djumami/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a>, \u003ca href=\"https://www.instagram.com/djredcorvette/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Red Corvette\u003c/a>, and \u003ca href=\"https://www.instagram.com/djmujie/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Mujie\u003c/a>.\u003c/p>\n\u003cp>As if that’s not enough, the next day, Saturday, March 26, Shell appears at the cannabis-themed brunch \u003ca href=\"https://www.eventbrite.com/e/welcome-to-the-blunch-tickets-269092662397\" target=\"_blank\" rel=\"noopener noreferrer\">Blunch\u003c/a>, organized and hosted by Oakland emcee and entrepreneur \u003ca href=\"https://www.instagram.com/p/CbY0hrILEue/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and her sister. And on Sunday, March 27, she’s at the \u003ca href=\"https://www.nba.com/warriors/news/warriors-announce-womens-empowerment-month-celebrations-20220307\" target=\"_blank\" rel=\"noopener noreferrer\">Thrive City Women’s Small Business Market\u003c/a> at the Chase Center, as part of the Golden State Warriors’ Women’s History Month festivities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m laying out her itinerary to show you that’s she’s not only outside—pardon me, \u003cem>been outside\u003c/em>—but that’s it’s clearly paying off.\u003c/p>\n\u003cfigure id=\"attachment_13910988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg\" alt=\"DJ ShellHeart in front of the 16th Street Station in West Oakland. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart in front of the 16th Street Station in West Oakland. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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> been on the gas, OG Penn!” DJ ShellHeart tells me during a phone call last week, speaking in an audible smile as she runs down her current schedule, starting with her event series called \u003ca href=\"https://www.instagram.com/good_times_party/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Times\u003c/a>.\u003c/p>\n\u003cp>Every first Sunday, ShellHeart along with other DJs host the day party that’s simply about coming together to appreciate each other. “A lot of people don’t get their flowers,” Shell says, in a tone that’s a 180-degree difference from how the call started. “A lot of people from where I’m from don’t get flowers until somebody is dead.”\u003c/p>\n\u003cp>So, before the event, Shell buys eight bouquets and passes individual flowers out to people “during the lit hours.” Shell says, “I pass them out to everybody, man or woman. That’s one thing that has been big for me for 2022: making sure people get their flowers.”\u003c/p>\n\u003cp>As of this writing, they’ve only thrown a few Good Times events. But each one has brought out hundreds of attendees. Now, they’re even considering a larger venue.\u003c/p>\n\u003cfigure id=\"attachment_13910991\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png\" alt=\"DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine.\" width=\"600\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-160x182.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-768x873.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM.png 978w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine. \u003ccite>(@tiz_og)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past two years the Bay Area has undergone some major nightlife shifts, but ShellHeart isn’t concerned. “It’s a lot of clubs that are closing,” says Shell. “But there are so many that are opening. And they’re willing to be open for the young DJs to throw parties.”\u003c/p>\n\u003cp>She credits \u003ca href=\"https://www.instagram.com/mrbadelle/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Brett Badelle\u003c/a>, owner of the \u003ca href=\"https://www.instagram.com/thegalleryartbar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gallery Art Bar\u003c/a>, as well as venues like \u003ca href=\"https://www.instagram.com/crybabyoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">CryBaby Oakland\u003c/a>, \u003ca href=\"https://www.instagram.com/zanzioakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Zanzi\u003c/a>, \u003ca href=\"https://www.instagram.com/811parliament/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Parliament\u003c/a>, \u003ca href=\"https://www.instagram.com/halftimesportsbar/\" target=\"_blank\" rel=\"noopener noreferrer\">Halftime Sports Bar\u003c/a> and \u003ca href=\"https://www.instagram.com/m2oak/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">M2\u003c/a> as places where she can shine.\u003c/p>\n\u003cp>It’s a big difference from a few months ago, when her holiday DJ gig, Rexx Life Raj’s “Rexxmas,” was cancelled due to the fast-spreading Omicron COVID-19 variant–a wave that brought Shell back to the first shutdown in 2020.\u003c/p>\n\u003cp>“When the pandemic came, I felt like I lost everything. Well, I did. I didn’t have a booking in sight,” ShellHeart says, reminiscing on recent history. But that period gave her time to plan. “And now I’m doing it, and it’s amazing,” she adds, audibly smiling again.\u003c/p>\n\u003cp>Born in San Francisco and raised in South Richmond, ShellHeart, given name Michelle Miller, is truly from the soil. She attended school in Berkeley, and church in Vallejo. But it was her time spent in Sacramento that set her on her path.\u003c/p>\n\u003cp>After relocating to the 916 for a job at Sacramento Children’s Receiving Home in 2014, she decided to fill her idle time with a new hobby. So she purchased a mini DJ controller that she could attach to an iPad. It wasn’t her first rodeo: when she was in high school, her dad gave her some turntables, but it didn’t stick—Shell was too focused on running track.\u003c/p>\n\u003cp>A little older and a little deeper into music, it was time. She got connected with Sacramento’s \u003ca href=\"https://www.instagram.com/djmelimel_/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Meli Mel\u003c/a>, who gave Shell a real controller, a Numark NS7. “It was hella heavy!” Shell exclaims. “But I was like, ‘\u003cem>This\u003c/em> \u003cem>is what I want to do\u003c/em>.'”\u003c/p>\n\u003cp>So she did.\u003c/p>\n\u003cfigure id=\"attachment_13910984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910984\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_0389-800x533.jpg\" alt=\"RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">B\u003c/span>ack home in Richmond, an artist by the name of \u003ca href=\"https://www.instagram.com/rbcbugzy/\" target=\"_blank\" rel=\"noopener noreferrer\">RBC Bugzy\u003c/a> was on the rise, having released his first mixtape, \u003ca href=\"https://www.thizzler.com/blog/2014/12/16/rbc-bugzy-richmen-mixtape.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Richmen\u003c/em>\u003c/a>. After a year in Sacramento, ShellHeart moved back to the Bay, living in Vallejo. That’s when she and Bugzy connected. “And we just kicked it off,” says Shell, matter-of-factly. “We already knew each other because we were both from Richmond, but once I became his DJ, we became a lot closer. That actually kicked off my DJ career.”\u003c/p>\n\u003cp>Bugzy was a goofy dude, Shell tells me. A happy family man who loved hard. They’d exchange early morning phone calls to check in, and often ride out together, driving around the Bay selling Bugzy’s RICHMEN line of shirts out of his trunk while playing his music and seeing people in traffic.\u003c/p>\n\u003cp>Bugzy was shot and killed in Georgia in late 2019, along with Atlanta’s \u003ca href=\"https://www.hip-hopvibe.com/news/rip-tuc-dolla-and-rbc-bugzy-twitter-mourns-the-loss-of-atl-figure-tucdolla-and-rapper-rbc-bugzy-who-were-killed-last-night-bugzy-was-the-brother-of-cj-anderson-of-the-denver-broncos/\" target=\"_blank\" rel=\"noopener noreferrer\">Tuc Dolla\u003c/a>. After his death, Bugzy’s brother, the retired NFL running back and current college coach \u003ca href=\"https://twitter.com/cjandersonb22/status/1212096306933579776\" target=\"_blank\" rel=\"noopener noreferrer\">C.J. Anderson\u003c/a>, made it clear that Bugzy was a stage name: “His name was Bryon Edwards,” he tweeted. “Today we lost my brother Bryon Edwards.” He was a real person who was taken from this world too soon, leaving behind family, friends, and fans.\u003c/p>\n\u003cp>Plenty of photos exist of ShellHeart performing in a baseball cap with “Bugzy” embroidered on the side. But the image that really speaks to their connection is one she keeps at the crib. “I have this picture of [Bugzy] and my mom in my room, and I look at it every morning,” Shell says, once again in a tone absent of a smile. “When I go outside, it’s for him, it’s for them.”\u003c/p>\n\u003cfigure id=\"attachment_13910985\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_1036-800x533.jpg\" alt=\"DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">W\u003c/span>hen she’s outside, it’s not just in the Bay; in 2018, ShellHeart began touring as Rexx Life Raj’s DJ across the United States and Europe, hitting London, Paris, Berlin, Copenhagen and beyond.\u003c/p>\n\u003cp>Shell and Raj have known each other since their days at Berkeley High, back when Raj was a part of a group called the Goon Squad. “Me and Raj been connected, that’s what a lot of people don’t know,” Shell says, audible smile present again. “That’s really my friend. So, he just made me his DJ. And man, we been killing it… He changed my life, for real. He and Bugzy changed my life.”\u003c/p>\n\u003cp>Now, she’s at a point where she can support herself by doing what she loves. On any given night, you might catch her Milly Rocking in the DJ booth while giving shoutouts over the club’s sound system. She has events lined up for the summer. She released a line of hats last fall and has more clothing dropping in the coming months. That’s in addition to throwing parties, hosting events, going on tour again and possibly putting out her own music with some well-known Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_13910986\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg\" alt=\"DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1920x2879.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-scaled.jpeg 1708w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been a long journey from when she started, back when she was hitting events and shaking people’s hands, hoping to get to know them and to make sure they got to know her.\u003c/p>\n\u003cp>Aside from DJ Backside and the late Pam The Funkstress, ShellHeart says that in those early days of DJing, she didn’t see many women behind the boards.\u003c/p>\n\u003cp>“And being a gay female, it felt like a lot of people didn’t know how to approach me,” Shell explains. “I’d get a lot of brushed-off shoulders. But I made sure to go shake those hands: I don’t know you, you don’t know me, but imma make sure you remember me.”\u003c/p>\n\u003cp>When asked what it feels like to have this kind of momentum, DJ ShellHeart answers with a rhetorical question of her own: “Why am I outside on a fucking Monday?” she laughs.\u003c/p>\n\u003cp>“It trips me out: \u003cem>Damn, I’m outside again?\u003c/em>” she says. “But this is my job. This is my career.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Keep up with DJ ShellHeart on her \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a> and learn more at her \u003ca href=\"https://www.djshellheart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13910987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910987\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg\" alt=\"DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">B\u003c/span>eing “outside” has grown into a term that signifies the amount of work put in, the battles you’ve survived and the love you’ve received. It’s a badge of honor.\u003c/p>\n\u003cp>When I think about people who’ve \u003cem>really been outside\u003c/em>, I think of folks who’ve turned human interaction into a lucrative business model and some sort of spiritual exchange. People like \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Last week, she hosted a birthday party for East Oakland lyricist \u003ca href=\"https://www.instagram.com/whoisallblack/\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK\u003c/a>. A few days prior, I saw her dancing in the booth while DJing an event with visual artist \u003ca href=\"https://www.instagram.com/yanory_norwood/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanory Norwood.\u003c/a> Last month I spotted her cutting up and spinning records with a bunch of fly sisters on the \u003ca href=\"https://www.instagram.com/tiptopshape_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tip Top Shape\u003c/a> float at the \u003ca href=\"https://www.instagram.com/blackjoyparade/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Joy Parade\u003c/a>.\u003c/p>\n\u003cp>And this Friday, March 25, ShellHeart DJs at the \u003ca href=\"https://www.instagram.com/turfinc/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Inc.\u003c/a>-hosted “Dance Your Style 2022” battle; she’s joined by \u003ca href=\"https://www.instagram.com/djladyryan/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Lady Ryan\u003c/a>, \u003ca href=\"https://www.instagram.com/djumami/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a>, \u003ca href=\"https://www.instagram.com/djredcorvette/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Red Corvette\u003c/a>, and \u003ca href=\"https://www.instagram.com/djmujie/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Mujie\u003c/a>.\u003c/p>\n\u003cp>As if that’s not enough, the next day, Saturday, March 26, Shell appears at the cannabis-themed brunch \u003ca href=\"https://www.eventbrite.com/e/welcome-to-the-blunch-tickets-269092662397\" target=\"_blank\" rel=\"noopener noreferrer\">Blunch\u003c/a>, organized and hosted by Oakland emcee and entrepreneur \u003ca href=\"https://www.instagram.com/p/CbY0hrILEue/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and her sister. And on Sunday, March 27, she’s at the \u003ca href=\"https://www.nba.com/warriors/news/warriors-announce-womens-empowerment-month-celebrations-20220307\" target=\"_blank\" rel=\"noopener noreferrer\">Thrive City Women’s Small Business Market\u003c/a> at the Chase Center, as part of the Golden State Warriors’ Women’s History Month festivities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m laying out her itinerary to show you that’s she’s not only outside—pardon me, \u003cem>been outside\u003c/em>—but that’s it’s clearly paying off.\u003c/p>\n\u003cfigure id=\"attachment_13910988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg\" alt=\"DJ ShellHeart in front of the 16th Street Station in West Oakland. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart in front of the 16th Street Station in West Oakland. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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> been on the gas, OG Penn!” DJ ShellHeart tells me during a phone call last week, speaking in an audible smile as she runs down her current schedule, starting with her event series called \u003ca href=\"https://www.instagram.com/good_times_party/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Times\u003c/a>.\u003c/p>\n\u003cp>Every first Sunday, ShellHeart along with other DJs host the day party that’s simply about coming together to appreciate each other. “A lot of people don’t get their flowers,” Shell says, in a tone that’s a 180-degree difference from how the call started. “A lot of people from where I’m from don’t get flowers until somebody is dead.”\u003c/p>\n\u003cp>So, before the event, Shell buys eight bouquets and passes individual flowers out to people “during the lit hours.” Shell says, “I pass them out to everybody, man or woman. That’s one thing that has been big for me for 2022: making sure people get their flowers.”\u003c/p>\n\u003cp>As of this writing, they’ve only thrown a few Good Times events. But each one has brought out hundreds of attendees. Now, they’re even considering a larger venue.\u003c/p>\n\u003cfigure id=\"attachment_13910991\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png\" alt=\"DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine.\" width=\"600\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-160x182.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-768x873.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM.png 978w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine. \u003ccite>(@tiz_og)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past two years the Bay Area has undergone some major nightlife shifts, but ShellHeart isn’t concerned. “It’s a lot of clubs that are closing,” says Shell. “But there are so many that are opening. And they’re willing to be open for the young DJs to throw parties.”\u003c/p>\n\u003cp>She credits \u003ca href=\"https://www.instagram.com/mrbadelle/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Brett Badelle\u003c/a>, owner of the \u003ca href=\"https://www.instagram.com/thegalleryartbar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gallery Art Bar\u003c/a>, as well as venues like \u003ca href=\"https://www.instagram.com/crybabyoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">CryBaby Oakland\u003c/a>, \u003ca href=\"https://www.instagram.com/zanzioakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Zanzi\u003c/a>, \u003ca href=\"https://www.instagram.com/811parliament/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Parliament\u003c/a>, \u003ca href=\"https://www.instagram.com/halftimesportsbar/\" target=\"_blank\" rel=\"noopener noreferrer\">Halftime Sports Bar\u003c/a> and \u003ca href=\"https://www.instagram.com/m2oak/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">M2\u003c/a> as places where she can shine.\u003c/p>\n\u003cp>It’s a big difference from a few months ago, when her holiday DJ gig, Rexx Life Raj’s “Rexxmas,” was cancelled due to the fast-spreading Omicron COVID-19 variant–a wave that brought Shell back to the first shutdown in 2020.\u003c/p>\n\u003cp>“When the pandemic came, I felt like I lost everything. Well, I did. I didn’t have a booking in sight,” ShellHeart says, reminiscing on recent history. But that period gave her time to plan. “And now I’m doing it, and it’s amazing,” she adds, audibly smiling again.\u003c/p>\n\u003cp>Born in San Francisco and raised in South Richmond, ShellHeart, given name Michelle Miller, is truly from the soil. She attended school in Berkeley, and church in Vallejo. But it was her time spent in Sacramento that set her on her path.\u003c/p>\n\u003cp>After relocating to the 916 for a job at Sacramento Children’s Receiving Home in 2014, she decided to fill her idle time with a new hobby. So she purchased a mini DJ controller that she could attach to an iPad. It wasn’t her first rodeo: when she was in high school, her dad gave her some turntables, but it didn’t stick—Shell was too focused on running track.\u003c/p>\n\u003cp>A little older and a little deeper into music, it was time. She got connected with Sacramento’s \u003ca href=\"https://www.instagram.com/djmelimel_/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Meli Mel\u003c/a>, who gave Shell a real controller, a Numark NS7. “It was hella heavy!” Shell exclaims. “But I was like, ‘\u003cem>This\u003c/em> \u003cem>is what I want to do\u003c/em>.'”\u003c/p>\n\u003cp>So she did.\u003c/p>\n\u003cfigure id=\"attachment_13910984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910984\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_0389-800x533.jpg\" alt=\"RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">B\u003c/span>ack home in Richmond, an artist by the name of \u003ca href=\"https://www.instagram.com/rbcbugzy/\" target=\"_blank\" rel=\"noopener noreferrer\">RBC Bugzy\u003c/a> was on the rise, having released his first mixtape, \u003ca href=\"https://www.thizzler.com/blog/2014/12/16/rbc-bugzy-richmen-mixtape.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Richmen\u003c/em>\u003c/a>. After a year in Sacramento, ShellHeart moved back to the Bay, living in Vallejo. That’s when she and Bugzy connected. “And we just kicked it off,” says Shell, matter-of-factly. “We already knew each other because we were both from Richmond, but once I became his DJ, we became a lot closer. That actually kicked off my DJ career.”\u003c/p>\n\u003cp>Bugzy was a goofy dude, Shell tells me. A happy family man who loved hard. They’d exchange early morning phone calls to check in, and often ride out together, driving around the Bay selling Bugzy’s RICHMEN line of shirts out of his trunk while playing his music and seeing people in traffic.\u003c/p>\n\u003cp>Bugzy was shot and killed in Georgia in late 2019, along with Atlanta’s \u003ca href=\"https://www.hip-hopvibe.com/news/rip-tuc-dolla-and-rbc-bugzy-twitter-mourns-the-loss-of-atl-figure-tucdolla-and-rapper-rbc-bugzy-who-were-killed-last-night-bugzy-was-the-brother-of-cj-anderson-of-the-denver-broncos/\" target=\"_blank\" rel=\"noopener noreferrer\">Tuc Dolla\u003c/a>. After his death, Bugzy’s brother, the retired NFL running back and current college coach \u003ca href=\"https://twitter.com/cjandersonb22/status/1212096306933579776\" target=\"_blank\" rel=\"noopener noreferrer\">C.J. Anderson\u003c/a>, made it clear that Bugzy was a stage name: “His name was Bryon Edwards,” he tweeted. “Today we lost my brother Bryon Edwards.” He was a real person who was taken from this world too soon, leaving behind family, friends, and fans.\u003c/p>\n\u003cp>Plenty of photos exist of ShellHeart performing in a baseball cap with “Bugzy” embroidered on the side. But the image that really speaks to their connection is one she keeps at the crib. “I have this picture of [Bugzy] and my mom in my room, and I look at it every morning,” Shell says, once again in a tone absent of a smile. “When I go outside, it’s for him, it’s for them.”\u003c/p>\n\u003cfigure id=\"attachment_13910985\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_1036-800x533.jpg\" alt=\"DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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\">W\u003c/span>hen she’s outside, it’s not just in the Bay; in 2018, ShellHeart began touring as Rexx Life Raj’s DJ across the United States and Europe, hitting London, Paris, Berlin, Copenhagen and beyond.\u003c/p>\n\u003cp>Shell and Raj have known each other since their days at Berkeley High, back when Raj was a part of a group called the Goon Squad. “Me and Raj been connected, that’s what a lot of people don’t know,” Shell says, audible smile present again. “That’s really my friend. So, he just made me his DJ. And man, we been killing it… He changed my life, for real. He and Bugzy changed my life.”\u003c/p>\n\u003cp>Now, she’s at a point where she can support herself by doing what she loves. On any given night, you might catch her Milly Rocking in the DJ booth while giving shoutouts over the club’s sound system. She has events lined up for the summer. She released a line of hats last fall and has more clothing dropping in the coming months. That’s in addition to throwing parties, hosting events, going on tour again and possibly putting out her own music with some well-known Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_13910986\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg\" alt=\"DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1920x2879.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-scaled.jpeg 1708w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been a long journey from when she started, back when she was hitting events and shaking people’s hands, hoping to get to know them and to make sure they got to know her.\u003c/p>\n\u003cp>Aside from DJ Backside and the late Pam The Funkstress, ShellHeart says that in those early days of DJing, she didn’t see many women behind the boards.\u003c/p>\n\u003cp>“And being a gay female, it felt like a lot of people didn’t know how to approach me,” Shell explains. “I’d get a lot of brushed-off shoulders. But I made sure to go shake those hands: I don’t know you, you don’t know me, but imma make sure you remember me.”\u003c/p>\n\u003cp>When asked what it feels like to have this kind of momentum, DJ ShellHeart answers with a rhetorical question of her own: “Why am I outside on a fucking Monday?” she laughs.\u003c/p>\n\u003cp>“It trips me out: \u003cem>Damn, I’m outside again?\u003c/em>” she says. “But this is my job. This is my career.”\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Keep up with DJ ShellHeart on her \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a> and learn more at her \u003ca href=\"https://www.djshellheart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Kronos Festival Returns With World Premieres and Global Sounds",
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"content": "\u003cp>\u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a> is all about connecting people across generations, cultures and borders, which is why the in-person return of the ensemble’s festival is an occasion to celebrate.\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://kronosquartet.org/kronos-festival-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Festival\u003c/a>, taking place April 7–9 at SFJAZZ, features an international array of music, including several world premieres. That includes \u003ci>Janety\u003c/i>, a piece composed by Malian griot singer Hawa Kassé Mady Diabaté in homage to Janet Cowperthwaite, the Kronos Performing Arts Associations’ executive director who has overseen 40 years of tours, commissions and recordings. \u003ci>Janety\u003c/i> takes inspiration from the Malian tradition of tegere tulon, which are hand-clapping songs young girls sing in the countryside.\u003c/p>\n\u003cp>https://youtu.be/IzeVKYTMqww\u003c/p>\n\u003cp>\u003ci>Janety\u003c/i> will be performed by \u003ca href=\"https://jacobgarchik.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacob Garchik\u003c/a>—a celebrated trombonist, arranger and this year’s artist in residence—along with student musicians from Oakland, Berkeley and San Francisco. Garchik has arranged over 100 pieces for Kronos Quartet, and his composition \u003ci>Upon A Star\u003c/i> gets its Bay Area premiere at Kronos Festival on April 7. The festival closes on April 9 with a performance of another one of his works called \u003ci>Storyteller\u003c/i>, which pays homage to another one of Kronos’ guiding lights: folk musician Pete Seeger.\u003c/p>\n\u003cp>Also on April 9, Bay Area-based Iranian classical singer \u003ca href=\"https://mahsavahdat.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Mahsa Vahdat\u003c/a> performs the world premiere of her new piece, \u003ci>Where Is Your Voice\u003c/i>. Korean-American composer and haegeum master \u003ca href=\"https://www.sooyeonlyuh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soo Yeon Lyuh\u003c/a> performs \u003ci>Tattoo (Extended Version)\u003c/i>, also a world premiere. It’s a deeply personal piece about a terrifying incident where someone fired a gun at her car in Berkeley. That same evening, \u003ca href=\"https://www.inticomposes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">inti figgis-vizueta\u003c/a>’s \u003ci>music by yourself\u003c/i>, about private, late-night communions with the music that shapes us, will also be performed for the first time. [aside postid='arts_13910898']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other highlights from the lineup include an April 7 performance of \u003ci>Cadenza on the Night Plane\u003c/i> by Terry Riley, an experimental music luminary and key figure in the minimalist movement.\u003c/p>\n\u003cp>A centerpiece of the April 8 concert is \u003ci>My Lai Suite\u003c/i>, which was adapted from an opera by composer Jonathan Berger and librettist Harriet Scott Chessman. Tells the story of Hugh Thompson, an American servicemen credited with stopping a massacre of civilians during the Vietnam War. This performance features vocalist Rinde Eckert and ’rưng, đàn bầu and đàn tranh stylings by \u003ca href=\"https://www.kqed.org/arts/13906618/van-anh-vos-songs-of-strength-opens-a-multilingual-multi-genre-musical-conversation\" target=\"_blank\" rel=\"noopener noreferrer\">Vân-Ánh Võ\u003c/a>, the Bay Area’s foremost Vietnamese music master.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ticketing information and the rest of Kronos Festival’s multifaceted musical lineup can be found on the \u003ca href=\"https://kronosquartet.org/kronos-festival-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">festival’s website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a> is all about connecting people across generations, cultures and borders, which is why the in-person return of the ensemble’s festival is an occasion to celebrate.\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://kronosquartet.org/kronos-festival-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Festival\u003c/a>, taking place April 7–9 at SFJAZZ, features an international array of music, including several world premieres. That includes \u003ci>Janety\u003c/i>, a piece composed by Malian griot singer Hawa Kassé Mady Diabaté in homage to Janet Cowperthwaite, the Kronos Performing Arts Associations’ executive director who has overseen 40 years of tours, commissions and recordings. \u003ci>Janety\u003c/i> takes inspiration from the Malian tradition of tegere tulon, which are hand-clapping songs young girls sing in the countryside.\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/IzeVKYTMqww'\n title='//www.youtube.com/embed/IzeVKYTMqww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Janety\u003c/i> will be performed by \u003ca href=\"https://jacobgarchik.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacob Garchik\u003c/a>—a celebrated trombonist, arranger and this year’s artist in residence—along with student musicians from Oakland, Berkeley and San Francisco. Garchik has arranged over 100 pieces for Kronos Quartet, and his composition \u003ci>Upon A Star\u003c/i> gets its Bay Area premiere at Kronos Festival on April 7. The festival closes on April 9 with a performance of another one of his works called \u003ci>Storyteller\u003c/i>, which pays homage to another one of Kronos’ guiding lights: folk musician Pete Seeger.\u003c/p>\n\u003cp>Also on April 9, Bay Area-based Iranian classical singer \u003ca href=\"https://mahsavahdat.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Mahsa Vahdat\u003c/a> performs the world premiere of her new piece, \u003ci>Where Is Your Voice\u003c/i>. Korean-American composer and haegeum master \u003ca href=\"https://www.sooyeonlyuh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soo Yeon Lyuh\u003c/a> performs \u003ci>Tattoo (Extended Version)\u003c/i>, also a world premiere. It’s a deeply personal piece about a terrifying incident where someone fired a gun at her car in Berkeley. That same evening, \u003ca href=\"https://www.inticomposes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">inti figgis-vizueta\u003c/a>’s \u003ci>music by yourself\u003c/i>, about private, late-night communions with the music that shapes us, will also be performed for the first time. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other highlights from the lineup include an April 7 performance of \u003ci>Cadenza on the Night Plane\u003c/i> by Terry Riley, an experimental music luminary and key figure in the minimalist movement.\u003c/p>\n\u003cp>A centerpiece of the April 8 concert is \u003ci>My Lai Suite\u003c/i>, which was adapted from an opera by composer Jonathan Berger and librettist Harriet Scott Chessman. Tells the story of Hugh Thompson, an American servicemen credited with stopping a massacre of civilians during the Vietnam War. This performance features vocalist Rinde Eckert and ’rưng, đàn bầu and đàn tranh stylings by \u003ca href=\"https://www.kqed.org/arts/13906618/van-anh-vos-songs-of-strength-opens-a-multilingual-multi-genre-musical-conversation\" target=\"_blank\" rel=\"noopener noreferrer\">Vân-Ánh Võ\u003c/a>, the Bay Area’s foremost Vietnamese music master.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ticketing information and the rest of Kronos Festival’s multifaceted musical lineup can be found on the \u003ca href=\"https://kronosquartet.org/kronos-festival-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">festival’s website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After its premiere 25 years ago, \u003cem>Selena \u003c/em>is returning to theaters nationwide in celebration of the Queen of Tejano music, Selena Quintanilla-Perez.\u003c/p>\n\u003cp>The biopic honoring the late 23-year-old singer is being re-released in movie theaters across the U.S. on April 7. Selena’s family made the official announcement Monday on \u003ca href=\"https://www.facebook.com/selenalaleyenda/posts/512851233542420\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>“Rediscover a family’s story of dedication, perseverance and hope in breaking a male-dominated music genre and taking the world by storm,” her family wrote in the announcement of the film’s re-release.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910961 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-22-at-3.10.09-PM-800x1153.png\" alt=\"\" width=\"800\" height=\"1153\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-22-at-3.10.09-PM-800x1153.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-22-at-3.10.09-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-22-at-3.10.09-PM-768x1106.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-22-at-3.10.09-PM.png 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The biopic, starring \u003ca href=\"https://www.npr.org/2017/03/21/520986979/20-years-ago-biopic-helped-give-pop-star-selena-life-beyond-her-tragic-death\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Lopez\u003c/a> as the late singer, tells the story of the Mexican-American Tejano music star who was on the verge of crossing over into the English-language market just before her murder by her fan club president, Yolanda Saldivar, in 1995.\u003c/p>\n\u003cp>Saldivar was accused by Selena’s father, Abraham Quintanilla, of embezzling funds from Selena’s fan club and her Selena Etc. boutiques.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='pop_15764']The film’s success in the 1990s ultimately made Jennifer Lopez a household name, becoming the first Latin actress to earn more than $1 million for a film, according to \u003ca href=\"https://time.com/collection/most-influential-people-2018/5217628/jennifer-lopez/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Time\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The 52-year-old actress posted to social media Monday to share her excitement about the movie’s return to theaters.\u003c/p>\n\u003cp>“This movie means so much to me … Selena and her family mean so much to me, and I was so lucky to be chosen to play her,” Lopez wrote on \u003ca href=\"https://www.instagram.com/p/CbYvw9PJ9rQ/?utm_source=ig_web_copy_link\">Instagram\u003c/a>. “I’ll never forget this time in my life and it’s an honor as an artist to have been part of the magic that is this movie.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CbYvw9PJ9rQ/\u003c/p>\n\u003cp>A native of Corpus Christi, Texas, Selena was a Grammy Award-winning superstar who won a Grammy for Best Mexican-American Album for \u003cem>Live!\u003c/em>\u003c/p>\n\u003cp>The late Tejano singer sold around 18 million records worldwide, becoming one of the bestselling female artists in Latin music, \u003ca href=\"https://www.billboard.com/charts/greatest-of-all-time-latin-artists\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Billboard \u003c/em>\u003c/a>reported.\u003c/p>\n\u003cp>Selena was killed weeks before her 24th birthday, which would have been April 16, 1995.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EVMSuZXEz4s\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Selena%27+biopic+will+return+to+theaters+in+April+to+celebrate+its+25th+anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"title": "NEA Jazz Master Maria Schneider Takes on Big Tech in Her Music and Advocacy",
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"content": "\u003cp>Think of Maria Schneider as a renegade botanist who’s spent more than three decades patiently cultivating a plant that bursts into spectacular bloom when placed in just the right environment.\u003c/p>\n\u003cp>A composer who often draws inspiration from the natural world, particularly the avian realm, she leads the \u003ca href=\"https://www.mariaschneider.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maria Schneider Orchestra\u003c/a>, one of the era’s most subtle, resourceful and celebrated improvising ensembles. When transplanted to theaters and concert halls around the world, her 18-piece group produces a palette of luxuriantly lapidary textures unlike any other in the world.\u003c/p>\n\u003cp>Dormant for most of the past two years, Schneider’s orchestra arrives in the Bay Area for performances Saturday, March 26, at Stanford’s \u003ca href=\"https://live.stanford.edu/calendar/march-2022/maria-schneider-orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Bing Concert Hall\u003c/a> and Sunday, March 27, at Sonoma State’s \u003ca href=\"https://gmc.sonoma.edu/maria-schneider-orchestra/\" target=\"_blank\" rel=\"noopener noreferrer\">Green Music Center\u003c/a>. The ensemble is fresh off of a revivifying run at New York City’s Birdland, “our first chance to play for a whole week since the pandemic,” she says, noting that the orchestra is still adjusting to the loss of pianist Frank Kimbrough, a 25-year member “and a foundation of the band.”\u003c/p>\n\u003cp>Kimbrough’s unexpected death in 2020 led to the orchestra’s accordion player, Gary Versace, switching to piano, while Schneider brought in French-born Julien Labro, a master of jazz, tango and classical music, as a new accordionist. Keeping the piano chair in the family, she knows that Versace is deeply versed in the band’s aesthetic, “listening, risk taking and supporting one another, allowing the music to change in the moment and respecting the composition,” Schneider says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uhl1ZvTPrCk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Schneider received an NEA Jazz Masters fellowship in 2019 at the age of 58, making her one of the youngest artists ever to receive the nation’s top jazz honor. She got her start apprenticing with Bob Brookmeyer and Gil Evans (who gained fame in the 1950s for a series of landmark orchestral collaborations with Miles Davis, including 1957’s \u003cem>Miles Ahead\u003c/em> and 1959’s \u003cem>Porgy & Bess\u003c/em>). She’s racked up seven Grammy Awards, including two for the orchestra’s latest album, 2020’s \u003ca href=\"https://mariaschneider.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Data Lords\u003c/em>\u003c/a>, which was also a finalist for a Pulitzer Prize and album of the year in the \u003ca href=\"https://www.npr.org/2021/01/14/956649529/2020-best-jazz-albums-critics-poll\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Music Jazz Critics Poll\u003c/a>.\u003c/p>\n\u003cp>Several key members have been in the ranks since the orchestra was a seedling, though Schneider isn’t averse to making major changes, like bringing in drummer Johnathan Blake to take over from Clarence Penn, “who left so much space and changed my writing in such a beautiful way,” Schneider says. “Johnathan came in with such a different energy, and I’m still finding out what that’s doing to my sound. Drums change the whole trajectory.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IEJebihIJt0\u003c/p>\n\u003cp>While Schneider doesn’t often explicitly evoke Duke Ellington, she is the maestro’s most direct descendent on the contemporary scene in the way she writes specifically for her orchestra’s idiosyncratic musical personalities. Guitarist Ben Monder (a recent addition to The Bad Plus), trumpeter Greg Gisbert and tenor saxophonist Donny McCaslin (who gained widespread notice outside of jazz for his work on David Bowie’s valedictory album \u003cem>Blackstar\u003c/em>) are a some of the singular improvisers who have spent decades playing Schneider’s music.\u003c/p>\n\u003cp>Multi-instrumentalist Scott Robinson, who’s been with Schneider from the very beginning, has gained further renown in recent years as a magisterial tenor saxophonist. But he’s essential to the orchestra’s rich tonality via his work on baritone sax. It’s a role reminiscent of Harry Carney, whose bari anchored the Ellington Orchestra for 47 years.\u003c/p>\n\u003cp>In the same way that the Ellington sound is unimaginable without Carney, Robinson defines the shading and contours of Schneider’s music, “which is all about sound and shape,” says Robinson, who also leads his own quartet with piano star Helen Sung at \u003ca href=\"https://yoshis.com/events/buy-tickets/scott-robinson-quartet-w-helen-sung/detail\" target=\"_blank\" rel=\"noopener noreferrer\">Yoshi’s on March 29\u003c/a>.\u003c/p>\n\u003cp>“You have to shape everything. You can never just play the notes,” he explains. “She demands that everything be shaped and sculpted so everything belongs in the music at that moment in time. It’s like a landscape, and everything sits in the music like it just grew there.” [aside postid='arts_13893952']\u003c/p>\n\u003cp>If nature often serves as the protagonist in her soundscapes, technology’s baleful impact on the music scene has increasingly come into focus as Schneider’s antagonist. Over the past decade she’s been one of the boldest voices in music challenging the business practices of streaming services, testifying before Congress, writing essays and even filing a \u003ca href=\"https://www.digitalmusicnews.com/2021/04/05/youtube-maria-schneider-lawsuit/\" target=\"_blank\" rel=\"noopener noreferrer\">class action lawsuit\u003c/a> against YouTube for not protecting the copyrights of indie artists. She wouldn’t comment directly on the suit’s status, but Schneider argued that exploitation of musicians was foundational to the internet’s rise.\u003c/p>\n\u003cp>“We were being used to get the eyeballs,” she says. “We’re still one of the biggest draws to get people onto the internet. And nobody wanted to be hindered by respecting our property. That would ruin their party.”\u003c/p>\n\u003cp>“Our Natural World,” the second disc of her double album \u003cem>Data Lords\u003c/em>, fully captures the way her music flows from her reverence for the biosphere. The cycle culminates with “Bluebird,” an 11-minute piece featuring Versace’s accordion and Steve Wilson’s alto sax gliding, swooping and soaring through pillowy gusts of brass.\u003c/p>\n\u003cp>In contrast, with its eerie electronic effects, the album’s first disc, “The Digital World,” explores the damage done by the technology, and not just to the bottom line of musicians. [aside postid='arts_13910312']\u003c/p>\n\u003cp>While her orchestra can fill a venue with waves of sound so palpable it feels like an immersive environment, Schneider worries that our attention is being strip mined by algorithms. Strange as it might sound from an artist known for providing singular thrills, she’s worried we’re losing our capacity for boredom.\u003c/p>\n\u003cp>“Just like tobacco companies, these tech companies make things that are addictive,” she says. “In the end, the thing that’s sad about it is that the internet has so much potential. But the way it’s evolved, at the core it’s about making money from the data. And to get the data they keep us glued to their services sucking our souls, manipulating us so we keep giving them our data, which they use to keep us engaged. It’s a scary loop.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fortunately, Schneider has an antidote for the tech that ails us, medicine that she’s grown at home.\u003c/p>\n\n",
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"excerpt": "The Grammy-winning, Pulitzer-nominated bandleader returns to the Bay Area for two concerts at Bing Concert Hall and Green Music Center. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Think of Maria Schneider as a renegade botanist who’s spent more than three decades patiently cultivating a plant that bursts into spectacular bloom when placed in just the right environment.\u003c/p>\n\u003cp>A composer who often draws inspiration from the natural world, particularly the avian realm, she leads the \u003ca href=\"https://www.mariaschneider.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maria Schneider Orchestra\u003c/a>, one of the era’s most subtle, resourceful and celebrated improvising ensembles. When transplanted to theaters and concert halls around the world, her 18-piece group produces a palette of luxuriantly lapidary textures unlike any other in the world.\u003c/p>\n\u003cp>Dormant for most of the past two years, Schneider’s orchestra arrives in the Bay Area for performances Saturday, March 26, at Stanford’s \u003ca href=\"https://live.stanford.edu/calendar/march-2022/maria-schneider-orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Bing Concert Hall\u003c/a> and Sunday, March 27, at Sonoma State’s \u003ca href=\"https://gmc.sonoma.edu/maria-schneider-orchestra/\" target=\"_blank\" rel=\"noopener noreferrer\">Green Music Center\u003c/a>. The ensemble is fresh off of a revivifying run at New York City’s Birdland, “our first chance to play for a whole week since the pandemic,” she says, noting that the orchestra is still adjusting to the loss of pianist Frank Kimbrough, a 25-year member “and a foundation of the band.”\u003c/p>\n\u003cp>Kimbrough’s unexpected death in 2020 led to the orchestra’s accordion player, Gary Versace, switching to piano, while Schneider brought in French-born Julien Labro, a master of jazz, tango and classical music, as a new accordionist. Keeping the piano chair in the family, she knows that Versace is deeply versed in the band’s aesthetic, “listening, risk taking and supporting one another, allowing the music to change in the moment and respecting the composition,” Schneider says.\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/uhl1ZvTPrCk'\n title='//www.youtube.com/embed/uhl1ZvTPrCk'\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>Schneider received an NEA Jazz Masters fellowship in 2019 at the age of 58, making her one of the youngest artists ever to receive the nation’s top jazz honor. She got her start apprenticing with Bob Brookmeyer and Gil Evans (who gained fame in the 1950s for a series of landmark orchestral collaborations with Miles Davis, including 1957’s \u003cem>Miles Ahead\u003c/em> and 1959’s \u003cem>Porgy & Bess\u003c/em>). She’s racked up seven Grammy Awards, including two for the orchestra’s latest album, 2020’s \u003ca href=\"https://mariaschneider.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Data Lords\u003c/em>\u003c/a>, which was also a finalist for a Pulitzer Prize and album of the year in the \u003ca href=\"https://www.npr.org/2021/01/14/956649529/2020-best-jazz-albums-critics-poll\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Music Jazz Critics Poll\u003c/a>.\u003c/p>\n\u003cp>Several key members have been in the ranks since the orchestra was a seedling, though Schneider isn’t averse to making major changes, like bringing in drummer Johnathan Blake to take over from Clarence Penn, “who left so much space and changed my writing in such a beautiful way,” Schneider says. “Johnathan came in with such a different energy, and I’m still finding out what that’s doing to my sound. Drums change the whole trajectory.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IEJebihIJt0'\n title='//www.youtube.com/embed/IEJebihIJt0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While Schneider doesn’t often explicitly evoke Duke Ellington, she is the maestro’s most direct descendent on the contemporary scene in the way she writes specifically for her orchestra’s idiosyncratic musical personalities. Guitarist Ben Monder (a recent addition to The Bad Plus), trumpeter Greg Gisbert and tenor saxophonist Donny McCaslin (who gained widespread notice outside of jazz for his work on David Bowie’s valedictory album \u003cem>Blackstar\u003c/em>) are a some of the singular improvisers who have spent decades playing Schneider’s music.\u003c/p>\n\u003cp>Multi-instrumentalist Scott Robinson, who’s been with Schneider from the very beginning, has gained further renown in recent years as a magisterial tenor saxophonist. But he’s essential to the orchestra’s rich tonality via his work on baritone sax. It’s a role reminiscent of Harry Carney, whose bari anchored the Ellington Orchestra for 47 years.\u003c/p>\n\u003cp>In the same way that the Ellington sound is unimaginable without Carney, Robinson defines the shading and contours of Schneider’s music, “which is all about sound and shape,” says Robinson, who also leads his own quartet with piano star Helen Sung at \u003ca href=\"https://yoshis.com/events/buy-tickets/scott-robinson-quartet-w-helen-sung/detail\" target=\"_blank\" rel=\"noopener noreferrer\">Yoshi’s on March 29\u003c/a>.\u003c/p>\n\u003cp>“You have to shape everything. You can never just play the notes,” he explains. “She demands that everything be shaped and sculpted so everything belongs in the music at that moment in time. It’s like a landscape, and everything sits in the music like it just grew there.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If nature often serves as the protagonist in her soundscapes, technology’s baleful impact on the music scene has increasingly come into focus as Schneider’s antagonist. Over the past decade she’s been one of the boldest voices in music challenging the business practices of streaming services, testifying before Congress, writing essays and even filing a \u003ca href=\"https://www.digitalmusicnews.com/2021/04/05/youtube-maria-schneider-lawsuit/\" target=\"_blank\" rel=\"noopener noreferrer\">class action lawsuit\u003c/a> against YouTube for not protecting the copyrights of indie artists. She wouldn’t comment directly on the suit’s status, but Schneider argued that exploitation of musicians was foundational to the internet’s rise.\u003c/p>\n\u003cp>“We were being used to get the eyeballs,” she says. “We’re still one of the biggest draws to get people onto the internet. And nobody wanted to be hindered by respecting our property. That would ruin their party.”\u003c/p>\n\u003cp>“Our Natural World,” the second disc of her double album \u003cem>Data Lords\u003c/em>, fully captures the way her music flows from her reverence for the biosphere. The cycle culminates with “Bluebird,” an 11-minute piece featuring Versace’s accordion and Steve Wilson’s alto sax gliding, swooping and soaring through pillowy gusts of brass.\u003c/p>\n\u003cp>In contrast, with its eerie electronic effects, the album’s first disc, “The Digital World,” explores the damage done by the technology, and not just to the bottom line of musicians. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While her orchestra can fill a venue with waves of sound so palpable it feels like an immersive environment, Schneider worries that our attention is being strip mined by algorithms. Strange as it might sound from an artist known for providing singular thrills, she’s worried we’re losing our capacity for boredom.\u003c/p>\n\u003cp>“Just like tobacco companies, these tech companies make things that are addictive,” she says. “In the end, the thing that’s sad about it is that the internet has so much potential. But the way it’s evolved, at the core it’s about making money from the data. And to get the data they keep us glued to their services sucking our souls, manipulating us so we keep giving them our data, which they use to keep us engaged. It’s a scary loop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Randall Kline, Stepping Down from SFJAZZ, Reflects on 40 Years of Music",
"headTitle": "Randall Kline, Stepping Down from SFJAZZ, Reflects on 40 Years of Music | KQED",
"content": "\u003cfigure id=\"attachment_13910918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Wayne.Randall.SFJAZZ.MAIN_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13910918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Wayne.Randall.SFJAZZ.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Wayne.Randall.SFJAZZ.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Wayne.Randall.SFJAZZ.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Wayne.Randall.SFJAZZ.MAIN_.jpg 954w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter accepts the lifetime achievement award on behalf of Joni Mitchell from SFJAZZ founder and artistic director Randall Kline, in 2015. \u003ccite>(Drew Altizer Photography/KQED File Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Randall Kline, SFJAZZ’s executive artistic director who founded the organization nearly 40 years ago, will step down from his role in November of 2023, the organization has announced.\u003c/p>\n\u003cp>Kline, the public face of SFJAZZ, assured in a statement that “SFJAZZ is in a position of strength, with a great board, management team, and staff. It has been an extraordinary journey and I’m proud to have been a part of it.”\u003c/p>\n\u003cp>In a conversation last week over Zoom, when I ask why he’s made the decision, he warns me he’s “going to be long-winded here,” and gives me a 15-minute answer that basically boils down to “the time is right.”\u003c/p>\n\u003cfigure id=\"attachment_13910919\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Randall-Kline.headshot.square-1020x1020.jpg\" alt=\"\" width=\"640\" height=\"640\" class=\"size-large wp-image-13910919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Randall Kline, who founded SFJAZZ in 1983, will step down from his role next year. \u003ccite>(Ross Eustis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kline, 68, loves to tell good stories. He also loves numbers, and notes that SFJAZZ has moved in 10-year cycles. He founded it as Jazz in the City in 1983; it became the San Francisco Jazz Festival, and then went year-round 1993; around 2003 it expanded into SFJAZZ; and the SFJAZZ Center opened in 2013.\u003c/p>\n\u003cp>As for stepping down, “Obviously, I’m getting older,” he tells me. “You think about these things as you get older. But this has been a very intimate relationship, like a family kind of thing… and inevitably, I’m going to leave at some point.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The year 2023, SFJAZZ’s next 10-year mark, was all the evidence he needed. (He doesn’t say it, but I suspect this fixation on the number 10 may have something to do with Thelonius Monk’s birthdate, Oct. 10, which SFJAZZ celebrates every year.) A search for his replacement will start this summer.\u003c/p>\n\u003cp>“It’s very hard for me to separate the organization from myself at this point,” Kline says, adding, “If anyone wants to hear an opinion, I’ll be there after. It’s not like I’m cutting off here. This is a place I hope to come back a lot to, and enjoy, and do what I can.”\u003c/p>\n\u003cfigure id=\"attachment_13910901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/SFJAZZ.programs.jpg\" alt=\"Two covers of programs, one from SFJAZZ's 10th annual festival, one from the 25th\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SFJAZZ.programs.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SFJAZZ.programs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SFJAZZ.programs-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Just two of the many programs for SFJAZZ’s annual offerings. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hitchhiking to San Francisco in 1974\u003c/h2>\n\u003cp>It’s been quite a ride for the college football player-turned-bassist who first hitchhiked to San Francisco in 1974. Kline moved to the city shortly afterward with $600, a motorcycle, a bass and an amp, and “no fucking clue what I was gonna do.” One day, after knocking on the door of the legendary nightclub the Boarding House a few times during his bike messenger rounds, Kline got a job working the side door for a Manhattan Transfer show.\u003c/p>\n\u003cp>Kline stayed at the Boarding House for two years, osmosing the music from the stage—“Bob Marley and the Wailers, Willie Nelson, Crystal Gayle, Emmylou Harris with an amazing band, Stan Getz”—and learning the live music business. Steve Martin’s residencies provided him with another insight: that performing on stage, “if you want to be really great at, it’s \u003cem>work\u003c/em>.” (Kline will often tell people he has the easy job: “It’s the musicians who have the hard gig.”)\u003c/p>\n\u003cp>Kline booked his first jazz show in 1981, with Kenny Burrell headlining at the Gold Rush, a cowboy bar in San Jose. Two years later, with $10,000 from Grants for the Arts and a soundman from the Boarding House named Clint Gilbert, Kline booked a two-night slate of Bay Area artists and launched Jazz in the City.\u003c/p>\n\u003cp>It may seem like hyperbole, but San Francisco’s cultural landscape has not been the same since.\u003c/p>\n\u003cfigure id=\"attachment_13910902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-800x338.jpg\" alt=\"A corner-lot building with windows lit up\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-1536x648.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The SFJAZZ Center at Franklin and Fell Streets was completed in 2013. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Full Seats, Great Staff: ‘What Could Be Better?’\u003c/h2>\n\u003cp>At the opening in 2013 of the $64 million, 3,500-square-foot SFJAZZ Center, Kline says, he was occasionally asked how proud he felt. His answer at the time, cribbed from an aside in then-Mayor Gavin Newsom’s speech at the grand opening of the ill-fated San Francisco Yoshi’s, was “ask me in three years.”\u003c/p>\n\u003cp>Kline was concerned about sustainability. “And I didn’t feel a lot better at three years. Then it got to five years and I still had the same kind of anxiety in a certain kind of way, how we’ve got to make sure this thing really works,” he says. “And so I realized at some point, I \u003cem>do\u003c/em> have to cut out of this, because the organization, number one, doesn’t need the worry-wart constantly around, trying to figure it out. It can stand on its own.”\u003c/p>\n\u003cp>Indeed, SFJAZZ has been successful, with over 90% attendance, doing 500 shows a year, Kline says. “We’ve got this great touring band, and great staff, and great board, and what could be better?”\u003c/p>\n\u003cp>So, Kline says, “Starting the fifth decade, I thought, ‘Well, this seems like such a natural thing.’”\u003c/p>\n\u003cfigure id=\"attachment_13910920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RandallKline.2003-800x803.jpg\" alt=\"\" width=\"800\" height=\"803\" class=\"size-medium wp-image-13910920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003-1530x1536.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Randall Kline in 2003. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kline’s Five Most Memorable SFJAZZ Shows\u003c/h3>\n\u003cp>To break the fourth wall a little bit: I have met Kline in person exactly once, and briefly, before a site-specific SFJAZZ performance of John Luther Adams’ \u003cem>Inuksuit\u003c/em> at Sutro Baths. But as I’ve observed him over the past 15 years, sometimes as a journalist but primarily as a jazz fan, he’s struck me as a person who does it because he truly loves the music, and the musicians who create it. Think Hardly Strictly Bluegrass founder Warren Hellman, minus the billion dollars.\u003c/p>\n\u003cp>So to mark the news of his stepping down, I wanted to ask Kline to pick his five most memorable shows out of the thousands he’s presented over the past four decades.\u003c/p>\n\u003cp>“This is the hardest question to answer,” he says. But he’s game.\u003c/p>\n\u003cp>Read on for Randall Kline’s five top picks—in his own words, edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13910904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910904\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/BraxtonGrace.jpg\" alt=\"A man stands before a historic gothic cathedral\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BraxtonGrace.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BraxtonGrace-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BraxtonGrace-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Braxton at Grace Cathedral in 1986. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Anthony Braxton at Grace Cathedral, 1986\u003c/h2>\n\u003cp>I approached Anthony. I remember going to his house in Oakland. He had this great model train set, and I can’t believe I’m sitting here with Anthony Braxton, asking, “What do you want to do at Grace Cathedral?” He came with me there one day, we walked around, and he came up with this idea: two orchestras, one on one altar, one on the font at the other end of the aisle. Kent Nagano conducted one of the orchestras. Anthony wanted six soprano saxophone players to walk up and down the aisle between the two orchestras, and they had to be dressed in these white space suits. June Watanabe, the modern dancer, was on the other stage. It was this outrageous thing.\u003c/p>\n\u003cp>What happened that was so great about it was Phil Elwood, the esteemed critic, came up to me after that performance and just read me the riot act. “How can you waste the National Endowment”—we had just got our first NEA money—”you waste it on this awful… you call this music? This has nothing to do with jazz. This is just terrible!” And I thought, like, “This is great!” I liked Phil, but it was just great that you could do art, Anthony could write something beautiful, that could push the boundaries a little bit. That’s one big memory about allowing artists to do things.\u003c/p>\n\u003cfigure id=\"attachment_13910905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910905\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Ornette.1993.jpg\" alt=\"A man plays a saxophone, slightly hunched over\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ornette.1993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ornette.1993-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ornette.1993-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman at the Vienne Jazz Festival in France, 1994, the same year of his notorious ‘Tone Dialing’ premiere at SFJAZZ. \u003ccite>(David Redfern/Redferns/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ornette Coleman at Masonic Auditorium, 1994\u003c/h2>\n\u003cp>We had done an Ornette concert before and it went great. I approached him again and he said, “I want to have some Harmolodic speakers, and maybe I want to maybe involve a fakir.” He also wanted to come back to playing with a piano. Great. And then it’s, “Oh, I’ve got a friend who wants to do some video stuff. He has worked with Peter Gabriel.” This was the beginning of these live graphics happening with cameras.\u003c/p>\n\u003cp>The day of the show, I got a call from our stage manager: “I’ve seen the rehearsal here going on and… there might be some piercing happening on stage.” I said, “Well, look, if this is Ornette’s intent here…” I just didn’t think anything of it. I’ve got full trust in what he was going to do.\u003c/p>\n\u003cp>The \u003ca href=\"https://vimeo.com/476913223\" target=\"_blank\" rel=\"noopener noreferrer\">quartet plays and it’s fantastic\u003c/a>. Then the speaker introduces the fakir, and the guy walks out and he looks like an accountant to me; it doesn’t look like my idea of a fakir. And he starts talking about body mutilation. Then he calls two assistants, this beautiful young woman and a beautiful young guy, and he starts piercing her cheek. The camera’s closing in, you can see a little drop of blood coming down. Nobody saw this coming. The audience starts getting very uncomfortable, and at some point people start yelling at the stage. It was like \u003cem>The Rites of Spring\u003c/em> starting to happen.\u003c/p>\n\u003cp>They’re piercing cheeks and ears. And then at some point the woman drops her robe and he’s going to pierce her breasts. And at that point, people are shouting, “Get this misogynist off the stage.” And eventually, the culmination was—this guy pierces with swords—he actually did one horizontal and two vertical down each of her breasts.\u003c/p>\n\u003cp>At intermission, all our sponsors are there, and this guy named Russ Campbell, who had given us cash on behalf of Embarcadero Center, he comes towards me in a beeline. “Randall, that was amazing! What a happening! This is so great, this is so San Francisco. It’s this fantastic thing.” Then I see Phil Elwood again, and this time it’s not just wasting the NEA’s money; it’s blasphemous.\u003c/p>\n\u003cp>That concert became legendary. I think maybe two dozen people got refunds at intermission. The second half was much tamer than the first half, but that was like, “Okay, this is as memorable as it gets.”\u003c/p>\n\u003cfigure id=\"attachment_13910906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/SonnySImmons.jpg\" alt=\"A man plays a saxophone, eyes closed\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SonnySImmons.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SonnySImmons-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SonnySImmons-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonny Simmons opening for Branford Marsalis at the Masonic Auditorium, 1994. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonny Simmons at Masonic Auditorium, 1994\u003c/h2>\n\u003cp>I was riding my bike home from work at night, in the summer. And as I’m turning off of Market crossing Post Street, I hear this incredible saxophone player playing. Not just some street musician, but some unbelievable music. It’s eight o’clock. There’s no one out for a street musician to be playing for, to make money. I ride past it and I go two blocks. And I just say, “I can’t. I’ve got to turn around.” I go back, and I get a listen, and I drop a dollar in his saxophone case. And say, “Hi, who are you?” He says, “Oh, well, my name’s Sonny Simmons.”\u003c/p>\n\u003cp>And my jaw drops. I think, “Oh my God. I can’t believe this.” I start getting in this conversation with him. “What are you doing?” “Oh, I’m coming back, and this is just a great place to practice.” I asked: “Can you give me a way to contact you?”\u003c/p>\n\u003cp>Branford Marsalis was playing for us at the Masonic a month or two later. I called Branford, and I said, “Look, the most beautiful thing just happened. I ran into Sonny Simmons on the street, he’s got a band together. What do you think about him opening for you at the Masonic?” And Branford said sure, yeah, without hesitation.\u003c/p>\n\u003cp>They sounded great, and Sonny had a bit of a revival—he was playing around a lot and had a bit of a resurgence. There’s \u003ca href=\"https://www.youtube.com/watch?v=6Pi5dNG4snQ\" target=\"_blank\" rel=\"noopener noreferrer\">a documentary\u003c/a> that was made about it. It was just a beautiful, beautiful moment.\u003c/p>\n\u003cfigure id=\"attachment_13910907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-800x533.jpg\" alt=\"A quartet performs on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Nicholas Payton, Matthew Garrison, Ravi Coltrane, Marcus Gilmore and Adam Rogers play ‘ Love Supreme’ at the SFJAZZ Center in 2014. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>50th Anniversary of ‘A Love Supreme’ at SFJAZZ Center, 2014\u003c/h2>\n\u003cp>Ravi Coltrane put together these four nights for the 50th anniversary of \u003cem>A Love Supreme\u003c/em>. I’ve never had a better musical experience, I can say, than the night with Nicholas Payton, Roy Haynes’s grandson Marcus Gilmore on drums, Jimmy Garrison’s son Matt Garrison on bass, and Adam Rogers on guitar. Recreating \u003cem>A Love Supreme\u003c/em>. No musician likes to play \u003cem>A Love Supreme\u003c/em>, because this is the untouchable thing. It is sacred.\u003c/p>\n\u003cp>Everything about it, the lights, the sound, it was like magic from the first note. They did two performances that night. I was there sitting with my wife, and she’s a music fan, but she’s not this diehard kind of fan. I said to her, “Do you want to stay for the second show?” She said: “What are you even \u003cem>asking\u003c/em> me?”\u003c/p>\n\u003cp>Everything about it, the respect for the music, how seriously they took it, how heartfelt it was, it was just gorgeous. Absolutely gorgeous. I can almost remember every note of it.\u003c/p>\n\u003cfigure id=\"attachment_13910908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/JoeH.jpg\" alt=\"A man plays saxophone\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/JoeH.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/JoeH-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/JoeH-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Henderson in 1989, one year before his concert at Grace Cathedral with Zakir Hussain. \u003ccite>(David Redfern/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Joe Henderson and Zakir Hussain at Grace Cathedral, 1990\u003c/h2>\n\u003cp>I’ve got to go back to Grace Cathedral. Two great, great masters. Joe played such an unbelievably important role in this organization’s growth, and it was before his big revival. We had been figuring out how to make things work at Grace, with its six-second reverberation, and I approached Joe, “What do you think about Zakir?” And, “Zakir, what do you think about Joe?” “Count me in and we’ll do it.”\u003c/p>\n\u003cp>Both rehearsals get canceled; they just kind of show up to the thing. We added drama to it with these lights we had hung up in the top of the thing, and our lighting designer wanted to bring a smoke machine so you get those rock-like effects. And the verger said, “You don’t need to bring a smoke machine. Let’s do it God’s way, and let’s cense the place.”\u003c/p>\n\u003cp>So he pulls out the censers with the Frankincense, they walk up and down the aisles, and they get it filled with this incredible smell of the Frankincense and these beautiful shafts of light. And Joe started the concert in the organ loft at the back of the cathedral by the font, so that all you could do was hear him. You couldn’t see him.\u003c/p>\n\u003cp>Then Zakir starts on the altar. Joe takes this elevator down to the floor. They eventually meet in the center in the aisle. It was very dramatic, and it was just pure magic.\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"excerpt": "The founder of SFJAZZ will step down in 2023; meanwhile, he looks back at his five most memorable shows.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13910918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Wayne.Randall.SFJAZZ.MAIN_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13910918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Wayne.Randall.SFJAZZ.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Wayne.Randall.SFJAZZ.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Wayne.Randall.SFJAZZ.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Wayne.Randall.SFJAZZ.MAIN_.jpg 954w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter accepts the lifetime achievement award on behalf of Joni Mitchell from SFJAZZ founder and artistic director Randall Kline, in 2015. \u003ccite>(Drew Altizer Photography/KQED File Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Randall Kline, SFJAZZ’s executive artistic director who founded the organization nearly 40 years ago, will step down from his role in November of 2023, the organization has announced.\u003c/p>\n\u003cp>Kline, the public face of SFJAZZ, assured in a statement that “SFJAZZ is in a position of strength, with a great board, management team, and staff. It has been an extraordinary journey and I’m proud to have been a part of it.”\u003c/p>\n\u003cp>In a conversation last week over Zoom, when I ask why he’s made the decision, he warns me he’s “going to be long-winded here,” and gives me a 15-minute answer that basically boils down to “the time is right.”\u003c/p>\n\u003cfigure id=\"attachment_13910919\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Randall-Kline.headshot.square-1020x1020.jpg\" alt=\"\" width=\"640\" height=\"640\" class=\"size-large wp-image-13910919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Randall-Kline.headshot.square.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Randall Kline, who founded SFJAZZ in 1983, will step down from his role next year. \u003ccite>(Ross Eustis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kline, 68, loves to tell good stories. He also loves numbers, and notes that SFJAZZ has moved in 10-year cycles. He founded it as Jazz in the City in 1983; it became the San Francisco Jazz Festival, and then went year-round 1993; around 2003 it expanded into SFJAZZ; and the SFJAZZ Center opened in 2013.\u003c/p>\n\u003cp>As for stepping down, “Obviously, I’m getting older,” he tells me. “You think about these things as you get older. But this has been a very intimate relationship, like a family kind of thing… and inevitably, I’m going to leave at some point.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The year 2023, SFJAZZ’s next 10-year mark, was all the evidence he needed. (He doesn’t say it, but I suspect this fixation on the number 10 may have something to do with Thelonius Monk’s birthdate, Oct. 10, which SFJAZZ celebrates every year.) A search for his replacement will start this summer.\u003c/p>\n\u003cp>“It’s very hard for me to separate the organization from myself at this point,” Kline says, adding, “If anyone wants to hear an opinion, I’ll be there after. It’s not like I’m cutting off here. This is a place I hope to come back a lot to, and enjoy, and do what I can.”\u003c/p>\n\u003cfigure id=\"attachment_13910901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/SFJAZZ.programs.jpg\" alt=\"Two covers of programs, one from SFJAZZ's 10th annual festival, one from the 25th\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SFJAZZ.programs.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SFJAZZ.programs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SFJAZZ.programs-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Just two of the many programs for SFJAZZ’s annual offerings. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hitchhiking to San Francisco in 1974\u003c/h2>\n\u003cp>It’s been quite a ride for the college football player-turned-bassist who first hitchhiked to San Francisco in 1974. Kline moved to the city shortly afterward with $600, a motorcycle, a bass and an amp, and “no fucking clue what I was gonna do.” One day, after knocking on the door of the legendary nightclub the Boarding House a few times during his bike messenger rounds, Kline got a job working the side door for a Manhattan Transfer show.\u003c/p>\n\u003cp>Kline stayed at the Boarding House for two years, osmosing the music from the stage—“Bob Marley and the Wailers, Willie Nelson, Crystal Gayle, Emmylou Harris with an amazing band, Stan Getz”—and learning the live music business. Steve Martin’s residencies provided him with another insight: that performing on stage, “if you want to be really great at, it’s \u003cem>work\u003c/em>.” (Kline will often tell people he has the easy job: “It’s the musicians who have the hard gig.”)\u003c/p>\n\u003cp>Kline booked his first jazz show in 1981, with Kenny Burrell headlining at the Gold Rush, a cowboy bar in San Jose. Two years later, with $10,000 from Grants for the Arts and a soundman from the Boarding House named Clint Gilbert, Kline booked a two-night slate of Bay Area artists and launched Jazz in the City.\u003c/p>\n\u003cp>It may seem like hyperbole, but San Francisco’s cultural landscape has not been the same since.\u003c/p>\n\u003cfigure id=\"attachment_13910902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-800x338.jpg\" alt=\"A corner-lot building with windows lit up\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1-1536x648.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/sf-jazz-center-directions-1920x810-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The SFJAZZ Center at Franklin and Fell Streets was completed in 2013. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Full Seats, Great Staff: ‘What Could Be Better?’\u003c/h2>\n\u003cp>At the opening in 2013 of the $64 million, 3,500-square-foot SFJAZZ Center, Kline says, he was occasionally asked how proud he felt. His answer at the time, cribbed from an aside in then-Mayor Gavin Newsom’s speech at the grand opening of the ill-fated San Francisco Yoshi’s, was “ask me in three years.”\u003c/p>\n\u003cp>Kline was concerned about sustainability. “And I didn’t feel a lot better at three years. Then it got to five years and I still had the same kind of anxiety in a certain kind of way, how we’ve got to make sure this thing really works,” he says. “And so I realized at some point, I \u003cem>do\u003c/em> have to cut out of this, because the organization, number one, doesn’t need the worry-wart constantly around, trying to figure it out. It can stand on its own.”\u003c/p>\n\u003cp>Indeed, SFJAZZ has been successful, with over 90% attendance, doing 500 shows a year, Kline says. “We’ve got this great touring band, and great staff, and great board, and what could be better?”\u003c/p>\n\u003cp>So, Kline says, “Starting the fifth decade, I thought, ‘Well, this seems like such a natural thing.’”\u003c/p>\n\u003cfigure id=\"attachment_13910920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RandallKline.2003-800x803.jpg\" alt=\"\" width=\"800\" height=\"803\" class=\"size-medium wp-image-13910920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003-1530x1536.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RandallKline.2003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Randall Kline in 2003. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kline’s Five Most Memorable SFJAZZ Shows\u003c/h3>\n\u003cp>To break the fourth wall a little bit: I have met Kline in person exactly once, and briefly, before a site-specific SFJAZZ performance of John Luther Adams’ \u003cem>Inuksuit\u003c/em> at Sutro Baths. But as I’ve observed him over the past 15 years, sometimes as a journalist but primarily as a jazz fan, he’s struck me as a person who does it because he truly loves the music, and the musicians who create it. Think Hardly Strictly Bluegrass founder Warren Hellman, minus the billion dollars.\u003c/p>\n\u003cp>So to mark the news of his stepping down, I wanted to ask Kline to pick his five most memorable shows out of the thousands he’s presented over the past four decades.\u003c/p>\n\u003cp>“This is the hardest question to answer,” he says. But he’s game.\u003c/p>\n\u003cp>Read on for Randall Kline’s five top picks—in his own words, edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13910904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910904\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/BraxtonGrace.jpg\" alt=\"A man stands before a historic gothic cathedral\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BraxtonGrace.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BraxtonGrace-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/BraxtonGrace-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Braxton at Grace Cathedral in 1986. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Anthony Braxton at Grace Cathedral, 1986\u003c/h2>\n\u003cp>I approached Anthony. I remember going to his house in Oakland. He had this great model train set, and I can’t believe I’m sitting here with Anthony Braxton, asking, “What do you want to do at Grace Cathedral?” He came with me there one day, we walked around, and he came up with this idea: two orchestras, one on one altar, one on the font at the other end of the aisle. Kent Nagano conducted one of the orchestras. Anthony wanted six soprano saxophone players to walk up and down the aisle between the two orchestras, and they had to be dressed in these white space suits. June Watanabe, the modern dancer, was on the other stage. It was this outrageous thing.\u003c/p>\n\u003cp>What happened that was so great about it was Phil Elwood, the esteemed critic, came up to me after that performance and just read me the riot act. “How can you waste the National Endowment”—we had just got our first NEA money—”you waste it on this awful… you call this music? This has nothing to do with jazz. This is just terrible!” And I thought, like, “This is great!” I liked Phil, but it was just great that you could do art, Anthony could write something beautiful, that could push the boundaries a little bit. That’s one big memory about allowing artists to do things.\u003c/p>\n\u003cfigure id=\"attachment_13910905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910905\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Ornette.1993.jpg\" alt=\"A man plays a saxophone, slightly hunched over\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ornette.1993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ornette.1993-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ornette.1993-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman at the Vienne Jazz Festival in France, 1994, the same year of his notorious ‘Tone Dialing’ premiere at SFJAZZ. \u003ccite>(David Redfern/Redferns/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ornette Coleman at Masonic Auditorium, 1994\u003c/h2>\n\u003cp>We had done an Ornette concert before and it went great. I approached him again and he said, “I want to have some Harmolodic speakers, and maybe I want to maybe involve a fakir.” He also wanted to come back to playing with a piano. Great. And then it’s, “Oh, I’ve got a friend who wants to do some video stuff. He has worked with Peter Gabriel.” This was the beginning of these live graphics happening with cameras.\u003c/p>\n\u003cp>The day of the show, I got a call from our stage manager: “I’ve seen the rehearsal here going on and… there might be some piercing happening on stage.” I said, “Well, look, if this is Ornette’s intent here…” I just didn’t think anything of it. I’ve got full trust in what he was going to do.\u003c/p>\n\u003cp>The \u003ca href=\"https://vimeo.com/476913223\" target=\"_blank\" rel=\"noopener noreferrer\">quartet plays and it’s fantastic\u003c/a>. Then the speaker introduces the fakir, and the guy walks out and he looks like an accountant to me; it doesn’t look like my idea of a fakir. And he starts talking about body mutilation. Then he calls two assistants, this beautiful young woman and a beautiful young guy, and he starts piercing her cheek. The camera’s closing in, you can see a little drop of blood coming down. Nobody saw this coming. The audience starts getting very uncomfortable, and at some point people start yelling at the stage. It was like \u003cem>The Rites of Spring\u003c/em> starting to happen.\u003c/p>\n\u003cp>They’re piercing cheeks and ears. And then at some point the woman drops her robe and he’s going to pierce her breasts. And at that point, people are shouting, “Get this misogynist off the stage.” And eventually, the culmination was—this guy pierces with swords—he actually did one horizontal and two vertical down each of her breasts.\u003c/p>\n\u003cp>At intermission, all our sponsors are there, and this guy named Russ Campbell, who had given us cash on behalf of Embarcadero Center, he comes towards me in a beeline. “Randall, that was amazing! What a happening! This is so great, this is so San Francisco. It’s this fantastic thing.” Then I see Phil Elwood again, and this time it’s not just wasting the NEA’s money; it’s blasphemous.\u003c/p>\n\u003cp>That concert became legendary. I think maybe two dozen people got refunds at intermission. The second half was much tamer than the first half, but that was like, “Okay, this is as memorable as it gets.”\u003c/p>\n\u003cfigure id=\"attachment_13910906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/SonnySImmons.jpg\" alt=\"A man plays a saxophone, eyes closed\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SonnySImmons.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SonnySImmons-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/SonnySImmons-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonny Simmons opening for Branford Marsalis at the Masonic Auditorium, 1994. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonny Simmons at Masonic Auditorium, 1994\u003c/h2>\n\u003cp>I was riding my bike home from work at night, in the summer. And as I’m turning off of Market crossing Post Street, I hear this incredible saxophone player playing. Not just some street musician, but some unbelievable music. It’s eight o’clock. There’s no one out for a street musician to be playing for, to make money. I ride past it and I go two blocks. And I just say, “I can’t. I’ve got to turn around.” I go back, and I get a listen, and I drop a dollar in his saxophone case. And say, “Hi, who are you?” He says, “Oh, well, my name’s Sonny Simmons.”\u003c/p>\n\u003cp>And my jaw drops. I think, “Oh my God. I can’t believe this.” I start getting in this conversation with him. “What are you doing?” “Oh, I’m coming back, and this is just a great place to practice.” I asked: “Can you give me a way to contact you?”\u003c/p>\n\u003cp>Branford Marsalis was playing for us at the Masonic a month or two later. I called Branford, and I said, “Look, the most beautiful thing just happened. I ran into Sonny Simmons on the street, he’s got a band together. What do you think about him opening for you at the Masonic?” And Branford said sure, yeah, without hesitation.\u003c/p>\n\u003cp>They sounded great, and Sonny had a bit of a revival—he was playing around a lot and had a bit of a resurgence. There’s \u003ca href=\"https://www.youtube.com/watch?v=6Pi5dNG4snQ\" target=\"_blank\" rel=\"noopener noreferrer\">a documentary\u003c/a> that was made about it. It was just a beautiful, beautiful moment.\u003c/p>\n\u003cfigure id=\"attachment_13910907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-800x533.jpg\" alt=\"A quartet performs on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Ravi-Coltrane-with-Nicholas-Payton-Matthew-Garrison-Ravi-Coltrane-Marcus-Gilmore-Adam-Rogers-credit-Scott-Chernis.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Nicholas Payton, Matthew Garrison, Ravi Coltrane, Marcus Gilmore and Adam Rogers play ‘ Love Supreme’ at the SFJAZZ Center in 2014. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>50th Anniversary of ‘A Love Supreme’ at SFJAZZ Center, 2014\u003c/h2>\n\u003cp>Ravi Coltrane put together these four nights for the 50th anniversary of \u003cem>A Love Supreme\u003c/em>. I’ve never had a better musical experience, I can say, than the night with Nicholas Payton, Roy Haynes’s grandson Marcus Gilmore on drums, Jimmy Garrison’s son Matt Garrison on bass, and Adam Rogers on guitar. Recreating \u003cem>A Love Supreme\u003c/em>. No musician likes to play \u003cem>A Love Supreme\u003c/em>, because this is the untouchable thing. It is sacred.\u003c/p>\n\u003cp>Everything about it, the lights, the sound, it was like magic from the first note. They did two performances that night. I was there sitting with my wife, and she’s a music fan, but she’s not this diehard kind of fan. I said to her, “Do you want to stay for the second show?” She said: “What are you even \u003cem>asking\u003c/em> me?”\u003c/p>\n\u003cp>Everything about it, the respect for the music, how seriously they took it, how heartfelt it was, it was just gorgeous. Absolutely gorgeous. I can almost remember every note of it.\u003c/p>\n\u003cfigure id=\"attachment_13910908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/JoeH.jpg\" alt=\"A man plays saxophone\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/JoeH.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/JoeH-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/JoeH-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Henderson in 1989, one year before his concert at Grace Cathedral with Zakir Hussain. \u003ccite>(David Redfern/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Joe Henderson and Zakir Hussain at Grace Cathedral, 1990\u003c/h2>\n\u003cp>I’ve got to go back to Grace Cathedral. Two great, great masters. Joe played such an unbelievably important role in this organization’s growth, and it was before his big revival. We had been figuring out how to make things work at Grace, with its six-second reverberation, and I approached Joe, “What do you think about Zakir?” And, “Zakir, what do you think about Joe?” “Count me in and we’ll do it.”\u003c/p>\n\u003cp>Both rehearsals get canceled; they just kind of show up to the thing. We added drama to it with these lights we had hung up in the top of the thing, and our lighting designer wanted to bring a smoke machine so you get those rock-like effects. And the verger said, “You don’t need to bring a smoke machine. Let’s do it God’s way, and let’s cense the place.”\u003c/p>\n\u003cp>So he pulls out the censers with the Frankincense, they walk up and down the aisles, and they get it filled with this incredible smell of the Frankincense and these beautiful shafts of light. And Joe started the concert in the organ loft at the back of the cathedral by the font, so that all you could do was hear him. You couldn’t see him.\u003c/p>\n\u003cp>Then Zakir starts on the altar. Joe takes this elevator down to the floor. They eventually meet in the center in the aisle. It was very dramatic, and it was just pure magic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The saying goes that you have your whole life to make your first album, but Saweetie would like to know where everyone else is finding the time.\u003c/p>\n\u003cp>The 28-year-old rapper is nominated for two awards at this year’s Grammys: Best New Artist, and Best Rap Song for her Doja Cat collaboration “Best Friend.” And much like last year’s winner in both of those categories, hip-hop star Megan Thee Stallion, it’s all before releasing her debut album, the persistently-delayed \u003cem>Pretty Bitch Music\u003c/em>, now scheduled to drop this summer.\u003c/p>\n\u003cp>At this tone-setting moment in the scant few months before her debut, Saweetie is going back to basics to rekindle her creative spirit.\u003c/p>\n\u003cp>Sitting down at the Pendry hotel in West Hollywood recently, Saweetie says that for the first time in her professional career, she finally has some time scheduled to shut out the world and work on her album with no distractions.\u003c/p>\n\u003cp>“Because everything else was spot recorded—in between photo shoots, in different cities, during a hectic schedule,” she says. “The reason why I wrote so well during those freestyle days—I mean, yeah, I wasn’t making that much money—but I had all this free time on my hands.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born Diamonté Quiava Valentin Harper, Saweetie grew up moving around the Bay Area: Union City, Hayward, San Jose, Sunnyvale, Palo Alto. Always the new kid in class, she was lonely at school where she says she got used to “just not connecting with people.” But at home, it was different.\u003c/p>\n\u003cp>“I come from two big families: My Filipino Chinese side and then my Black side,” she says. “Lots of aunties and uncles, lots of cousins.” As a child of young working parents, she says her grandmothers and mother instilled in her the value of hard work and self-sufficiency as a woman. You can hear that influence when she talks about falling in love with rap as a teenager, and the research she then put into it, writing her own verses to songs like Lil Wayne’s “A Milli” and Slick Rick’s “Children’s Story.”\u003c/p>\n\u003cp>“I remember staying up in my room and just writing in my pink notebook,” she says. “I used to sit in the corner of my room on my bed and just write all night.”\u003c/p>\n\u003cp>But the notion of the hardworking woman that her grandmothers taught her is also central to the high-rolling brand Saweetie first established six years ago when she went viral freestyling over Khia’s “My Neck, My Back” in her car, in the song that eventually became “Icy Grl.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wji4b2jjYOk\u003c/p>\n\u003cp>“When I wrote ‘Icy Grl,’ it was basically a rap full of affirmations that eventually came true,” Saweetie says. For her, icy describes not only the physical trappings of wealth—nails, cars, jewelry—but more so the mentality of a woman who knows what she wants. “She’s a hustler. She’s ambitious. She’s smart. She’s just an independent woman.”\u003c/p>\n\u003cp>[aside postid='arts_13909111']Although Saweetie’s sound hasn’t solidified into any one thing yet, her icy ethos has created a distinct persona for the rapper, one that redefines longstanding stereotypes of powerful, business-oriented women and challenges the notion that frigid means sexless.\u003c/p>\n\u003cp>No other song in her catalog builds on this more than “Best Friend,” which will compete with tracks by DMX, Baby Keem, Kanye West and J. Cole for Best Rap Song at the Grammys. (\u003ca href=\"https://www.npr.org/2019/02/12/693633206/the-grammys-dont-have-a-hip-hop-problem-the-grammys-have-a-grammy-problem\" target=\"_blank\" rel=\"noopener noreferrer\">A rap fan might be side-eyeing the Recording Academy\u003c/a> for thinking that the best and most exciting rap today is still coming from the likes of Kanye, Nas, or even Jay-Z, who all appear on one of the nominated songs.) Together, Saweetie and Doja Cat are the only women among the nominees in a category that has been historically male—astonishingly so, given how vital women have been to hip-hop’s ascendency to \u003ca href=\"https://www.billboard.com/music/music-news/billboard-explains-rb-hip-hop-biggest-genre-9613422/\" target=\"_blank\" rel=\"noopener noreferrer\">the dominant genre in the United States\u003c/a> over the last five years.\u003c/p>\n\u003cp>“Best Friend”—a song that takes the debris left over from Cardi B and Megan Thee Stallion shattering the glass ceiling with “WAP”, refires it into a champagne glass, and asks us to toast the number woman in our lives—feels especially audacious sitting alongside the rest. To put it another way: It’s a rap song that passes the Bechdel test.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xJUCsyMQes\u003c/p>\n\u003cp>Even as she raps about confident women, the kind who know their best friend’s opinion is worth more than 100 men trying to make a move, Saweetie herself is still building up to that place. She says when she woke up to the news that she had been nominated in November, she didn’t know how to feel, especially after reading the reactions from people online who thought, with her chart history and without a debut album out, she didn’t have the resumé to substantiate a nod for Best New Artist. “I felt like the music industry, the internet, has a way of making you feel like you don’t deserve anything,” Saweetie says.\u003c/p>\n\u003cp>[aside postid='arts_13908051']Part of the struggle to accept her successes also comes from the gap between where she is now and where she wants to be, and just how steep the learning curve has been as she’s built her professional career over the last three and a half years since her signing.\u003c/p>\n\u003cp>In sports, Saweetie explains, “If you make the team, there is a whole infrastructure and experienced professional team that’s going to guide a rookie to becoming a mature, grown athlete.” But in music, an artist is on their own, with success depending on their business savvy and how well they hire people who can help them execute their ideas, put them in touch with the right opportunities, and leverage their careers. “The artist’s business is what the artist makes it,” she says.\u003c/p>\n\u003cp>Saweetie returns to the topic of her team often, and just how much of her momentum going forward relies on building it up to a point where she has both undisturbed time to work on her music and a schedule planned out far enough in advance to get hands-on with creative treatments for music videos months before their release, instead of just a few weeks.\u003c/p>\n\u003cp>But Saweetie is also learning to find an equilibrium between the hustle and her health.\u003c/p>\n\u003cfigure id=\"attachment_13910644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png\" alt=\"Saweetie stands in a doorway, wearing a form-fitting indigo gown, diamond chokers and long, talon-like cherry-red nails. She looks directly to the camera with a knowing half-smile.\" width=\"800\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-1020x1396.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-768x1051.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The artist’s business is what the artist makes it,” Saweetie says. \u003ccite>(Jessica Pons for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a really crazy, chaotic schedule last year, like no breaks, not sleeping, very dehydrated, very draining,” she says. While on a trip to Turks and Caicos at the end of 2021, during which she practiced the time-honored spiritual cleanse of cutting off her hair, Saweetie says three important words came to her: breaks, boundaries and balance.\u003c/p>\n\u003cp>She started practicing meditation and reiki and being more mindful of the energy she expends. “I need to fill my cup back up, because if it’s empty, then I’m running on E and that’s not good for my soul, my body or my mental health,” she says.\u003c/p>\n\u003cp>Much in the same way that Saweetie is recentering herself by filtering out negative energies and focusing on the positive, she says the title of her upcoming debut album, \u003cem>Pretty Bitch Music\u003c/em>, comes from a desire to transform two words with negative connotations for women into something meaningful and empowering.\u003c/p>\n\u003cp>[aside postid='news_11881696']“Pretty is often associated with shallowness,” she says. “When I mean pretty, I mean like someone’s self-esteem, their confidence. The women who I feel like are the most beautiful are the women who have great energy.” And in a nod to Tupac’s “Thug Life”, bitch is an acronym: boss, independent, tough, CEO, \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">hyphy\u003c/a>.\u003c/p>\n\u003cp>There’s the classic Saweetie, candid about sex on songs like “Closer”, explaining: “I’m really vocal with how Saweetie dates. I’m all about the experience. If I’m not subject to being in a relationship, if I’m out there having a good time, I’m going to speak to whoever I want to. It’s my right as a woman and I feel like every woman should feel like that.” But \u003cem>Pretty Bitch Music\u003c/em> will also unveil a softer side.\u003c/p>\n\u003cp>“In the album,” she says, “You can expect not just fun Saweetie, but what is Saweetie like when she’s feeling down? What is Saweetie like when she’s going through this?”\u003c/p>\n\u003cp>She’s not too concerned with measuring up to the ideal of a rapper, one who postures past insecurity, and if that takes her outside the genre, then so be it. “I think I’m just going to sound like an artist,” she says. After all, Saweetie thinks cultural figures—whether they’re musicians, painters, actors or athletes—achieve greatness through vulnerability.\u003c/p>\n\u003cp>“I feel like when you act like life is perfect or when you struggle with expressing your emotions and when you bottle it all up, it can backfire. And it’s backfired for me.” She says it’s been a conscious effort to let go of that idea of outward perfection, especially growing up with it coming from both sides of her family: “In the Asian culture, save face; in the Black culture, it’s don’t show no weakness.”\u003c/p>\n\u003cp>But for the Saweetie preparing to launch her next era? She’s ready to melt the ice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The audio for this story was produced by Jonaki Mehta and edited by Christopher Intagliata. The article was written by Cyrena Touros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saweetie+draws+on+her+roots+to+make+rap+that%27s+more+personal+and+intentional&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The saying goes that you have your whole life to make your first album, but Saweetie would like to know where everyone else is finding the time.\u003c/p>\n\u003cp>The 28-year-old rapper is nominated for two awards at this year’s Grammys: Best New Artist, and Best Rap Song for her Doja Cat collaboration “Best Friend.” And much like last year’s winner in both of those categories, hip-hop star Megan Thee Stallion, it’s all before releasing her debut album, the persistently-delayed \u003cem>Pretty Bitch Music\u003c/em>, now scheduled to drop this summer.\u003c/p>\n\u003cp>At this tone-setting moment in the scant few months before her debut, Saweetie is going back to basics to rekindle her creative spirit.\u003c/p>\n\u003cp>Sitting down at the Pendry hotel in West Hollywood recently, Saweetie says that for the first time in her professional career, she finally has some time scheduled to shut out the world and work on her album with no distractions.\u003c/p>\n\u003cp>“Because everything else was spot recorded—in between photo shoots, in different cities, during a hectic schedule,” she says. “The reason why I wrote so well during those freestyle days—I mean, yeah, I wasn’t making that much money—but I had all this free time on my hands.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born Diamonté Quiava Valentin Harper, Saweetie grew up moving around the Bay Area: Union City, Hayward, San Jose, Sunnyvale, Palo Alto. Always the new kid in class, she was lonely at school where she says she got used to “just not connecting with people.” But at home, it was different.\u003c/p>\n\u003cp>“I come from two big families: My Filipino Chinese side and then my Black side,” she says. “Lots of aunties and uncles, lots of cousins.” As a child of young working parents, she says her grandmothers and mother instilled in her the value of hard work and self-sufficiency as a woman. You can hear that influence when she talks about falling in love with rap as a teenager, and the research she then put into it, writing her own verses to songs like Lil Wayne’s “A Milli” and Slick Rick’s “Children’s Story.”\u003c/p>\n\u003cp>“I remember staying up in my room and just writing in my pink notebook,” she says. “I used to sit in the corner of my room on my bed and just write all night.”\u003c/p>\n\u003cp>But the notion of the hardworking woman that her grandmothers taught her is also central to the high-rolling brand Saweetie first established six years ago when she went viral freestyling over Khia’s “My Neck, My Back” in her car, in the song that eventually became “Icy Grl.”\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/Wji4b2jjYOk'\n title='//www.youtube.com/embed/Wji4b2jjYOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When I wrote ‘Icy Grl,’ it was basically a rap full of affirmations that eventually came true,” Saweetie says. For her, icy describes not only the physical trappings of wealth—nails, cars, jewelry—but more so the mentality of a woman who knows what she wants. “She’s a hustler. She’s ambitious. She’s smart. She’s just an independent woman.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although Saweetie’s sound hasn’t solidified into any one thing yet, her icy ethos has created a distinct persona for the rapper, one that redefines longstanding stereotypes of powerful, business-oriented women and challenges the notion that frigid means sexless.\u003c/p>\n\u003cp>No other song in her catalog builds on this more than “Best Friend,” which will compete with tracks by DMX, Baby Keem, Kanye West and J. Cole for Best Rap Song at the Grammys. (\u003ca href=\"https://www.npr.org/2019/02/12/693633206/the-grammys-dont-have-a-hip-hop-problem-the-grammys-have-a-grammy-problem\" target=\"_blank\" rel=\"noopener noreferrer\">A rap fan might be side-eyeing the Recording Academy\u003c/a> for thinking that the best and most exciting rap today is still coming from the likes of Kanye, Nas, or even Jay-Z, who all appear on one of the nominated songs.) Together, Saweetie and Doja Cat are the only women among the nominees in a category that has been historically male—astonishingly so, given how vital women have been to hip-hop’s ascendency to \u003ca href=\"https://www.billboard.com/music/music-news/billboard-explains-rb-hip-hop-biggest-genre-9613422/\" target=\"_blank\" rel=\"noopener noreferrer\">the dominant genre in the United States\u003c/a> over the last five years.\u003c/p>\n\u003cp>“Best Friend”—a song that takes the debris left over from Cardi B and Megan Thee Stallion shattering the glass ceiling with “WAP”, refires it into a champagne glass, and asks us to toast the number woman in our lives—feels especially audacious sitting alongside the rest. To put it another way: It’s a rap song that passes the Bechdel test.\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/_xJUCsyMQes'\n title='//www.youtube.com/embed/_xJUCsyMQes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even as she raps about confident women, the kind who know their best friend’s opinion is worth more than 100 men trying to make a move, Saweetie herself is still building up to that place. She says when she woke up to the news that she had been nominated in November, she didn’t know how to feel, especially after reading the reactions from people online who thought, with her chart history and without a debut album out, she didn’t have the resumé to substantiate a nod for Best New Artist. “I felt like the music industry, the internet, has a way of making you feel like you don’t deserve anything,” Saweetie says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Part of the struggle to accept her successes also comes from the gap between where she is now and where she wants to be, and just how steep the learning curve has been as she’s built her professional career over the last three and a half years since her signing.\u003c/p>\n\u003cp>In sports, Saweetie explains, “If you make the team, there is a whole infrastructure and experienced professional team that’s going to guide a rookie to becoming a mature, grown athlete.” But in music, an artist is on their own, with success depending on their business savvy and how well they hire people who can help them execute their ideas, put them in touch with the right opportunities, and leverage their careers. “The artist’s business is what the artist makes it,” she says.\u003c/p>\n\u003cp>Saweetie returns to the topic of her team often, and just how much of her momentum going forward relies on building it up to a point where she has both undisturbed time to work on her music and a schedule planned out far enough in advance to get hands-on with creative treatments for music videos months before their release, instead of just a few weeks.\u003c/p>\n\u003cp>But Saweetie is also learning to find an equilibrium between the hustle and her health.\u003c/p>\n\u003cfigure id=\"attachment_13910644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png\" alt=\"Saweetie stands in a doorway, wearing a form-fitting indigo gown, diamond chokers and long, talon-like cherry-red nails. She looks directly to the camera with a knowing half-smile.\" width=\"800\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-800x1095.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-1020x1396.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-160x219.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM-768x1051.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-16-at-10.44.54-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The artist’s business is what the artist makes it,” Saweetie says. \u003ccite>(Jessica Pons for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had a really crazy, chaotic schedule last year, like no breaks, not sleeping, very dehydrated, very draining,” she says. While on a trip to Turks and Caicos at the end of 2021, during which she practiced the time-honored spiritual cleanse of cutting off her hair, Saweetie says three important words came to her: breaks, boundaries and balance.\u003c/p>\n\u003cp>She started practicing meditation and reiki and being more mindful of the energy she expends. “I need to fill my cup back up, because if it’s empty, then I’m running on E and that’s not good for my soul, my body or my mental health,” she says.\u003c/p>\n\u003cp>Much in the same way that Saweetie is recentering herself by filtering out negative energies and focusing on the positive, she says the title of her upcoming debut album, \u003cem>Pretty Bitch Music\u003c/em>, comes from a desire to transform two words with negative connotations for women into something meaningful and empowering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Pretty is often associated with shallowness,” she says. “When I mean pretty, I mean like someone’s self-esteem, their confidence. The women who I feel like are the most beautiful are the women who have great energy.” And in a nod to Tupac’s “Thug Life”, bitch is an acronym: boss, independent, tough, CEO, \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">hyphy\u003c/a>.\u003c/p>\n\u003cp>There’s the classic Saweetie, candid about sex on songs like “Closer”, explaining: “I’m really vocal with how Saweetie dates. I’m all about the experience. If I’m not subject to being in a relationship, if I’m out there having a good time, I’m going to speak to whoever I want to. It’s my right as a woman and I feel like every woman should feel like that.” But \u003cem>Pretty Bitch Music\u003c/em> will also unveil a softer side.\u003c/p>\n\u003cp>“In the album,” she says, “You can expect not just fun Saweetie, but what is Saweetie like when she’s feeling down? What is Saweetie like when she’s going through this?”\u003c/p>\n\u003cp>She’s not too concerned with measuring up to the ideal of a rapper, one who postures past insecurity, and if that takes her outside the genre, then so be it. “I think I’m just going to sound like an artist,” she says. After all, Saweetie thinks cultural figures—whether they’re musicians, painters, actors or athletes—achieve greatness through vulnerability.\u003c/p>\n\u003cp>“I feel like when you act like life is perfect or when you struggle with expressing your emotions and when you bottle it all up, it can backfire. And it’s backfired for me.” She says it’s been a conscious effort to let go of that idea of outward perfection, especially growing up with it coming from both sides of her family: “In the Asian culture, save face; in the Black culture, it’s don’t show no weakness.”\u003c/p>\n\u003cp>But for the Saweetie preparing to launch her next era? She’s ready to melt the ice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio for this story was produced by Jonaki Mehta and edited by Christopher Intagliata. The article was written by Cyrena Touros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saweetie+draws+on+her+roots+to+make+rap+that%27s+more+personal+and+intentional&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Crybaby, a New Nightclub in Oakland, Opens With Promising Lineup of Shows",
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"content": "\u003cp>This weekend marks the grand opening of \u003ca href=\"https://www.instagram.com/crybabyoakland/\" rel=\"noopener noreferrer\" target=\"_blank\">Crybaby\u003c/a>, a new 400-capacity nightclub located in the former Uptown Nightclub building in Oakland—and from its initial schedule of shows, the 21-and-up venue appears ready to make its mark as a promising new independent venue in the Bay Area.\u003c/p>\n\u003cp>Crybaby’s official opening arrives March 4, coinciding with the area’s popular First Fridays, with DJs Shortkut, D-Sharp and Lady Ryan. Saturday, March 5 brings electro-funk revivalist Dam-Funk, and on Sunday, March 6, it’s a hardcore bill topped by Trash Talk.\u003c/p>\n\u003cp>A similar diversity and genre-agnosticism runs through the club’s calendar through April. Upcoming shows include touring hip-hop acts like Armand Hammer and Bbymutha, UK footwork/jungle DJ Sherelle, Chilean reggaetón artist Tomasa Del Real, SoCal hardcore band Xibalba, and the return of local lowrider-soul DJ party Suavecito Souldies.\u003c/p>\n\u003cfigure id=\"attachment_13910021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/dam-funk-press-2016-800x529.jpg\" alt=\"A man in a red fedora, against a red background, wearing a red jacket\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/dam-funk-press-2016-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/dam-funk-press-2016-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/dam-funk-press-2016-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/dam-funk-press-2016-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/dam-funk-press-2016.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dam-Funk plays Crybaby’s opening weekend on Saturday, March 5. \u003ccite>(J3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a welcome revival not only for the site of the Uptown, which closed citing pandemic losses in 2020, but for the landscape of independently run venues in the Bay Area. In the past five years, large live-music entities like Live Nation and Goldenvoice have \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\" target=\"_blank\" rel=\"noopener noreferrer\">taken over smaller and smaller concert spaces\u003c/a> in the Bay Area, and independent venues like Slim’s have closed.\u003c/p>\n\u003cp>Crybaby’s founders—Dominic Green, Jesse Tittsworth, Miles Palliser and Conrad Loebl—aren’t going for an “ultralounge” format like \u003ca href=\"https://www.kqed.org/arts/13899093/i-went-to-yolo-the-nightclub-that-replaced-slims-so-you-dont-have-to\" target=\"_blank\" rel=\"noopener noreferrer\">the one that replaced Slim’s\u003c/a>. Rather, they want “a nightclub without social barriers,” as \u003ca href=\"https://www.billboard.com/pro/venue-crybaby-open-oakland-march/\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard reported\u003c/a> in January. “I felt like a lot of that was being lost, particularly in some places here in Oakland,” Green told the magazine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Green has deep local roots—his grandfather was a mayor of Berkeley, and his father was a jazz promoter, Billboard reports—and Palliser is a partner in The Athletic Club, a sports bar in Oakland and San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13910018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-800x533.jpg\" alt=\"A large empty venue with a mahogany bar to the left and small stage to the right\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13910018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crybaby’s 400-capacity room includes the original mahogany bar from the former Uptown Nightclub site in Oakland. \u003ccite>(Crybaby Nightclub)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tittsworth was a cofounder of Washington D.C.’s modest, inviting 500-capacity U Street Music Hall. That venue closed in 2020, but its ethos (“No dress code. No bottle service. No party photographers. No VIP areas,” wrote the \u003cem>Washington Post\u003c/em> upon its opening in 2010) seems to be a guiding star for \u003ca href=\"https://crybaby.live/support/#faq\" target=\"_blank\" rel=\"noopener noreferrer\">Crybaby’s policies\u003c/a>. Loebl, with years of booking experience at clubs in cities like Los Angeles and Portland, will handle the in-house talent buying and calendar, as well as work with other promoters.\u003c/p>\n\u003cp>As for the venue’s historic mahogany bar? As \u003ca href=\"https://oaklandside.org/2022/03/02/crybaby-opens-this-weekend-where-the-uptown-nightclub-used-to-be/\" target=\"_blank\" rel=\"noopener noreferrer\">Azucena Rasilla of Oaklandside reports\u003c/a>, it’s staying, and original murals by local artists Xavier Schipani and Berk now adorn the entrance and patio.\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>Crybaby opens Friday, March 4. \u003ca href=\"https://crybaby.live/\" target=\"_blank\" rel=\"noopener noreferrer\">Details and list of upcoming shows here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend marks the grand opening of \u003ca href=\"https://www.instagram.com/crybabyoakland/\" rel=\"noopener noreferrer\" target=\"_blank\">Crybaby\u003c/a>, a new 400-capacity nightclub located in the former Uptown Nightclub building in Oakland—and from its initial schedule of shows, the 21-and-up venue appears ready to make its mark as a promising new independent venue in the Bay Area.\u003c/p>\n\u003cp>Crybaby’s official opening arrives March 4, coinciding with the area’s popular First Fridays, with DJs Shortkut, D-Sharp and Lady Ryan. Saturday, March 5 brings electro-funk revivalist Dam-Funk, and on Sunday, March 6, it’s a hardcore bill topped by Trash Talk.\u003c/p>\n\u003cp>A similar diversity and genre-agnosticism runs through the club’s calendar through April. Upcoming shows include touring hip-hop acts like Armand Hammer and Bbymutha, UK footwork/jungle DJ Sherelle, Chilean reggaetón artist Tomasa Del Real, SoCal hardcore band Xibalba, and the return of local lowrider-soul DJ party Suavecito Souldies.\u003c/p>\n\u003cfigure id=\"attachment_13910021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/dam-funk-press-2016-800x529.jpg\" alt=\"A man in a red fedora, against a red background, wearing a red jacket\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/dam-funk-press-2016-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/dam-funk-press-2016-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/dam-funk-press-2016-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/dam-funk-press-2016-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/dam-funk-press-2016.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dam-Funk plays Crybaby’s opening weekend on Saturday, March 5. \u003ccite>(J3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a welcome revival not only for the site of the Uptown, which closed citing pandemic losses in 2020, but for the landscape of independently run venues in the Bay Area. In the past five years, large live-music entities like Live Nation and Goldenvoice have \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\" target=\"_blank\" rel=\"noopener noreferrer\">taken over smaller and smaller concert spaces\u003c/a> in the Bay Area, and independent venues like Slim’s have closed.\u003c/p>\n\u003cp>Crybaby’s founders—Dominic Green, Jesse Tittsworth, Miles Palliser and Conrad Loebl—aren’t going for an “ultralounge” format like \u003ca href=\"https://www.kqed.org/arts/13899093/i-went-to-yolo-the-nightclub-that-replaced-slims-so-you-dont-have-to\" target=\"_blank\" rel=\"noopener noreferrer\">the one that replaced Slim’s\u003c/a>. Rather, they want “a nightclub without social barriers,” as \u003ca href=\"https://www.billboard.com/pro/venue-crybaby-open-oakland-march/\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard reported\u003c/a> in January. “I felt like a lot of that was being lost, particularly in some places here in Oakland,” Green told the magazine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Green has deep local roots—his grandfather was a mayor of Berkeley, and his father was a jazz promoter, Billboard reports—and Palliser is a partner in The Athletic Club, a sports bar in Oakland and San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13910018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-800x533.jpg\" alt=\"A large empty venue with a mahogany bar to the left and small stage to the right\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13910018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/CrybabyNightclub.MAIN_-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crybaby’s 400-capacity room includes the original mahogany bar from the former Uptown Nightclub site in Oakland. \u003ccite>(Crybaby Nightclub)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tittsworth was a cofounder of Washington D.C.’s modest, inviting 500-capacity U Street Music Hall. That venue closed in 2020, but its ethos (“No dress code. No bottle service. No party photographers. No VIP areas,” wrote the \u003cem>Washington Post\u003c/em> upon its opening in 2010) seems to be a guiding star for \u003ca href=\"https://crybaby.live/support/#faq\" target=\"_blank\" rel=\"noopener noreferrer\">Crybaby’s policies\u003c/a>. Loebl, with years of booking experience at clubs in cities like Los Angeles and Portland, will handle the in-house talent buying and calendar, as well as work with other promoters.\u003c/p>\n\u003cp>As for the venue’s historic mahogany bar? As \u003ca href=\"https://oaklandside.org/2022/03/02/crybaby-opens-this-weekend-where-the-uptown-nightclub-used-to-be/\" target=\"_blank\" rel=\"noopener noreferrer\">Azucena Rasilla of Oaklandside reports\u003c/a>, it’s staying, and original murals by local artists Xavier Schipani and Berk now adorn the entrance and patio.\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>Crybaby opens Friday, March 4. \u003ca href=\"https://crybaby.live/\" target=\"_blank\" rel=\"noopener noreferrer\">Details and list of upcoming shows here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Michael Tilson Thomas, the former longtime music director of the San Francisco Symphony, announced Wednesday that he has an aggressive form of brain cancer and is taking a step back from professional life.\u003c/p>\n\u003cp>The conductor and composer shared the news publicly for the first time in a signed letter sent to the media by his New York publicist, Constance Shuman.\u003c/p>\n\u003cp>Tilson Thomas has been diagnosed with Glioblastoma Multiforme, a serious form of brain cancer, he says. He has undergone radiotherapy, chemotherapy and surgery to remove the visible signs of the disease. “Currently the cancer is in check,” he writes. “But the future is uncertain as Glioblastoma is a stealthy adversary. Its recurrence is, unfortunately, the rule rather than the exception.”\u003c/p>\n\u003cp>“It takes strength to meet the demands of the music and to collaborate on the highest level with the remarkable musicians who so generously welcomed me,” Tilson Thomas writes in the letter, with reference to the major orchestras including the San Francisco Symphony, the New York Philharmonic and the Los Angeles Philharmonic whom he has led in 20 concerts in recent months. “I now see that it is time for me to consider what level of work and responsibilities I can sustain in the future.”\u003c/p>\n\u003cp>“It was so amazing to have Michael back this January with the magnificent two programs featuring Prokofiev’s Fifth Symphony and Mahler One — pieces that I have a long history of playing with Michael all over the world — and to see him in very good spirits, projecting energy and most of all, love of music and love of all the musicians who were collaborating with him,” said San Francisco Symphony concertmaster Alexander Barantschik in an interview with KQED. “I’m just wishing Michael all I can wish from the bottom of my heart, and I hope to see him soon on stage again. \u003ci>“\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Michael Tilson Thomas has been a longtime friend, mentor, and fellow hippy-at-heart, and his love of adventurous music-making has been one of the most inspiring elements of my life in the Bay Area,” said local composer Mason Bates. “He has much more to contribute and I can’t wait to see what’s next.”\u003c/p>\n\u003cp>Tilson Thomas adds that he plans to reduce his administrative responsibilities and step down from his role as the artistic director of the New World Symphony, the top-tier youth orchestra based in Miami that he co-founded more than 30 years ago. He says he intends to go ahead with currently scheduled conducting engagements in the United States and Europe.\u003c/p>\n\u003cp>“I’m planning more time to wonder, wander, cook, and spend time with loved ones—two legged and four,” he writes by way of signing off. “Life is precious.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read Michael Tilson Thomas’ letter in full:\u003c/p>\n\u003cfigure id=\"attachment_13909980\" class=\"wp-caption aligncenter\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909980\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg\" alt=\"\" width=\"703\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT-160x207.jpg 160w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">Letter from Michael Tilson Thomas, March 2, 2022 \u003ccite>(Printed with permission from Constance Shuman, Publicist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Tilson Thomas, the former longtime music director of the San Francisco Symphony, announced Wednesday that he has an aggressive form of brain cancer and is taking a step back from professional life.\u003c/p>\n\u003cp>The conductor and composer shared the news publicly for the first time in a signed letter sent to the media by his New York publicist, Constance Shuman.\u003c/p>\n\u003cp>Tilson Thomas has been diagnosed with Glioblastoma Multiforme, a serious form of brain cancer, he says. He has undergone radiotherapy, chemotherapy and surgery to remove the visible signs of the disease. “Currently the cancer is in check,” he writes. “But the future is uncertain as Glioblastoma is a stealthy adversary. Its recurrence is, unfortunately, the rule rather than the exception.”\u003c/p>\n\u003cp>“It takes strength to meet the demands of the music and to collaborate on the highest level with the remarkable musicians who so generously welcomed me,” Tilson Thomas writes in the letter, with reference to the major orchestras including the San Francisco Symphony, the New York Philharmonic and the Los Angeles Philharmonic whom he has led in 20 concerts in recent months. “I now see that it is time for me to consider what level of work and responsibilities I can sustain in the future.”\u003c/p>\n\u003cp>“It was so amazing to have Michael back this January with the magnificent two programs featuring Prokofiev’s Fifth Symphony and Mahler One — pieces that I have a long history of playing with Michael all over the world — and to see him in very good spirits, projecting energy and most of all, love of music and love of all the musicians who were collaborating with him,” said San Francisco Symphony concertmaster Alexander Barantschik in an interview with KQED. “I’m just wishing Michael all I can wish from the bottom of my heart, and I hope to see him soon on stage again. \u003ci>“\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Michael Tilson Thomas has been a longtime friend, mentor, and fellow hippy-at-heart, and his love of adventurous music-making has been one of the most inspiring elements of my life in the Bay Area,” said local composer Mason Bates. “He has much more to contribute and I can’t wait to see what’s next.”\u003c/p>\n\u003cp>Tilson Thomas adds that he plans to reduce his administrative responsibilities and step down from his role as the artistic director of the New World Symphony, the top-tier youth orchestra based in Miami that he co-founded more than 30 years ago. He says he intends to go ahead with currently scheduled conducting engagements in the United States and Europe.\u003c/p>\n\u003cp>“I’m planning more time to wonder, wander, cook, and spend time with loved ones—two legged and four,” he writes by way of signing off. “Life is precious.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read Michael Tilson Thomas’ letter in full:\u003c/p>\n\u003cfigure id=\"attachment_13909980\" class=\"wp-caption aligncenter\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909980\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg\" alt=\"\" width=\"703\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT-160x207.jpg 160w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">Letter from Michael Tilson Thomas, March 2, 2022 \u003ccite>(Printed with permission from Constance Shuman, Publicist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "MC Hammer ‘Will Beat Yo' Ass’—and Other Hard Tales of the MTV-Friendly Rapper",
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"content": "\u003cp>Last week, MC Hammer started trending on Twitter for a viral photo of Big Syke, Suge Knight, Snoop Dogg, Tupac and Hammer lined up together at the 1996 Grammys, in all of their ’90s finery. Hammer stood on the far right, arms neatly crossed behind his back, smiling while everyone else mean-mugged. The tweet read: “I don’t think I’ve ever seen anyone more out of place than Hammer was in this photo lol.”\u003c/p>\n\u003cp>Twitter did not hesitate to set the record straight about the Oakland legend, explaining in no uncertain terms that Hammer—despite his legendarily flappy pants, pop superstardom, and ability to win over your mom—did not come to play.\u003c/p>\n\u003cp>https://twitter.com/J_Ran85/status/1497067106818478090\u003c/p>\n\u003cp>https://twitter.com/KieseLaymon/status/1497222235651719202\u003c/p>\n\u003cp>https://twitter.com/SHARMONJONES/status/1497083798919561224\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/CerromeRussell/status/1497059859090579458\u003c/p>\n\u003cp>The Twitter explosion reflected the vast gulf between what hip-hop knows about MC Hammer and what mainstream pop culture \u003cem>thinks\u003c/em> it knows about MC Hammer. Because the Oakland rapper spent the early ’90s shuffling from side-to-side at the top of the charts, and filling commercial breaks with entreaties to buy \u003ca href=\"https://www.youtube.com/watch?v=6eydWVvFV2w\" target=\"_blank\" rel=\"noopener noreferrer\">sneakers\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=BHp3xXBBDfk\" target=\"_blank\" rel=\"noopener noreferrer\">Taco Bell\u003c/a>, Hammer is too often treated like the Carlton Banks of hip-hop. But stories of Hammer’s more streetwise traits have been rife in both the East Bay and the wider hip-hop community for years.\u003c/p>\n\u003cp>For those not in the know, here are interviews with five MCs that will put Hammer in a whole new light.\u003c/p>\n\u003ch2>\u003cstrong>MC Serch\u003c/strong>\u003c/h2>\n\u003cp>MC Serch of New York’s 3rd Bass has claimed repeatedly that MC Hammer put out a hit on the group over a lyric in their song, “\u003ca href=\"https://www.youtube.com/watch?v=_8sDxQhHkds\" target=\"_blank\" rel=\"noopener noreferrer\">The Cactus.\u003c/a>” The line in question—”The cactus turned Hammer’s mother out”—was purportedly a play on the title of 3rd Bass’ 1989 \u003cem>The Cactus Album\u003c/em> and Hammer’s record from the same year, “\u003ca href=\"https://www.youtube.com/watch?v=YtpWTOk0Ghg\" target=\"_blank\" rel=\"noopener noreferrer\">Turn This Mutha Out\u003c/a>.”\u003c/p>\n\u003cp>In 2015, Serch told the \u003cem>Ed Lover Show\u003c/em> about receiving death threats from Hammer’s brother, Louis Burrell, in the middle of a flight to Los Angeles. “We’re in the air,” Serch says, “and Carmen Ashhurst-Watson, who was the president of Def Jam at the time, picks up the phone and hears someone say ‘Is 3rd Bass on their way to L.A.?’ And she goes ‘Yeah.’ And the voice says ‘Good. They’re dead. This is Louis Burrell.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vQFlRUCp5r0\u003c/p>\n\u003cp>Serch claims the $50,000 hit was confirmed by fellow Def Jam artist Eric B., and was supposed to be carried out by the Los Angeles crips. In a later interview, Serch said fear and anger over the incident has never left him.\u003c/p>\n\u003cp>“I’m not good,” \u003ca href=\"https://www.youtube.com/watch?v=W3B7KBrnqCI\" target=\"_blank\" rel=\"noopener noreferrer\">he told Vlad TV in 2018\u003c/a>. “I’ve been through 25 years of therapy three days a week. I am not good. I wish I could be good. But when somebody tries to kill you over a rap lyric? … Understand what it feels like to not know that you can turn a corner without someone trying to kill you for $50,000.”\u003c/p>\n\u003ch2>\u003cstrong>Redman\u003c/strong>\u003c/h2>\n\u003cp>Redman also made the mistake of dissing Hammer during an interlude on 1992’s \u003cem>Whut? Thee Album\u003c/em> titled “Funky Uncles.” “Everybody yelling ‘Hammertime! Hammertime!'” the track went. “He ain’t shit, mama ain’t shit, daddy ain’t shit, ain’t nobody shit.”\u003c/p>\n\u003cp>Redman says he was subsequently chased out of Oakland by Hammer affiliates. (“We had to get the fuck out of here. They wasn’t playin’. We was almost boxed in,” he \u003ca href=\"https://www.youtube.com/watch?v=0fyqEYQQW2U\" target=\"_blank\" rel=\"noopener noreferrer\">told Vlad TV in 2016\u003c/a>.) And in 1995, when both MCs were on set for the \u003ca href=\"https://www.youtube.com/watch?v=s8VoRj9Vd4o\" target=\"_blank\" rel=\"noopener noreferrer\">final episode of \u003cem>Yo! MTV Raps\u003c/em>\u003c/a>, Hammer approached Redman and reportedly said, “Red? I’m gonna tell you something. You’re young. But I don’t allow nobody to talk about my mama. You understand me?”\u003c/p>\n\u003cp>Redman later admitted that his response to Hammer was, “Yes, sir!” He elaborated: “I got the message. I heard about [Hammer] and I seen [his] work … I’m good, my brother. Because I’ve gotta come to the west coast and get money. I like it out there. I like the Bay Area. So fuck that, you’re right. I won’t talk about your mama.”\u003c/p>\n\u003cp>Redman admits he learned his lesson. “That goddamn MC Hammer? Very serious about beef. Y’all motherfuckers laugh and y’all joke about Hammer? No, no, no, no … When anybody that talked shit came to the Bay Area, they was in for it. ‘Cause we seen it. I seen it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0fyqEYQQW2U\u003c/p>\n\u003ch2>\u003cstrong>Too Short\u003c/strong>\u003c/h2>\n\u003cp>In a 2018 interview, Too Short expressed respect for MC Hammer, having come up around the same time. “Hammer was a big dog,” Too Short said. “He got respect in the streets. He came from a respected crew. They handled business. Him and his brother Louis and the crew.”\u003c/p>\n\u003cp>Asked about the alleged hit Hammer put out on MC Serch, Too Short said the only part he didn’t believe was the $50,000—because Hammer would never have to pay for such services.\u003c/p>\n\u003cp>“Without spending any money, he coulda told people to fuck [MC Serch] the fuck up,” Too Short said. “I know who Hammer was affiliated with and he wouldn’t have to pay to tell somebody to fuck somebody up. His people would just do it. We’re from Oakland. Like, he wouldn’t even have to say it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aOHupZPsWD0\u003c/p>\n\u003ch2>\u003cstrong>E-40 and Fat Joe\u003c/strong>\u003c/h2>\n\u003cp>During a 2020 chat with E-40 for \u003cem>All Urban Central\u003c/em>, Fat Joe mentioned encountering Hammer one time in the Las Vegas airport. Joe said Hammer greeted him warmly, then proceeded to explain that he wasn’t to be trifled with. “He was like, ‘You know I get it poppin’ for real’,” Joe recalled.\u003c/p>\n\u003cp>E-40 was in no way surprised by this news. “Well, he’s from Oakland for one,” the Vallejo rapper responded. “He’s from the Town. He’s highly respected and connected, you know what I mean? All the fixtures and factors know him, he knows them. He rocks it. He’s heavy. His brother’s gangsta … [Hammer] is far from a sucka. And Hammer’s physically fit. You know, he’ll put hands on you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tuwwd7eb-lA\u003c/p>\n\u003ch2>\u003cstrong>OutKast\u003c/strong>\u003c/h2>\n\u003cp>It’s possible that Big Boi puts it best here, and the most succinctly: “Hammer will beat yo’ ass.”\u003c/p>\n\u003cp>https://twitter.com/__Eddie313/status/1497071531930832899\u003c/p>\n\u003cp>Let’s end with an apt word from the man himself…\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=otCpCn0l4Wo\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, MC Hammer started trending on Twitter for a viral photo of Big Syke, Suge Knight, Snoop Dogg, Tupac and Hammer lined up together at the 1996 Grammys, in all of their ’90s finery. Hammer stood on the far right, arms neatly crossed behind his back, smiling while everyone else mean-mugged. The tweet read: “I don’t think I’ve ever seen anyone more out of place than Hammer was in this photo lol.”\u003c/p>\n\u003cp>Twitter did not hesitate to set the record straight about the Oakland legend, explaining in no uncertain terms that Hammer—despite his legendarily flappy pants, pop superstardom, and ability to win over your mom—did not come to play.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The Twitter explosion reflected the vast gulf between what hip-hop knows about MC Hammer and what mainstream pop culture \u003cem>thinks\u003c/em> it knows about MC Hammer. Because the Oakland rapper spent the early ’90s shuffling from side-to-side at the top of the charts, and filling commercial breaks with entreaties to buy \u003ca href=\"https://www.youtube.com/watch?v=6eydWVvFV2w\" target=\"_blank\" rel=\"noopener noreferrer\">sneakers\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=BHp3xXBBDfk\" target=\"_blank\" rel=\"noopener noreferrer\">Taco Bell\u003c/a>, Hammer is too often treated like the Carlton Banks of hip-hop. But stories of Hammer’s more streetwise traits have been rife in both the East Bay and the wider hip-hop community for years.\u003c/p>\n\u003cp>For those not in the know, here are interviews with five MCs that will put Hammer in a whole new light.\u003c/p>\n\u003ch2>\u003cstrong>MC Serch\u003c/strong>\u003c/h2>\n\u003cp>MC Serch of New York’s 3rd Bass has claimed repeatedly that MC Hammer put out a hit on the group over a lyric in their song, “\u003ca href=\"https://www.youtube.com/watch?v=_8sDxQhHkds\" target=\"_blank\" rel=\"noopener noreferrer\">The Cactus.\u003c/a>” The line in question—”The cactus turned Hammer’s mother out”—was purportedly a play on the title of 3rd Bass’ 1989 \u003cem>The Cactus Album\u003c/em> and Hammer’s record from the same year, “\u003ca href=\"https://www.youtube.com/watch?v=YtpWTOk0Ghg\" target=\"_blank\" rel=\"noopener noreferrer\">Turn This Mutha Out\u003c/a>.”\u003c/p>\n\u003cp>In 2015, Serch told the \u003cem>Ed Lover Show\u003c/em> about receiving death threats from Hammer’s brother, Louis Burrell, in the middle of a flight to Los Angeles. “We’re in the air,” Serch says, “and Carmen Ashhurst-Watson, who was the president of Def Jam at the time, picks up the phone and hears someone say ‘Is 3rd Bass on their way to L.A.?’ And she goes ‘Yeah.’ And the voice says ‘Good. They’re dead. This is Louis Burrell.'”\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/vQFlRUCp5r0'\n title='//www.youtube.com/embed/vQFlRUCp5r0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Serch claims the $50,000 hit was confirmed by fellow Def Jam artist Eric B., and was supposed to be carried out by the Los Angeles crips. In a later interview, Serch said fear and anger over the incident has never left him.\u003c/p>\n\u003cp>“I’m not good,” \u003ca href=\"https://www.youtube.com/watch?v=W3B7KBrnqCI\" target=\"_blank\" rel=\"noopener noreferrer\">he told Vlad TV in 2018\u003c/a>. “I’ve been through 25 years of therapy three days a week. I am not good. I wish I could be good. But when somebody tries to kill you over a rap lyric? … Understand what it feels like to not know that you can turn a corner without someone trying to kill you for $50,000.”\u003c/p>\n\u003ch2>\u003cstrong>Redman\u003c/strong>\u003c/h2>\n\u003cp>Redman also made the mistake of dissing Hammer during an interlude on 1992’s \u003cem>Whut? Thee Album\u003c/em> titled “Funky Uncles.” “Everybody yelling ‘Hammertime! Hammertime!'” the track went. “He ain’t shit, mama ain’t shit, daddy ain’t shit, ain’t nobody shit.”\u003c/p>\n\u003cp>Redman says he was subsequently chased out of Oakland by Hammer affiliates. (“We had to get the fuck out of here. They wasn’t playin’. We was almost boxed in,” he \u003ca href=\"https://www.youtube.com/watch?v=0fyqEYQQW2U\" target=\"_blank\" rel=\"noopener noreferrer\">told Vlad TV in 2016\u003c/a>.) And in 1995, when both MCs were on set for the \u003ca href=\"https://www.youtube.com/watch?v=s8VoRj9Vd4o\" target=\"_blank\" rel=\"noopener noreferrer\">final episode of \u003cem>Yo! MTV Raps\u003c/em>\u003c/a>, Hammer approached Redman and reportedly said, “Red? I’m gonna tell you something. You’re young. But I don’t allow nobody to talk about my mama. You understand me?”\u003c/p>\n\u003cp>Redman later admitted that his response to Hammer was, “Yes, sir!” He elaborated: “I got the message. I heard about [Hammer] and I seen [his] work … I’m good, my brother. Because I’ve gotta come to the west coast and get money. I like it out there. I like the Bay Area. So fuck that, you’re right. I won’t talk about your mama.”\u003c/p>\n\u003cp>Redman admits he learned his lesson. “That goddamn MC Hammer? Very serious about beef. Y’all motherfuckers laugh and y’all joke about Hammer? No, no, no, no … When anybody that talked shit came to the Bay Area, they was in for it. ‘Cause we seen it. I seen it.”\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/0fyqEYQQW2U'\n title='//www.youtube.com/embed/0fyqEYQQW2U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>Too Short\u003c/strong>\u003c/h2>\n\u003cp>In a 2018 interview, Too Short expressed respect for MC Hammer, having come up around the same time. “Hammer was a big dog,” Too Short said. “He got respect in the streets. He came from a respected crew. They handled business. Him and his brother Louis and the crew.”\u003c/p>\n\u003cp>Asked about the alleged hit Hammer put out on MC Serch, Too Short said the only part he didn’t believe was the $50,000—because Hammer would never have to pay for such services.\u003c/p>\n\u003cp>“Without spending any money, he coulda told people to fuck [MC Serch] the fuck up,” Too Short said. “I know who Hammer was affiliated with and he wouldn’t have to pay to tell somebody to fuck somebody up. His people would just do it. We’re from Oakland. Like, he wouldn’t even have to say it.”\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/aOHupZPsWD0'\n title='//www.youtube.com/embed/aOHupZPsWD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>E-40 and Fat Joe\u003c/strong>\u003c/h2>\n\u003cp>During a 2020 chat with E-40 for \u003cem>All Urban Central\u003c/em>, Fat Joe mentioned encountering Hammer one time in the Las Vegas airport. Joe said Hammer greeted him warmly, then proceeded to explain that he wasn’t to be trifled with. “He was like, ‘You know I get it poppin’ for real’,” Joe recalled.\u003c/p>\n\u003cp>E-40 was in no way surprised by this news. “Well, he’s from Oakland for one,” the Vallejo rapper responded. “He’s from the Town. He’s highly respected and connected, you know what I mean? All the fixtures and factors know him, he knows them. He rocks it. He’s heavy. His brother’s gangsta … [Hammer] is far from a sucka. And Hammer’s physically fit. You know, he’ll put hands on you.”\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/tuwwd7eb-lA'\n title='//www.youtube.com/embed/tuwwd7eb-lA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>OutKast\u003c/strong>\u003c/h2>\n\u003cp>It’s possible that Big Boi puts it best here, and the most succinctly: “Hammer will beat yo’ ass.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Let’s end with an apt word from the man himself…\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mosswood Meltdown 2023 Lineup: Le Tigre, Bratmobile, ESG, J.J. Fad, Gravy Train!!!! and More",
"headTitle": "Mosswood Meltdown 2023 Lineup: Le Tigre, Bratmobile, ESG, J.J. Fad, Gravy Train!!!! and More | KQED",
"content": "\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>Oakland rock festival \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> has announced the full lineup for its 2023 event.\u003c/p>\n\u003cp>Set for 4th of July weekend, the festival will feature feminist electronic punk band Le Tigre, the first show in 20 years of groundbreaking riot grrrl group Bratmobile, “Supersonic” hitmakers J.J. Fad, proto-hip-hop New York group ESG, a reunion of the Oakland queercore group Gravy Train!!!!, Tina & the Total Babes, the Avengers, the Rondelles, Mika Miko, Quintron & Miss Pussycat and more.\u003c/p>\n\u003cp>Formerly known as Burger Boogaloo, \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\">the festival underwent a rebranding\u003c/a> during the pandemic and emerged this past summer for the first time since 2019. In July, the festival bridged together generations of rock musicians, allowing newcomers like the Linda Lindas to share a stage with \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">longtime performers like Bikini Kill\u003c/a>.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13915779,arts_13883674\"]For its upcoming festival, Mosswood will see the renaissance of musical acts that made splashes in the early 2000s punk scene, including the angsty bubblegum power-pop group Tina & The Total Babes. And a certain generation of local punks will be \u003cem>very\u003c/em> excited about the return of Gravy Train!!!! Featuring Bay Area multi-hyphenate \u003ca href=\"https://www.kqed.org/arts/tag/brontez-purnell\">Brontez Purnell\u003c/a>, the band made a name in the aughts with funny, raunchy, overtly queer lyrics and wildly entertaining live shows.\u003c/p>\n\u003cp>In a sea of corporate music festivals, Mosswood remains a refuge for punk and rockabilly lovers who prefer a DIY spirit and in-your-face music and expression. Once again, the festival will be hosted by filmmaking icon John Waters at Mosswood Park. \u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Le Tigre\u003cbr>\nBratmobile\u003cbr>\nGravy Train!!!!\u003cbr>\nMika Miko\u003cbr>\nESG\u003cbr>\nTina & The Total Babes\u003cbr>\nThe Rondelles\u003cbr>\nJ.J. Fad\u003cbr>\nQuintron & Ms. Pussycat\u003cbr>\nThe Avengers\u003cbr>\nSnooper\u003cbr>\nBrower\u003cbr>\nMorgan & the Organ Donors\u003cbr>\nMemo P.S.T\u003cbr>\nCumgirl8\u003cbr>\nWarp\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>Mosswood Meltdown takes place Saturday, July 1 to Sunday, July 2, 2023 at Mosswood Park in Oakland. \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2023/521062?afflky=MosswoodMeltdown\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>Oakland rock festival \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> has announced the full lineup for its 2023 event.\u003c/p>\n\u003cp>Set for 4th of July weekend, the festival will feature feminist electronic punk band Le Tigre, the first show in 20 years of groundbreaking riot grrrl group Bratmobile, “Supersonic” hitmakers J.J. Fad, proto-hip-hop New York group ESG, a reunion of the Oakland queercore group Gravy Train!!!!, Tina & the Total Babes, the Avengers, the Rondelles, Mika Miko, Quintron & Miss Pussycat and more.\u003c/p>\n\u003cp>Formerly known as Burger Boogaloo, \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\">the festival underwent a rebranding\u003c/a> during the pandemic and emerged this past summer for the first time since 2019. In July, the festival bridged together generations of rock musicians, allowing newcomers like the Linda Lindas to share a stage with \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">longtime performers like Bikini Kill\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For its upcoming festival, Mosswood will see the renaissance of musical acts that made splashes in the early 2000s punk scene, including the angsty bubblegum power-pop group Tina & The Total Babes. And a certain generation of local punks will be \u003cem>very\u003c/em> excited about the return of Gravy Train!!!! Featuring Bay Area multi-hyphenate \u003ca href=\"https://www.kqed.org/arts/tag/brontez-purnell\">Brontez Purnell\u003c/a>, the band made a name in the aughts with funny, raunchy, overtly queer lyrics and wildly entertaining live shows.\u003c/p>\n\u003cp>In a sea of corporate music festivals, Mosswood remains a refuge for punk and rockabilly lovers who prefer a DIY spirit and in-your-face music and expression. Once again, the festival will be hosted by filmmaking icon John Waters at Mosswood Park. \u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Le Tigre\u003cbr>\nBratmobile\u003cbr>\nGravy Train!!!!\u003cbr>\nMika Miko\u003cbr>\nESG\u003cbr>\nTina & The Total Babes\u003cbr>\nThe Rondelles\u003cbr>\nJ.J. Fad\u003cbr>\nQuintron & Ms. Pussycat\u003cbr>\nThe Avengers\u003cbr>\nSnooper\u003cbr>\nBrower\u003cbr>\nMorgan & the Organ Donors\u003cbr>\nMemo P.S.T\u003cbr>\nCumgirl8\u003cbr>\nWarp\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>Mosswood Meltdown takes place Saturday, July 1 to Sunday, July 2, 2023 at Mosswood Park in Oakland. \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2023/521062?afflky=MosswoodMeltdown\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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