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"slug": "om-records-downtempo-deep-house-san-francisco-anniversary",
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"content": "\u003cp>I moved to \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> in the late 2000s, attracted by a certain romanticism, most of it due to the music and art born here in the city. \u003c/p>\n\u003cp>My early visits to the Bay would always include a stop at Amoeba Music, where I’d spend hours browsing the used CD racks for local \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">hip-hop\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/electronic-music\">electronic\u003c/a> releases. It was there that I fell into the seemingly endless treasure trove of Om Records, a small San Francisco house music label that first entered my consciousness at the turn of the millennium via DJ Mark Farina’s downtempo compilation series, \u003ci>Mushroom Jazz\u003c/i>. \u003c/p>\n\u003cp>Every visit yielded another batch of CDs. Comp mixes curated by artists like Kaskade, Groove Armada, and DJ Heather, as well as hip-hop albums like People Under the Stairs’ jazz & soul sample-soaked \u003ci>O.S.T. \u003c/i>and Ming + FS’s breakbeat-riddled \u003ci>Hell’s Kitchen. \u003c/i>There was the masterfully curated \u003ci>Om Lounge\u003c/i> downtempo series — a precursor to the “chill beats to relax to” playlist fodder of today — and an \u003ci>Om: Winter Sessions\u003c/i> deep house mix from a then little-known SF DJ named Justin Martin.\u003c/p>\n\u003cp>In other words, Om’s curation guided my curiosity. After a while, no matter which Om release I took a chance on, it was usually right up my alley. \u003c/p>\n\u003cfigure id=\"attachment_13989294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shiny Objects, a.k.a. Om Records cofounder Chris Smith, performs at this weekend’s anniversary parties for the label. \u003ccite>(Krescent Carasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The music scene in the city was incredible when we started the label,” says Chris Smith, who co-founded Om Records in 1995. “There were solid club nights seven nights a week for house music, downtempo, acid jazz — and a vibrant hip-hop scene, too, that we commingled with, and that’s what inspired me. We were obviously super into house music, but we wanted to do something that really embodied all of these eclectic sounds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After moving to San Francisco in 1992, Smith spent days and months digging through downtempo and European electronic records at stores like BPM, Clear, Zebra and Tweakin. The latter, now home to Vinyl Dreams, is where he met Om co-founder Steve Gray (who moved back to England shortly after the label was founded.) \u003c/p>\n\u003cp>Smith met Farina at an 11am afterparty at DNA Lounge, where the \u003ci>Mushroom Jazz\u003c/i> auteur was dropping tracks that would later appear on \u003ci>Mushroom Jazz Vol. 1\u003c/i>. The jazz-, hip-hop- and soul-inflected downtempo series became a phenomenon — from college and club night afterparties to soundtracking buzzy restaurant dining rooms in LA and Miami — and still stands as Om’s most widely recognized output. \u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" seamless>\u003ca href=\"https://markfarina.bandcamp.com/album/mushroom-jazz-vol-1\">Mushroom Jazz Vol. 1 by Various Artists\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Now, three decades and 800+ releases later, Om is not only releasing a 30th anniversary compilation album on May 8th, it’s the focus of a \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">free Day Party on Embarcadero Plaza on Sat, May 9th\u003c/a>. Featuring label mainstays Farina, Colette, DJ Heather, J.Boogie and Shiny Objects (Smith’s production moniker), and produced by Another Planet Entertainment (APE) and SF Rec & Parks, it’s one of a growing number of free outdoor concerts meant to generate optimism for the future of San Francisco. \u003c/p>\n\u003cp>Strangely, Om is hardly a household name in the city these days. The majority of its young residents haven’t been here for a decade, let alone three. And while electronic music would go on to become a big-money industry, coinciding with corporate promoters’ takeover of major markets, Om declined to sign up for the big-room EDM revolution – even as some of the label’s early artists (Kaskade, Martin, Claude VonStroke) went on to help define it. \u003c/p>\n\u003cp>“There were so many trends that came along that were, in my view, so cheesy,” says Smith. “I have so much respect for what Kaskade did when he left Om, but it’s just not in my DNA; I don’t understand that part of things. Maybe there were opportunities that we may have missed. I’ve just been more programmed into liking underground music.” \u003c/p>\n\u003cfigure id=\"attachment_13989293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area DJ J.Boogie, seen here at San Francisco’s Stern Grove, has been with Om Records since its inception. \u003ccite>(Kristina Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Om has slowed its release calendar in the last decade, it’s because Smith also co-founded local nightclubs in Potrero’s The Great Northern and Downtown’s Monarch, as well as restaurants like The Pawn Shop (adjacent to Monarch) and Sonoma Pizza Co. in Forestville, where he lives with his family. The pizza place takes up most of his time; Om’s longtime GM, Gunnar Hissam, runs the label’s day-to-day operations. Turns out over 20 years of running a dance music label and working in nightlife will burn you out some.\u003c/p>\n\u003cp>But this weekend, it’s paying off. APE’s Bryan Duquette tells KQED that more than 6,000 people have RSVP’d for the Om Anniversary Day Party.\u003c/p>\n\u003cp>“We try to work with independent labels and artists that have ties to SF” for the parties APE has produced with the city, Duquette says. “This show in particular has a historical tie to us, because we were booking J.Boogie at gigs at the Elbo Room before APE even existed, when we were still known as Mystery Machine Productions.”\u003c/p>\n\u003cp>As the 30th anniversary concert gets underway (followed by \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">a night show at Great Northern\u003c/a>), one has to wonder if the nostalgia of 800+ releases might be lost on many of the new wave of San Franciscans. It’s no secret that services like Spotify and Apple Music serve up formulaic playlists to listeners who rely solely on their algorithms for a semblance of “discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13989297\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg\" alt=\"\" width=\"2000\" height=\"1648\" class=\"size-full wp-image-13989297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collette. \u003ccite>(Courtesy Om Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The streaming age hasn’t been particularly kind to Om. Smith laments that even though Om was an early beta test partner for iTunes (he remembers meeting Steve Jobs) and early download purchases were big for Om financially, label catalogs were largely left behind in the artist-centric streaming era.\u003c/p>\n\u003cp>“First it was Napster downloads, then the bottom fell off the CD market and nobody was buying vinyl anymore,” Smith recalls. “We weathered them all, but it was challenging.”\u003c/p>\n\u003cp>This weekend’s party, then, is affirmation of not just Om Records’ successes, but something that automation has yet to replicate: its good taste.\u003c/p>\n\u003cp>“We were in the shadows and took a back seat for a minute,” Smith says. “But we’ve never been a label that hops on a trend, like prog house or trance or whatever. We always stuck with what we love.” \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Om Records’ 30th Anniversary Day Party takes place Saturday, May 9, from 1–5pm at Embarcadero Plaza in San Francisco. \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">More info here\u003c/a>. That night, from 9pm–3am, the party continues at the Great Northern (119 Utah St., San Francisco) with an evening headlined by Derrick Carter. \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I moved to \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> in the late 2000s, attracted by a certain romanticism, most of it due to the music and art born here in the city. \u003c/p>\n\u003cp>My early visits to the Bay would always include a stop at Amoeba Music, where I’d spend hours browsing the used CD racks for local \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">hip-hop\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/electronic-music\">electronic\u003c/a> releases. It was there that I fell into the seemingly endless treasure trove of Om Records, a small San Francisco house music label that first entered my consciousness at the turn of the millennium via DJ Mark Farina’s downtempo compilation series, \u003ci>Mushroom Jazz\u003c/i>. \u003c/p>\n\u003cp>Every visit yielded another batch of CDs. Comp mixes curated by artists like Kaskade, Groove Armada, and DJ Heather, as well as hip-hop albums like People Under the Stairs’ jazz & soul sample-soaked \u003ci>O.S.T. \u003c/i>and Ming + FS’s breakbeat-riddled \u003ci>Hell’s Kitchen. \u003c/i>There was the masterfully curated \u003ci>Om Lounge\u003c/i> downtempo series — a precursor to the “chill beats to relax to” playlist fodder of today — and an \u003ci>Om: Winter Sessions\u003c/i> deep house mix from a then little-known SF DJ named Justin Martin.\u003c/p>\n\u003cp>In other words, Om’s curation guided my curiosity. After a while, no matter which Om release I took a chance on, it was usually right up my alley. \u003c/p>\n\u003cfigure id=\"attachment_13989294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shiny Objects, a.k.a. Om Records cofounder Chris Smith, performs at this weekend’s anniversary parties for the label. \u003ccite>(Krescent Carasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The music scene in the city was incredible when we started the label,” says Chris Smith, who co-founded Om Records in 1995. “There were solid club nights seven nights a week for house music, downtempo, acid jazz — and a vibrant hip-hop scene, too, that we commingled with, and that’s what inspired me. We were obviously super into house music, but we wanted to do something that really embodied all of these eclectic sounds.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After moving to San Francisco in 1992, Smith spent days and months digging through downtempo and European electronic records at stores like BPM, Clear, Zebra and Tweakin. The latter, now home to Vinyl Dreams, is where he met Om co-founder Steve Gray (who moved back to England shortly after the label was founded.) \u003c/p>\n\u003cp>Smith met Farina at an 11am afterparty at DNA Lounge, where the \u003ci>Mushroom Jazz\u003c/i> auteur was dropping tracks that would later appear on \u003ci>Mushroom Jazz Vol. 1\u003c/i>. The jazz-, hip-hop- and soul-inflected downtempo series became a phenomenon — from college and club night afterparties to soundtracking buzzy restaurant dining rooms in LA and Miami — and still stands as Om’s most widely recognized output. \u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" seamless>\u003ca href=\"https://markfarina.bandcamp.com/album/mushroom-jazz-vol-1\">Mushroom Jazz Vol. 1 by Various Artists\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Now, three decades and 800+ releases later, Om is not only releasing a 30th anniversary compilation album on May 8th, it’s the focus of a \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">free Day Party on Embarcadero Plaza on Sat, May 9th\u003c/a>. Featuring label mainstays Farina, Colette, DJ Heather, J.Boogie and Shiny Objects (Smith’s production moniker), and produced by Another Planet Entertainment (APE) and SF Rec & Parks, it’s one of a growing number of free outdoor concerts meant to generate optimism for the future of San Francisco. \u003c/p>\n\u003cp>Strangely, Om is hardly a household name in the city these days. The majority of its young residents haven’t been here for a decade, let alone three. And while electronic music would go on to become a big-money industry, coinciding with corporate promoters’ takeover of major markets, Om declined to sign up for the big-room EDM revolution – even as some of the label’s early artists (Kaskade, Martin, Claude VonStroke) went on to help define it. \u003c/p>\n\u003cp>“There were so many trends that came along that were, in my view, so cheesy,” says Smith. “I have so much respect for what Kaskade did when he left Om, but it’s just not in my DNA; I don’t understand that part of things. Maybe there were opportunities that we may have missed. I’ve just been more programmed into liking underground music.” \u003c/p>\n\u003cfigure id=\"attachment_13989293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area DJ J.Boogie, seen here at San Francisco’s Stern Grove, has been with Om Records since its inception. \u003ccite>(Kristina Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Om has slowed its release calendar in the last decade, it’s because Smith also co-founded local nightclubs in Potrero’s The Great Northern and Downtown’s Monarch, as well as restaurants like The Pawn Shop (adjacent to Monarch) and Sonoma Pizza Co. in Forestville, where he lives with his family. The pizza place takes up most of his time; Om’s longtime GM, Gunnar Hissam, runs the label’s day-to-day operations. Turns out over 20 years of running a dance music label and working in nightlife will burn you out some.\u003c/p>\n\u003cp>But this weekend, it’s paying off. APE’s Bryan Duquette tells KQED that more than 6,000 people have RSVP’d for the Om Anniversary Day Party.\u003c/p>\n\u003cp>“We try to work with independent labels and artists that have ties to SF” for the parties APE has produced with the city, Duquette says. “This show in particular has a historical tie to us, because we were booking J.Boogie at gigs at the Elbo Room before APE even existed, when we were still known as Mystery Machine Productions.”\u003c/p>\n\u003cp>As the 30th anniversary concert gets underway (followed by \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">a night show at Great Northern\u003c/a>), one has to wonder if the nostalgia of 800+ releases might be lost on many of the new wave of San Franciscans. It’s no secret that services like Spotify and Apple Music serve up formulaic playlists to listeners who rely solely on their algorithms for a semblance of “discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13989297\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg\" alt=\"\" width=\"2000\" height=\"1648\" class=\"size-full wp-image-13989297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collette. \u003ccite>(Courtesy Om Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The streaming age hasn’t been particularly kind to Om. Smith laments that even though Om was an early beta test partner for iTunes (he remembers meeting Steve Jobs) and early download purchases were big for Om financially, label catalogs were largely left behind in the artist-centric streaming era.\u003c/p>\n\u003cp>“First it was Napster downloads, then the bottom fell off the CD market and nobody was buying vinyl anymore,” Smith recalls. “We weathered them all, but it was challenging.”\u003c/p>\n\u003cp>This weekend’s party, then, is affirmation of not just Om Records’ successes, but something that automation has yet to replicate: its good taste.\u003c/p>\n\u003cp>“We were in the shadows and took a back seat for a minute,” Smith says. “But we’ve never been a label that hops on a trend, like prog house or trance or whatever. We always stuck with what we love.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Om Records’ 30th Anniversary Day Party takes place Saturday, May 9, from 1–5pm at Embarcadero Plaza in San Francisco. \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">More info here\u003c/a>. That night, from 9pm–3am, the party continues at the Great Northern (119 Utah St., San Francisco) with an evening headlined by Derrick Carter. \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "program-audio-online-radio-san-francisco-haight",
"title": "Inside Program Audio, the Viral DJ Collective Streaming on Haight Street",
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"content": "\u003cp>San Francisco’s \u003ca href=\"https://program.audio/\">Program Audio\u003c/a> runs on adrenaline and vibes.\u003c/p>\n\u003cp>On a rare sunny San Francisco afternoon, \u003ca href=\"https://www.instagram.com/sfcowboy_/\">Arthur Javier\u003c/a> is drilling plywood and connecting audio cables, sweat beading on his forehead. He has only minutes before his new internet radio station’s second-ever livestream, which is broadcasting from a wooden shack the size of a shower stall on Haight Street.\u003c/p>\n\u003cp>Just two weeks earlier, after reading about its history in an \u003ca href=\"https://www.sfgate.com/obscuresf/article/last-fotomat-san-francisco-21314862.php\">SFGate article\u003c/a>, he and business partner \u003ca href=\"https://www.instagram.com/b0nitababy/\">Erika Martinez\u003c/a> signed the lease for this former Fotomat kiosk across from Amoeba Records. This tiny 59-year-old structure once housed a drive-through for developing photos, but it eventually fell into disuse and sat collecting cobwebs. When Javier and Martinez got the keys, they immediately got to work, peeling off decades-worth of flyers (“It’s like the rings around a tree,” Javier says) and painting over graffiti.\u003c/p>\n\u003cfigure id=\"attachment_13988154\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Program Audio founders Arthur Javier and Erika Martinez pose in front of the group’s kiosk while a DJ performs inside during a livestreamed set in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It happened to be the heat wave week,” he says. “And we were also sick, but we wanted to keep the surprise. We knew our audience that we’d built, our friend group, would just lose their minds. And they did.”\u003c/p>\n\u003cp>Program Audio’s opening announcement made headlines and \u003ca href=\"https://www.tiktok.com/@b0nitababy/video/7619443704155147550\">went viral on TikTok\u003c/a>, generating approving comments from people eager for the return of the kind of out-there, DIY creativity that once made San Francisco a counterculture hub. Their new internet radio station is the culmination of five years of work Javier and Martinez have put in behind the scenes to nurture San Francisco’s electronic music ecosystem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 26- and 27-year-old friends began throwing underground parties together as pandemic restrictions lifted. Eventually, they became trusted curators at a number of San Francisco venues, including the SoMa nightclub F8 and Mission District wine bar Arcana.\u003c/p>\n\u003cfigure id=\"attachment_13988149\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Original Program Audio flyers hang inside the collective’s kiosk on Haight Street in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two are DJs (Javier goes by sfcowboy, and Martinez mononymously performs as erika), and their forward-thinking take on techno has attracted likeminded musicians. That community evolved into the \u003ca href=\"https://program-audio.bandcamp.com/music\">Program Audio record label\u003c/a> and \u003ca href=\"https://soulseek.online/\">\u003cem>Soulseek\u003c/em>\u003c/a> electronic music zine.\u003c/p>\n\u003cp>“These are really emerging sounds from Latin American backgrounds — deconstructed club, Latin bass,” says Javier, who has the Program Audio logo tattooed on his finger. “I feel like, it’s like when I listen to Kraftwerk for the first time, these things are really cutting edge and exciting.”\u003c/p>\n\u003cp>Program Audio’s new compilation — a surprise release they upload to Bandcamp the day I visit — raises money for the National Immigrant Justice Center. It features dark drum’n’bass by San Francisco’s xxveneco, house with a ’90s flavor by Oakland’s 3:33 and an ambient, dreamy track with crackling drums by Seoul, Korea’s Closet Yi.\u003c/p>\n\u003cfigure id=\"attachment_13988152\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988152\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Erika Martinez, co-founder of Program Audio, works at a screen-printing station surrounded by event flyers. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“With everything going on with ICE and how scary it is for immigrants at this time, we kind of just felt helpless,” says Martinez. “We don’t necessarily have funds ourselves … but we’re trying to figure out a way to use what we’re good at to help.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=383469968/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>As Javier tests the speakers and fields questions from curious passersby at the kiosk, Martinez is down the street at Javier’s apartment, screenprinting dozens of T-shirts that the duo is selling this evening. Their cats Tekno and Lou come over to nap on the warm garments coming off the heat press.\u003c/p>\n\u003cp>While Javier still works a day job, Martinez has been doing Program Audio as her full-time gig for almost two years. The platform has grown in large part thanks to her TikTok presence, where she brands herself as “your sf nightlife guide.” With short bangs, a deadpan delivery and pink pout, she’s become a recognizable face on the For You pages of Bay Area residents looking to get off their screens and dance til the early morning.\u003c/p>\n\u003cp>“I started using TikTok because I realized there was, the simplest way to say it is, a gap in the market,” she says. ‘There was absolutely no one talking about San Francisco’s electronic music scene.”\u003c/p>\n\u003cfigure id=\"attachment_13988153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cats rest on newly printed Program Audio T-shirts as a co-founder Erika Martinez, organizes merchandise in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The daughter of a b-boy and a club kid, Martinez has made it her mission to help the Bay Area’s electronic music scene grow. Program Audio joins a \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">rising number of independent, DJ-run online radio stations\u003c/a>, including Fault Radio, Hyde FM and Lower Grand Radio. They’re also part of a community of DJs promoting forward-thinking club music, including \u003ca href=\"https://ra.co/promoters/147486\">Mostly Cloudy\u003c/a>, \u003ca href=\"https://nobias.bandcamp.com/\">No Bias\u003c/a> and \u003ca href=\"https://amordigital.bandcamp.com/\">Amor Digital\u003c/a>.\u003c/p>\n\u003cp>“I just see the potential in S.F. — not even like becoming New York, but becoming its own very special thing,” Martinez says. She hopes the attention on Program Audio prompts San Francisco’s city government to invest into artist-run spaces.\u003c/p>\n\u003cp>Martinez packs up the T-shirts and walks back to the kiosk, where discnogirl and Tom Marsi are spinning bouncy footwork as a small, all-ages crowd starts to coalesce, bobbing their heads.\u003c/p>\n\u003cfigure id=\"attachment_13988147\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988147\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Javier hangs T-shirts and tote bags as he prepares Program Audio’s kiosk for a livestreamed DJ set in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it’s really cool that this is non-corporate, non-sponsored, it’s just two locals doing things for other locals,” says Marsi.\u003c/p>\n\u003cp>Martinez hangs up the fresh T-shirts, but she can’t stay for too long. In just a few hours, she’s due at F8 for a Program Audio party, and she has her set to prepare. She peels off once again, and Javier stays behind to watch the DJ booth.\u003c/p>\n\u003cp>“We’re crazy and we’re stressed, but we know that we’re putting in so much work and the feedback is good,” he says. “So it’s kind of just pushing us and showing us that we’re going in the right direction.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://program.audio/\">Program Audio\u003c/a> streams every Friday and Saturday, 4–8 p.m. \u003ca href=\"https://ra.co/events/2379120\">Their next party\u003c/a> takes place April 3 at Club Six (60 6th St., San Francisco), featuring sets from DBBD, erika, Femme Jatale, Beverly Chills and more. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"https://program.audio/\">Program Audio\u003c/a> runs on adrenaline and vibes.\u003c/p>\n\u003cp>On a rare sunny San Francisco afternoon, \u003ca href=\"https://www.instagram.com/sfcowboy_/\">Arthur Javier\u003c/a> is drilling plywood and connecting audio cables, sweat beading on his forehead. He has only minutes before his new internet radio station’s second-ever livestream, which is broadcasting from a wooden shack the size of a shower stall on Haight Street.\u003c/p>\n\u003cp>Just two weeks earlier, after reading about its history in an \u003ca href=\"https://www.sfgate.com/obscuresf/article/last-fotomat-san-francisco-21314862.php\">SFGate article\u003c/a>, he and business partner \u003ca href=\"https://www.instagram.com/b0nitababy/\">Erika Martinez\u003c/a> signed the lease for this former Fotomat kiosk across from Amoeba Records. This tiny 59-year-old structure once housed a drive-through for developing photos, but it eventually fell into disuse and sat collecting cobwebs. When Javier and Martinez got the keys, they immediately got to work, peeling off decades-worth of flyers (“It’s like the rings around a tree,” Javier says) and painting over graffiti.\u003c/p>\n\u003cfigure id=\"attachment_13988154\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_038-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Program Audio founders Arthur Javier and Erika Martinez pose in front of the group’s kiosk while a DJ performs inside during a livestreamed set in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It happened to be the heat wave week,” he says. “And we were also sick, but we wanted to keep the surprise. We knew our audience that we’d built, our friend group, would just lose their minds. And they did.”\u003c/p>\n\u003cp>Program Audio’s opening announcement made headlines and \u003ca href=\"https://www.tiktok.com/@b0nitababy/video/7619443704155147550\">went viral on TikTok\u003c/a>, generating approving comments from people eager for the return of the kind of out-there, DIY creativity that once made San Francisco a counterculture hub. Their new internet radio station is the culmination of five years of work Javier and Martinez have put in behind the scenes to nurture San Francisco’s electronic music ecosystem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 26- and 27-year-old friends began throwing underground parties together as pandemic restrictions lifted. Eventually, they became trusted curators at a number of San Francisco venues, including the SoMa nightclub F8 and Mission District wine bar Arcana.\u003c/p>\n\u003cfigure id=\"attachment_13988149\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988149\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_011-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Original Program Audio flyers hang inside the collective’s kiosk on Haight Street in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two are DJs (Javier goes by sfcowboy, and Martinez mononymously performs as erika), and their forward-thinking take on techno has attracted likeminded musicians. That community evolved into the \u003ca href=\"https://program-audio.bandcamp.com/music\">Program Audio record label\u003c/a> and \u003ca href=\"https://soulseek.online/\">\u003cem>Soulseek\u003c/em>\u003c/a> electronic music zine.\u003c/p>\n\u003cp>“These are really emerging sounds from Latin American backgrounds — deconstructed club, Latin bass,” says Javier, who has the Program Audio logo tattooed on his finger. “I feel like, it’s like when I listen to Kraftwerk for the first time, these things are really cutting edge and exciting.”\u003c/p>\n\u003cp>Program Audio’s new compilation — a surprise release they upload to Bandcamp the day I visit — raises money for the National Immigrant Justice Center. It features dark drum’n’bass by San Francisco’s xxveneco, house with a ’90s flavor by Oakland’s 3:33 and an ambient, dreamy track with crackling drums by Seoul, Korea’s Closet Yi.\u003c/p>\n\u003cfigure id=\"attachment_13988152\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988152\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_023-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Erika Martinez, co-founder of Program Audio, works at a screen-printing station surrounded by event flyers. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“With everything going on with ICE and how scary it is for immigrants at this time, we kind of just felt helpless,” says Martinez. “We don’t necessarily have funds ourselves … but we’re trying to figure out a way to use what we’re good at to help.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=383469968/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>As Javier tests the speakers and fields questions from curious passersby at the kiosk, Martinez is down the street at Javier’s apartment, screenprinting dozens of T-shirts that the duo is selling this evening. Their cats Tekno and Lou come over to nap on the warm garments coming off the heat press.\u003c/p>\n\u003cp>While Javier still works a day job, Martinez has been doing Program Audio as her full-time gig for almost two years. The platform has grown in large part thanks to her TikTok presence, where she brands herself as “your sf nightlife guide.” With short bangs, a deadpan delivery and pink pout, she’s become a recognizable face on the For You pages of Bay Area residents looking to get off their screens and dance til the early morning.\u003c/p>\n\u003cp>“I started using TikTok because I realized there was, the simplest way to say it is, a gap in the market,” she says. ‘There was absolutely no one talking about San Francisco’s electronic music scene.”\u003c/p>\n\u003cfigure id=\"attachment_13988153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_031-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cats rest on newly printed Program Audio T-shirts as a co-founder Erika Martinez, organizes merchandise in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The daughter of a b-boy and a club kid, Martinez has made it her mission to help the Bay Area’s electronic music scene grow. Program Audio joins a \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">rising number of independent, DJ-run online radio stations\u003c/a>, including Fault Radio, Hyde FM and Lower Grand Radio. They’re also part of a community of DJs promoting forward-thinking club music, including \u003ca href=\"https://ra.co/promoters/147486\">Mostly Cloudy\u003c/a>, \u003ca href=\"https://nobias.bandcamp.com/\">No Bias\u003c/a> and \u003ca href=\"https://amordigital.bandcamp.com/\">Amor Digital\u003c/a>.\u003c/p>\n\u003cp>“I just see the potential in S.F. — not even like becoming New York, but becoming its own very special thing,” Martinez says. She hopes the attention on Program Audio prompts San Francisco’s city government to invest into artist-run spaces.\u003c/p>\n\u003cp>Martinez packs up the T-shirts and walks back to the kiosk, where discnogirl and Tom Marsi are spinning bouncy footwork as a small, all-ages crowd starts to coalesce, bobbing their heads.\u003c/p>\n\u003cfigure id=\"attachment_13988147\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988147\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032726PROGRAMAUDIO_GH_003-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Javier hangs T-shirts and tote bags as he prepares Program Audio’s kiosk for a livestreamed DJ set in San Francisco, March 27, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it’s really cool that this is non-corporate, non-sponsored, it’s just two locals doing things for other locals,” says Marsi.\u003c/p>\n\u003cp>Martinez hangs up the fresh T-shirts, but she can’t stay for too long. In just a few hours, she’s due at F8 for a Program Audio party, and she has her set to prepare. She peels off once again, and Javier stays behind to watch the DJ booth.\u003c/p>\n\u003cp>“We’re crazy and we’re stressed, but we know that we’re putting in so much work and the feedback is good,” he says. “So it’s kind of just pushing us and showing us that we’re going in the right direction.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://program.audio/\">Program Audio\u003c/a> streams every Friday and Saturday, 4–8 p.m. \u003ca href=\"https://ra.co/events/2379120\">Their next party\u003c/a> takes place April 3 at Club Six (60 6th St., San Francisco), featuring sets from DBBD, erika, Femme Jatale, Beverly Chills and more. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-best-bay-area-albums-of-2025",
"title": "The 20 Best Bay Area Albums of 2025",
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"headTitle": "The 20 Best Bay Area Albums of 2025 | KQED",
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"content": "\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The year is almost over, and we’re working on our resolutions. Out: passively listening to algorithm-driven, \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-infested playlists\u003c/a>. In: letting the talented artists in your community move, surprise and even challenge you, restoring your faith in humanity.\u003c/p>\n\u003cp>Whether making hip-hop, punk, salsa or spiritual jazz, Bay Area artists didn’t disappoint this year. The KQED Arts & Culture team and contributors combed through 2025’s releases to bring you our favorite local music of the year. Turn up the volume and hit play. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6fiG4ui62dDneZQjMFh8ha?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jamel Griot, \u003cem>Sincerely, Jamel \u003c/em>(Remain Family Oriented Records)\u003c/h2>\n\u003cp>On \u003cem>Sincerely, Jamel\u003c/em>, Oakland rapper Jamel Griot invites us to witness his dark night of the soul, when grief cracks him open and forces him face himself, honestly and unflinchingly. Griot punctuates hard-hitting verses over contemplative, jazzy beats with diary entries, revealing how serial one-night stands turned into a coping mechanism, and how partying has disconnected him from his purpose. “Although you a self-centered n—, you aren’t selfish enough. Because a selfish person loves themselves,” he reads aloud from his journal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To find his way back to himself, Griot unpacks childhood trauma with a courageous vulnerability. His lyrics illuminate a new path forward, one that invites listeners to lovingly tend to their own scars. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2YjTKpjohCKRlShBvgWHqQ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Rabiah Kabir, \u003cem>Jezebel: Rewritten \u003c/em>(Self-released)\u003c/h2>\n\u003cp>The song “Flute / Overture,” opens Rabiah Kabir’s \u003cem>Jezebel: Rewritten\u003c/em> with a jazzy thesis statement. Birds chirp, shakers shake and keys resonate as the flute’s flow intertwines with comments about the historical importance of the instrument and the artist’s work to dispel sexist notions about flutists.\u003c/p>\n\u003cp>With the support of a full band, Oakland’s Kabir shows a range of a flute’s sonic capabilities. The song “Fin.” showcases the wind instrument’s mysticism. “The ReZident” offers a taste of flute funk. And the dark keys and heavy drums at the start of “I Crashed My Car” create an anxious tone that is ultimately resolved, climaxing in a flute run that’s as relaxing as a field of fresh lavender. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4149894761/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\u003ch2>Kathryn Mohr, \u003cem>Waiting Room\u003c/em> (The Flenser)\u003c/h2>\n\u003cp>A bell’s hollow rings echo through a room. Static builds. Radio noise chatters in the distance. Sea waves crash. Someone (or something) scribbles. The field recordings that populate Kathryn Mohr’s \u003cem>Waiting Room\u003c/em> — self-recorded in an abandoned fish factory in Iceland — give a sense of isolation and melancholy, capturing the anxiety of anticipation.\u003c/p>\n\u003cp>Mohr builds on those recordings using an analog synth and aching vocals, creating subtle, pinpoint-precise melodies. Following the oneiric opener “Diver,” dissonant tracks weave between guitar-driven, ’90s grunge-inspired pieces. In “Petrified,” gentle vocals evoke violent visuals that dance above finger-plucked guitar. Mohr’s full-length debut asks its listeners to find beauty in decay, to sit in feelings of discomfort without the promise of catharsis. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1MTodq6IqzqFEav64mt1Jg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Michael Sneed, \u003cem>floaters at the buzzer!\u003c/em> (Michael Sneed/Create Music Group)\u003c/h2>\n\u003cp>Attention spans might be shrinking because of TikTok and Instagram, but rapper and producer Michael Sneed’s \u003cem>floaters at the buzzer!\u003c/em> beckons to be heard from start to finish. “I’ll be your guide, I got you,” Sneed croons on the opening track. From there he puffs out his chest on “blend*” featuring Bay Area trailblazer P-Lo.\u003c/p>\n\u003cp>On “town sh!t 4ever!,” Sneed and P-Lo reinterpret a classic by sampling Mistah F.A.B.’s legendary “N.E.W. Oakland.” The song features Ovrkast. and wrestles with the tension of being pushed out of your hometown yet still trying to love it despite the struggles. This contradiction crescendos with “still ain’t die!,” a trumpet-laced proclamation of the life Sneed and his kin insist on, in spite of the forces conspiring against their thriving. \u003cem>— Sarah O’Neal\u003c/em>\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=106152191/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\u003ch2>John Elliott, \u003cem>I Am John Mayer\u003c/em> (Self-released)\u003c/h2>\n\u003cp>When John Michael Mayer started making music in the Y2K era, he faced a problem: There was another musician on the internet named John Mayer. Vowing to battle for name recognition and acclaim in the public arena, he released song after song, none as schlocky as “Your Body Is a Wonderland,” and lost the fight. Now, the San Francisco musician forced to rechristen himself John Elliott has told the story in a catchy, cleverly written title track, “I Am John Mayer.”\u003c/p>\n\u003cp>Possessed of a Jonathan Richman sincerity and a John Darnielle expressiveness, Elliott’s a wide-eyed everyman who soaks up and sings about the world’s joys and pains alike. (Recall his \u003ca href=\"https://www.kqed.org/arts/13912499/song-jfk-drive-car-free-board-of-supervisors-sf\">one-minute song to elected officials about keeping JFK Drive car-free\u003c/a>.) On \u003cem>I Am John Mayer\u003c/em> (currently only available \u003ca href=\"https://www.thehereafterishere.com/store/p/i-am-john-mayer-digital-download\">through his website\u003c/a>, and coming soon to streaming), he’s in top form, including the heartstring-pulling “Out Here,” a plea to an unborn child hesitant to enter the world. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2rPy6g5DGQBsb7g96xXFGI?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jane Handcock, \u003cem>It’s Me, Not You \u003c/em>(Death Row Records/gamma.)\u003c/h2>\n\u003cp>\u003cem>It’s Me, Not You\u003c/em> marks a well-deserved ascent for Jane Handcock, the mega-talented Richmond-raised vocalist who’s spent years behind the scenes, penning lyrics for R&B and hip-hop greats like Kelly Rowland, Rick Ross, Tyrese and Teddy Riley. Now signed to the venerable Death Row Records, Handcock delivered a finely crafted album for the grown-and-sexy lover girls.\u003c/p>\n\u003cp>The effervescent mood of “Stare At Me” featuring Anderson .Paak feels like eclectic sliding through the clouds. The funky, horn-driven “Can’t Let Go” drips with sex appeal, and on “For the Views” — a missive to social-media lurkers — Handcock conjures the atmosphere of a smoke-filled lounge where one might exchange a furtive glance over the rim of a martini glass. \u003cem>It’s Me, Not You\u003c/em> proves Handcock has earned her spotlight and will continue to hold our attention for a long time. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=97838322/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\u003ch2>Spiritual Cramp, \u003ci>Rude\u003c/i> (Blue Grape Music)\u003c/h2>\n\u003cp>“What if I went back home to the Bay where I belong? / In the heart of San Francisco, just an hour away from home,” Spiritual Cramp’s Michael Bingham sings on “True Love (Is Hard To Find).” It’s the premise for \u003cem>Rude\u003c/em>, an eloquent new-wave punk love letter to the city that still holds the keys to his soul, even though he’s moved away.\u003c/p>\n\u003cp>Produced by the accomplished John Congleton, \u003cem>Rude\u003c/em> wears that heart on its sleeve at every turn, from the tantalizing melodies of “Automatic” to the endearingly self-deprecating “At My Funeral.” Sharon Van Etten guests on the gleaming “You’ve Got My Number,” a highlight within what should go down as a breakout effort for Spiritual Cramp, who are primed for big things in 2026. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2XeGkDrU1IX9hlqEId3GS3?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> (Patois Records)\u003c/h2>\n\u003cp>It’s rare indeed when an album makes you rethink the history of a genre, but by focusing on female salsa and Latin jazz artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> offers a deeply informed alternative view of the evolution of Latin music in the Bay Area. Without a dominant group to shape the rhythmic currents, the Bay Area Latin music scene has always cast a wide net. This two-disc anthology shows that same pan-Latin forces at work, showcasing excellent work by women from Venezuela, Cuba, Chile and Colombia and the U.S.\u003c/p>\n\u003cp>Both discs open with new music showcasing a brilliant cross-section of women players, many of whom lead their own bands. But it’s tracks like “Cosmo” by the Blazing Redheads, an all-female septet that coalesced at the end of the 1980s with a dance-inducing combination of jazz, funk and Latin beats, that make \u003cem>Renegade Queens\u003c/em> a continual source of delight. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/22nSF43OqkoSheKO58Fie1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Lil Yee, \u003cem>Life After Death\u003c/em> (G-Affair/Empire)\u003c/h2>\n\u003cp>“They say death is a deep sleep / Wake me up, it ain’t my time,” says San Francisco’s Lil Yee on \u003cem>Life After Death\u003c/em>. After being shot in March of this year, Yee’s latest project illustrates his pain, his family’s love and his devotion to a higher power.\u003c/p>\n\u003cp>He brings the audience into the hospital on “ICU” as he describes the feeling of flatlining. Yee yearns for romantic love on “Love Me FRFR,” and he stunts on tracks with Veeze, 22nd Jim and EBK Jaaybo. On “Chopper Zone,” Yee paints the perils of his community. “Wicked Man” is a blues song about sinister things happening to benevolent people. And on “Sunday Morning,” Yee shares his resilient mindstate after the shooting, and how he’s persevering through it all. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2185729243/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\u003ch2>Spellling, \u003cem>Portrait of My Heart\u003c/em> (Sacred Bones)\u003c/h2>\n\u003cp>On \u003cem>Portrait of My Heart\u003c/em>, Oakland art-pop luminary Spellling strips away ornate theatricality for punchy guitar rock that speaks straight into the soul of anyone who’s ever felt like an outcast: “I don’t belong here,” she wails on the title track, which simmers with inner turmoil before boiling over into a cathartic crescendo.\u003c/p>\n\u003cp>The sharply written album is a cinematic ride through alienation and grief. Spellling pushes the limits of her voice to belt, whisper and growl as she delicately unravels thorny emotions such as shame and fear, letting herself bleed as she narrates her internal battles. Guitarist Wyatt Overson’s distortion-heavy riffs and anthemic solos add weight to the gut punch of Spellling’s lyrical intensity. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2577981795/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\u003ch2>Arts and Crafts, \u003cem>1000 Dancing Devils\u003c/em> (Self-released)\u003c/h2>\n\u003cp>Prog jazz meets math rock meets influences from South Asia and North Africa in Arts and Crafts’ \u003cem>1000 Dancing Devils\u003c/em>. Guitarist Noam Teyssier, bassist Nadia Aquil and drummer Jeff Klein \u003ca href=\"https://www.linkedin.com/pulse/arts-crafts-1000-dancing-devils-review-ngo-core-2q9oc/\">say their inspirations span\u003c/a> Moroccan ouds, Bollywood films and the band Phish — specifically for the track “Roti,” the three-over-four rhythm from Phish’s “Buried Alive.”\u003c/p>\n\u003cp>The sounds originate from the San Francisco and Oakland band’s own communities and diasporas, combining and transmuting to form the groovy, upbeat album: Psychedelic opener “Oö” gives way to the cymbal crashes and pulsing surf rock of “Sidi Bouzid.” Named after a Moroccan city of Teyssier’s childhood, that track ends with a sample of the very musicians who played at Teyssier’s wedding. It’s personal and universal and wholly Bay Area. Blast the album during a winding car ride along the California coast, and you’ll find your head nodding, fingers reaching out of the open window to tap along. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2693444777/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\u003ch2>Andrés Miguel Cervantes, \u003cem>Songs for the Seance\u003c/em> (Speakeasy Studios SF)\u003c/h2>\n\u003cp>Andrés Miguel Cervantes is a Western desperado whose journeys through the Sonoran and Mojave deserts and up the coast are at the crux of his latest album. \u003cem>Songs for the Seance\u003c/em> sounds like Hermanos Gutierrez backing Sturgill Simpson, and this is rarified air for a Bay Area artist.\u003c/p>\n\u003cp>Recorded on eight-track tape, sinister guitar, omnipresent pedal steel and twangy violin, garnished with harmonica, guide Cervantes’ rugged baritone staccato. “I saw the devil’s eyes in me,” the Oaklander laments on the title track, pleading to marauding spirits that he’s passionately trying to harness. It’s one of many wonderfully constructed tunes on an album that reveals Cervantes’ gifts as an essential emerging storyteller. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1253547124/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\u003ch2>Cole Pulice, \u003cem>Land’s End Eternal \u003c/em>(Leaving Records)\u003c/h2>\n\u003cp>Cole Pulice’s work this decade showed improvisers all over the world a way forward for Coltrane-inspired spiritual-jazz saxophone, culminating in the pitch-shifted frenzy of 2023’s longform odyssey “If I Don’t See You in the Future, I’ll See You in the Pasture.” On their new album \u003cem>Land’s End Eternal\u003c/em>, the Oakland improviser takes a breather, pairing the first scratchings of their journey as a guitarist with gentle saxophone leads that snake across the stereo field like the cliff-hugging trails of the album’s namesake park.\u003c/p>\n\u003cp>Pulice cited Bay Area art-music legends Pauline Oliveros and Terry Riley as inspirations for their meditative approach on this record, but it’s guided just as much by the ineffable something that rolls in with the fog every night. \u003cem>— Daniel Bromfield\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1fHEmXGVuCHiRI10E9gybP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kevin Allen, \u003cem>Mr. Nobody\u003c/em> (Grand Nationxl/Create Music Group)\u003c/h2>\n\u003cp>“Fuck the middleman, I had to do it myself.” So begins Kevin Allen’s \u003cem>Mr. Nobody\u003c/em>, a 10-song manifesto from one of the Bay’s most prolific and underrated rappers. At this stage in his career, Allen’s got nothing more to prove, evidenced by the risk-taking on the breezy, exploratory R&B of his 2024 album \u003cem>Don’t Overthink It\u003c/em>.\u003c/p>\n\u003cp>This time around, Allen’s the grown lyricist claiming his spot at the Bay Area table, with a well-earned chip on his shoulder (“My baby mama only one who came to my court date,” he raps on “F.W.W.I.D.”). Add an undercurrent of gospel, a dash of the cinematic and a sidearm pitch of romance in the eighth inning (“Put You First”), and you’ve got a solid album with Allen’s voice and vision front and center — no middleman needed. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=658546348/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\u003ch2>Raven, \u003cem>Gnosis\u003c/em> (Incienso)\u003c/h2>\n\u003cp>There’s certain music that timelessly soundtracks a pensive nighttime stroll in the big city. Everything but the Girl’s \u003cem>Walking Wounded\u003c/em> inspires you to find a dance floor and spill your emotions, while Adam F’s \u003cem>Colours\u003c/em> invites you to seek harmony in the chaos of your surroundings. San Francisco producer Raven’s \u003cem>Gnosis\u003c/em> (out on NYC’s Incienso label) has a similar spirit, emphasizing the organic sensory experiences of urban life amid an increasingly tech-saturated landscape: the moisture in the air, cold pavement, tall buildings, lights that flicker and thousands of people with their hands in their pockets making their way across town.\u003c/p>\n\u003cp>Wrapped in synths and dark textures, Raven’s ambient techno begs us to dance, but ultimately stays grounded in an IDM sensibility — like floating above a wormhole into a mysterious other side and winning the battle against its gravitational pull. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/47NKcUIh3dBEfKgCfIV475?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>demahjiae, \u003cem>what do you hear when you pray?\u003c/em> (Yalé/Empire)\u003c/h2>\n\u003cp>“How is this for alternative?” demahjiae begins, pushing back on being pigeonholed as an artist. \u003cem>what do you hear when you pray?\u003c/em> releases the expectation to have answers, offering a litany of questions instead. In a time when many stereotype the Bay Area as having a single sound, demahjiae puts his foot down, stubbornly crafting on his terms.\u003c/p>\n\u003cp>He turns away from the pressure of people and towards the support of a higher power, echoing that in the end “God got me” on “Silver Surfer.” “a ladder to the sky” concludes with keys and violin strings that break through like sun rays shattering rainclouds. “The north star don’t shine on the east too much,” he professes. Yet despite the exhaustion of insisting on a truth few recognize, in defense of a home many denigrate, demahjiae presses on, holding up a mirror to his own contradictions while casting prayers to soften the path.\u003cem> — Sarah O’Neal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2076548456/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\u003ch2>Hook-Ups, \u003cem>Hook-Ups Presents… Hkup \u003c/em>(Self-released)\u003c/h2>\n\u003cp>Hook-Ups, the slacker-rock solo project of Castro Valley-based Maxwell Carver, released its most ambitious work yet in the half-hour LP \u003cem>Hook-Ups Presents… Hkup\u003c/em>. After a jingle plays for the fictional radio station HKUP, DJ Scotty2Shoes (voiced by Carver) wishes listeners good morning, introducing himself and his high-pitched, possibly avian co-host Jimmy (also Carver) as the Hook-Ups track “Crawlin’” plays underneath. The gambit is that we’re tuning into Scotty2Shoes’ radio hour as he sets up — and distracts us from — all-new Hook-Ups songs.\u003c/p>\n\u003cp>In the musical interludes — or, rather, the album — indie rock earworms like “Wcyd?” stand out with hypnotic loops of guitar and keys as backing vocals whisper and repeat. Meanwhile, in the album’s spoken parts, Scotty gives traffic updates on I-880, takes staticky local calls and needles Jimmy about his love life. Jimmy eventually leaves the show in anger, catalyzing the album’s second half: Jimmy’s replacement Albert (still Carver) asks Scotty to “turn that shit up” by way of introducing “Fine Whine.” And to win Jimmy back, Scotty plays Hook-Ups’ ebullient cover of Dion and the Belmonts’ 1959 “A Teenager in Love” — winning over, too, listeners who might’ve been initially unsure about the album’s out-there concept. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2396630951/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\u003ch2>Beth Schenck, \u003cem>Dahlia\u003c/em> (Queen Bee Records)\u003c/h2>\n\u003cp>Part of the extraordinary 12/12 project spearheaded by Berkeley bassist Lisa Mezzacappa, which has released a dozen albums by improvisation-powered Bay Area ensembles, San Francisco alto saxophonist Beth Schenck’s \u003cem>Dahlia\u003c/em> is among the most striking blooms in this artfully curated garden.\u003c/p>\n\u003cp>Best known for her folk and chamber-jazz work with Jenny Scheinman, Schenck possesses a bright, gleaming tone and divergent impulses as a composer. Featuring a formidable cast with Mezzacappa, drummer Jordan Glenn, Cory Wright on tenor sax and bass clarinet and Schenck’s husband Matt Wrobel on guitar, \u003cem>Dahlia\u003c/em> toggles between Ornette Coleman-inspired laments (“Every Riven Thing”), tender tone poems (“Wayne’s Gone”) and sinuous, multi-layered investigations (“Playground”). Each mode contains its own particular rewards, starting with the sheer beauty of her sound. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0jHqElEG9tMkgMXk3IKQrV?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Miles Minnick, \u003cem>Via Dolorosa\u003c/em> (Glo/Empire)\u003c/h2>\n\u003cp>On \u003cem>Via Dolorosa\u003c/em>, Miles Minnick, a former youth pastor from Pittsburg, cooks up some traditional West Coast hip-hop without using a single cuss word. There’s praise and affirmations, melodic hooks and that trademark Bay Area blap.\u003c/p>\n\u003cp>Minnick taps Brooke Valentine and Lacrae for features, as well as the Bay Area’s own G-Eazy, E-40 and Kamiyah. Keak Da Sneak is on “Bout Time,” which pulls from his 2003 track “Know What I’m Talking About.” And Mistah F.A.B. is on “Sick Wid It,” a retake of 2005’s “Super Sic Wit It.” Minnick samples Mac Dre’s “Not My Job” but shares a message that differs from Furl’s. “It’s not my job, can’t judge you / Live different, but we still gon’ love you,” Minnick says, summarizing the album’s ethos. The project, the fourth from Minnick in the past two years, is evidence that he’s making religious rap more relatable, not condescending — and he’s doing so without watering down the beats. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3695116657/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\u003ch2>Various Artists, \u003cem>Bay Area Renegade Trax Vol. 2 \u003c/em>(No Bias)\u003c/h2>\n\u003cp>If you’re searching for the pulse of the Bay Area’s underground electronic music scene, look no further than \u003cem>Bay Area Renegade Trax Vol. 2\u003c/em>, a compilation featuring 31 eccentric, eclectic DJs and producers put together by local label No Bias.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These high-BPM bangers by artists including Bored Lord, Bastiengoat and DJ Juanny span house, juke, garage, drum and bass and more. They’re dirty, gritty and elastic — a rebuke to background music, and a manifesto for dancing at the forest rave until the sun comes up. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The year is almost over, and we’re working on our resolutions. Out: passively listening to algorithm-driven, \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-infested playlists\u003c/a>. In: letting the talented artists in your community move, surprise and even challenge you, restoring your faith in humanity.\u003c/p>\n\u003cp>Whether making hip-hop, punk, salsa or spiritual jazz, Bay Area artists didn’t disappoint this year. The KQED Arts & Culture team and contributors combed through 2025’s releases to bring you our favorite local music of the year. Turn up the volume and hit play. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6fiG4ui62dDneZQjMFh8ha?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jamel Griot, \u003cem>Sincerely, Jamel \u003c/em>(Remain Family Oriented Records)\u003c/h2>\n\u003cp>On \u003cem>Sincerely, Jamel\u003c/em>, Oakland rapper Jamel Griot invites us to witness his dark night of the soul, when grief cracks him open and forces him face himself, honestly and unflinchingly. Griot punctuates hard-hitting verses over contemplative, jazzy beats with diary entries, revealing how serial one-night stands turned into a coping mechanism, and how partying has disconnected him from his purpose. “Although you a self-centered n—, you aren’t selfish enough. Because a selfish person loves themselves,” he reads aloud from his journal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To find his way back to himself, Griot unpacks childhood trauma with a courageous vulnerability. His lyrics illuminate a new path forward, one that invites listeners to lovingly tend to their own scars. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2YjTKpjohCKRlShBvgWHqQ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Rabiah Kabir, \u003cem>Jezebel: Rewritten \u003c/em>(Self-released)\u003c/h2>\n\u003cp>The song “Flute / Overture,” opens Rabiah Kabir’s \u003cem>Jezebel: Rewritten\u003c/em> with a jazzy thesis statement. Birds chirp, shakers shake and keys resonate as the flute’s flow intertwines with comments about the historical importance of the instrument and the artist’s work to dispel sexist notions about flutists.\u003c/p>\n\u003cp>With the support of a full band, Oakland’s Kabir shows a range of a flute’s sonic capabilities. The song “Fin.” showcases the wind instrument’s mysticism. “The ReZident” offers a taste of flute funk. And the dark keys and heavy drums at the start of “I Crashed My Car” create an anxious tone that is ultimately resolved, climaxing in a flute run that’s as relaxing as a field of fresh lavender. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4149894761/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\u003ch2>Kathryn Mohr, \u003cem>Waiting Room\u003c/em> (The Flenser)\u003c/h2>\n\u003cp>A bell’s hollow rings echo through a room. Static builds. Radio noise chatters in the distance. Sea waves crash. Someone (or something) scribbles. The field recordings that populate Kathryn Mohr’s \u003cem>Waiting Room\u003c/em> — self-recorded in an abandoned fish factory in Iceland — give a sense of isolation and melancholy, capturing the anxiety of anticipation.\u003c/p>\n\u003cp>Mohr builds on those recordings using an analog synth and aching vocals, creating subtle, pinpoint-precise melodies. Following the oneiric opener “Diver,” dissonant tracks weave between guitar-driven, ’90s grunge-inspired pieces. In “Petrified,” gentle vocals evoke violent visuals that dance above finger-plucked guitar. Mohr’s full-length debut asks its listeners to find beauty in decay, to sit in feelings of discomfort without the promise of catharsis. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1MTodq6IqzqFEav64mt1Jg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Michael Sneed, \u003cem>floaters at the buzzer!\u003c/em> (Michael Sneed/Create Music Group)\u003c/h2>\n\u003cp>Attention spans might be shrinking because of TikTok and Instagram, but rapper and producer Michael Sneed’s \u003cem>floaters at the buzzer!\u003c/em> beckons to be heard from start to finish. “I’ll be your guide, I got you,” Sneed croons on the opening track. From there he puffs out his chest on “blend*” featuring Bay Area trailblazer P-Lo.\u003c/p>\n\u003cp>On “town sh!t 4ever!,” Sneed and P-Lo reinterpret a classic by sampling Mistah F.A.B.’s legendary “N.E.W. Oakland.” The song features Ovrkast. and wrestles with the tension of being pushed out of your hometown yet still trying to love it despite the struggles. This contradiction crescendos with “still ain’t die!,” a trumpet-laced proclamation of the life Sneed and his kin insist on, in spite of the forces conspiring against their thriving. \u003cem>— Sarah O’Neal\u003c/em>\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=106152191/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\u003ch2>John Elliott, \u003cem>I Am John Mayer\u003c/em> (Self-released)\u003c/h2>\n\u003cp>When John Michael Mayer started making music in the Y2K era, he faced a problem: There was another musician on the internet named John Mayer. Vowing to battle for name recognition and acclaim in the public arena, he released song after song, none as schlocky as “Your Body Is a Wonderland,” and lost the fight. Now, the San Francisco musician forced to rechristen himself John Elliott has told the story in a catchy, cleverly written title track, “I Am John Mayer.”\u003c/p>\n\u003cp>Possessed of a Jonathan Richman sincerity and a John Darnielle expressiveness, Elliott’s a wide-eyed everyman who soaks up and sings about the world’s joys and pains alike. (Recall his \u003ca href=\"https://www.kqed.org/arts/13912499/song-jfk-drive-car-free-board-of-supervisors-sf\">one-minute song to elected officials about keeping JFK Drive car-free\u003c/a>.) On \u003cem>I Am John Mayer\u003c/em> (currently only available \u003ca href=\"https://www.thehereafterishere.com/store/p/i-am-john-mayer-digital-download\">through his website\u003c/a>, and coming soon to streaming), he’s in top form, including the heartstring-pulling “Out Here,” a plea to an unborn child hesitant to enter the world. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2rPy6g5DGQBsb7g96xXFGI?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jane Handcock, \u003cem>It’s Me, Not You \u003c/em>(Death Row Records/gamma.)\u003c/h2>\n\u003cp>\u003cem>It’s Me, Not You\u003c/em> marks a well-deserved ascent for Jane Handcock, the mega-talented Richmond-raised vocalist who’s spent years behind the scenes, penning lyrics for R&B and hip-hop greats like Kelly Rowland, Rick Ross, Tyrese and Teddy Riley. Now signed to the venerable Death Row Records, Handcock delivered a finely crafted album for the grown-and-sexy lover girls.\u003c/p>\n\u003cp>The effervescent mood of “Stare At Me” featuring Anderson .Paak feels like eclectic sliding through the clouds. The funky, horn-driven “Can’t Let Go” drips with sex appeal, and on “For the Views” — a missive to social-media lurkers — Handcock conjures the atmosphere of a smoke-filled lounge where one might exchange a furtive glance over the rim of a martini glass. \u003cem>It’s Me, Not You\u003c/em> proves Handcock has earned her spotlight and will continue to hold our attention for a long time. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=97838322/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\u003ch2>Spiritual Cramp, \u003ci>Rude\u003c/i> (Blue Grape Music)\u003c/h2>\n\u003cp>“What if I went back home to the Bay where I belong? / In the heart of San Francisco, just an hour away from home,” Spiritual Cramp’s Michael Bingham sings on “True Love (Is Hard To Find).” It’s the premise for \u003cem>Rude\u003c/em>, an eloquent new-wave punk love letter to the city that still holds the keys to his soul, even though he’s moved away.\u003c/p>\n\u003cp>Produced by the accomplished John Congleton, \u003cem>Rude\u003c/em> wears that heart on its sleeve at every turn, from the tantalizing melodies of “Automatic” to the endearingly self-deprecating “At My Funeral.” Sharon Van Etten guests on the gleaming “You’ve Got My Number,” a highlight within what should go down as a breakout effort for Spiritual Cramp, who are primed for big things in 2026. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2XeGkDrU1IX9hlqEId3GS3?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> (Patois Records)\u003c/h2>\n\u003cp>It’s rare indeed when an album makes you rethink the history of a genre, but by focusing on female salsa and Latin jazz artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> offers a deeply informed alternative view of the evolution of Latin music in the Bay Area. Without a dominant group to shape the rhythmic currents, the Bay Area Latin music scene has always cast a wide net. This two-disc anthology shows that same pan-Latin forces at work, showcasing excellent work by women from Venezuela, Cuba, Chile and Colombia and the U.S.\u003c/p>\n\u003cp>Both discs open with new music showcasing a brilliant cross-section of women players, many of whom lead their own bands. But it’s tracks like “Cosmo” by the Blazing Redheads, an all-female septet that coalesced at the end of the 1980s with a dance-inducing combination of jazz, funk and Latin beats, that make \u003cem>Renegade Queens\u003c/em> a continual source of delight. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/22nSF43OqkoSheKO58Fie1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Lil Yee, \u003cem>Life After Death\u003c/em> (G-Affair/Empire)\u003c/h2>\n\u003cp>“They say death is a deep sleep / Wake me up, it ain’t my time,” says San Francisco’s Lil Yee on \u003cem>Life After Death\u003c/em>. After being shot in March of this year, Yee’s latest project illustrates his pain, his family’s love and his devotion to a higher power.\u003c/p>\n\u003cp>He brings the audience into the hospital on “ICU” as he describes the feeling of flatlining. Yee yearns for romantic love on “Love Me FRFR,” and he stunts on tracks with Veeze, 22nd Jim and EBK Jaaybo. On “Chopper Zone,” Yee paints the perils of his community. “Wicked Man” is a blues song about sinister things happening to benevolent people. And on “Sunday Morning,” Yee shares his resilient mindstate after the shooting, and how he’s persevering through it all. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2185729243/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\u003ch2>Spellling, \u003cem>Portrait of My Heart\u003c/em> (Sacred Bones)\u003c/h2>\n\u003cp>On \u003cem>Portrait of My Heart\u003c/em>, Oakland art-pop luminary Spellling strips away ornate theatricality for punchy guitar rock that speaks straight into the soul of anyone who’s ever felt like an outcast: “I don’t belong here,” she wails on the title track, which simmers with inner turmoil before boiling over into a cathartic crescendo.\u003c/p>\n\u003cp>The sharply written album is a cinematic ride through alienation and grief. Spellling pushes the limits of her voice to belt, whisper and growl as she delicately unravels thorny emotions such as shame and fear, letting herself bleed as she narrates her internal battles. Guitarist Wyatt Overson’s distortion-heavy riffs and anthemic solos add weight to the gut punch of Spellling’s lyrical intensity. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2577981795/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\u003ch2>Arts and Crafts, \u003cem>1000 Dancing Devils\u003c/em> (Self-released)\u003c/h2>\n\u003cp>Prog jazz meets math rock meets influences from South Asia and North Africa in Arts and Crafts’ \u003cem>1000 Dancing Devils\u003c/em>. Guitarist Noam Teyssier, bassist Nadia Aquil and drummer Jeff Klein \u003ca href=\"https://www.linkedin.com/pulse/arts-crafts-1000-dancing-devils-review-ngo-core-2q9oc/\">say their inspirations span\u003c/a> Moroccan ouds, Bollywood films and the band Phish — specifically for the track “Roti,” the three-over-four rhythm from Phish’s “Buried Alive.”\u003c/p>\n\u003cp>The sounds originate from the San Francisco and Oakland band’s own communities and diasporas, combining and transmuting to form the groovy, upbeat album: Psychedelic opener “Oö” gives way to the cymbal crashes and pulsing surf rock of “Sidi Bouzid.” Named after a Moroccan city of Teyssier’s childhood, that track ends with a sample of the very musicians who played at Teyssier’s wedding. It’s personal and universal and wholly Bay Area. Blast the album during a winding car ride along the California coast, and you’ll find your head nodding, fingers reaching out of the open window to tap along. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2693444777/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\u003ch2>Andrés Miguel Cervantes, \u003cem>Songs for the Seance\u003c/em> (Speakeasy Studios SF)\u003c/h2>\n\u003cp>Andrés Miguel Cervantes is a Western desperado whose journeys through the Sonoran and Mojave deserts and up the coast are at the crux of his latest album. \u003cem>Songs for the Seance\u003c/em> sounds like Hermanos Gutierrez backing Sturgill Simpson, and this is rarified air for a Bay Area artist.\u003c/p>\n\u003cp>Recorded on eight-track tape, sinister guitar, omnipresent pedal steel and twangy violin, garnished with harmonica, guide Cervantes’ rugged baritone staccato. “I saw the devil’s eyes in me,” the Oaklander laments on the title track, pleading to marauding spirits that he’s passionately trying to harness. It’s one of many wonderfully constructed tunes on an album that reveals Cervantes’ gifts as an essential emerging storyteller. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1253547124/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\u003ch2>Cole Pulice, \u003cem>Land’s End Eternal \u003c/em>(Leaving Records)\u003c/h2>\n\u003cp>Cole Pulice’s work this decade showed improvisers all over the world a way forward for Coltrane-inspired spiritual-jazz saxophone, culminating in the pitch-shifted frenzy of 2023’s longform odyssey “If I Don’t See You in the Future, I’ll See You in the Pasture.” On their new album \u003cem>Land’s End Eternal\u003c/em>, the Oakland improviser takes a breather, pairing the first scratchings of their journey as a guitarist with gentle saxophone leads that snake across the stereo field like the cliff-hugging trails of the album’s namesake park.\u003c/p>\n\u003cp>Pulice cited Bay Area art-music legends Pauline Oliveros and Terry Riley as inspirations for their meditative approach on this record, but it’s guided just as much by the ineffable something that rolls in with the fog every night. \u003cem>— Daniel Bromfield\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1fHEmXGVuCHiRI10E9gybP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kevin Allen, \u003cem>Mr. Nobody\u003c/em> (Grand Nationxl/Create Music Group)\u003c/h2>\n\u003cp>“Fuck the middleman, I had to do it myself.” So begins Kevin Allen’s \u003cem>Mr. Nobody\u003c/em>, a 10-song manifesto from one of the Bay’s most prolific and underrated rappers. At this stage in his career, Allen’s got nothing more to prove, evidenced by the risk-taking on the breezy, exploratory R&B of his 2024 album \u003cem>Don’t Overthink It\u003c/em>.\u003c/p>\n\u003cp>This time around, Allen’s the grown lyricist claiming his spot at the Bay Area table, with a well-earned chip on his shoulder (“My baby mama only one who came to my court date,” he raps on “F.W.W.I.D.”). Add an undercurrent of gospel, a dash of the cinematic and a sidearm pitch of romance in the eighth inning (“Put You First”), and you’ve got a solid album with Allen’s voice and vision front and center — no middleman needed. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=658546348/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\u003ch2>Raven, \u003cem>Gnosis\u003c/em> (Incienso)\u003c/h2>\n\u003cp>There’s certain music that timelessly soundtracks a pensive nighttime stroll in the big city. Everything but the Girl’s \u003cem>Walking Wounded\u003c/em> inspires you to find a dance floor and spill your emotions, while Adam F’s \u003cem>Colours\u003c/em> invites you to seek harmony in the chaos of your surroundings. San Francisco producer Raven’s \u003cem>Gnosis\u003c/em> (out on NYC’s Incienso label) has a similar spirit, emphasizing the organic sensory experiences of urban life amid an increasingly tech-saturated landscape: the moisture in the air, cold pavement, tall buildings, lights that flicker and thousands of people with their hands in their pockets making their way across town.\u003c/p>\n\u003cp>Wrapped in synths and dark textures, Raven’s ambient techno begs us to dance, but ultimately stays grounded in an IDM sensibility — like floating above a wormhole into a mysterious other side and winning the battle against its gravitational pull. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/47NKcUIh3dBEfKgCfIV475?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>demahjiae, \u003cem>what do you hear when you pray?\u003c/em> (Yalé/Empire)\u003c/h2>\n\u003cp>“How is this for alternative?” demahjiae begins, pushing back on being pigeonholed as an artist. \u003cem>what do you hear when you pray?\u003c/em> releases the expectation to have answers, offering a litany of questions instead. In a time when many stereotype the Bay Area as having a single sound, demahjiae puts his foot down, stubbornly crafting on his terms.\u003c/p>\n\u003cp>He turns away from the pressure of people and towards the support of a higher power, echoing that in the end “God got me” on “Silver Surfer.” “a ladder to the sky” concludes with keys and violin strings that break through like sun rays shattering rainclouds. “The north star don’t shine on the east too much,” he professes. Yet despite the exhaustion of insisting on a truth few recognize, in defense of a home many denigrate, demahjiae presses on, holding up a mirror to his own contradictions while casting prayers to soften the path.\u003cem> — Sarah O’Neal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2076548456/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\u003ch2>Hook-Ups, \u003cem>Hook-Ups Presents… Hkup \u003c/em>(Self-released)\u003c/h2>\n\u003cp>Hook-Ups, the slacker-rock solo project of Castro Valley-based Maxwell Carver, released its most ambitious work yet in the half-hour LP \u003cem>Hook-Ups Presents… Hkup\u003c/em>. After a jingle plays for the fictional radio station HKUP, DJ Scotty2Shoes (voiced by Carver) wishes listeners good morning, introducing himself and his high-pitched, possibly avian co-host Jimmy (also Carver) as the Hook-Ups track “Crawlin’” plays underneath. The gambit is that we’re tuning into Scotty2Shoes’ radio hour as he sets up — and distracts us from — all-new Hook-Ups songs.\u003c/p>\n\u003cp>In the musical interludes — or, rather, the album — indie rock earworms like “Wcyd?” stand out with hypnotic loops of guitar and keys as backing vocals whisper and repeat. Meanwhile, in the album’s spoken parts, Scotty gives traffic updates on I-880, takes staticky local calls and needles Jimmy about his love life. Jimmy eventually leaves the show in anger, catalyzing the album’s second half: Jimmy’s replacement Albert (still Carver) asks Scotty to “turn that shit up” by way of introducing “Fine Whine.” And to win Jimmy back, Scotty plays Hook-Ups’ ebullient cover of Dion and the Belmonts’ 1959 “A Teenager in Love” — winning over, too, listeners who might’ve been initially unsure about the album’s out-there concept. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2396630951/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\u003ch2>Beth Schenck, \u003cem>Dahlia\u003c/em> (Queen Bee Records)\u003c/h2>\n\u003cp>Part of the extraordinary 12/12 project spearheaded by Berkeley bassist Lisa Mezzacappa, which has released a dozen albums by improvisation-powered Bay Area ensembles, San Francisco alto saxophonist Beth Schenck’s \u003cem>Dahlia\u003c/em> is among the most striking blooms in this artfully curated garden.\u003c/p>\n\u003cp>Best known for her folk and chamber-jazz work with Jenny Scheinman, Schenck possesses a bright, gleaming tone and divergent impulses as a composer. Featuring a formidable cast with Mezzacappa, drummer Jordan Glenn, Cory Wright on tenor sax and bass clarinet and Schenck’s husband Matt Wrobel on guitar, \u003cem>Dahlia\u003c/em> toggles between Ornette Coleman-inspired laments (“Every Riven Thing”), tender tone poems (“Wayne’s Gone”) and sinuous, multi-layered investigations (“Playground”). Each mode contains its own particular rewards, starting with the sheer beauty of her sound. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0jHqElEG9tMkgMXk3IKQrV?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Miles Minnick, \u003cem>Via Dolorosa\u003c/em> (Glo/Empire)\u003c/h2>\n\u003cp>On \u003cem>Via Dolorosa\u003c/em>, Miles Minnick, a former youth pastor from Pittsburg, cooks up some traditional West Coast hip-hop without using a single cuss word. There’s praise and affirmations, melodic hooks and that trademark Bay Area blap.\u003c/p>\n\u003cp>Minnick taps Brooke Valentine and Lacrae for features, as well as the Bay Area’s own G-Eazy, E-40 and Kamiyah. Keak Da Sneak is on “Bout Time,” which pulls from his 2003 track “Know What I’m Talking About.” And Mistah F.A.B. is on “Sick Wid It,” a retake of 2005’s “Super Sic Wit It.” Minnick samples Mac Dre’s “Not My Job” but shares a message that differs from Furl’s. “It’s not my job, can’t judge you / Live different, but we still gon’ love you,” Minnick says, summarizing the album’s ethos. The project, the fourth from Minnick in the past two years, is evidence that he’s making religious rap more relatable, not condescending — and he’s doing so without watering down the beats. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3695116657/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\u003ch2>Various Artists, \u003cem>Bay Area Renegade Trax Vol. 2 \u003c/em>(No Bias)\u003c/h2>\n\u003cp>If you’re searching for the pulse of the Bay Area’s underground electronic music scene, look no further than \u003cem>Bay Area Renegade Trax Vol. 2\u003c/em>, a compilation featuring 31 eccentric, eclectic DJs and producers put together by local label No Bias.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These high-BPM bangers by artists including Bored Lord, Bastiengoat and DJ Juanny span house, juke, garage, drum and bass and more. They’re dirty, gritty and elastic — a rebuke to background music, and a manifesto for dancing at the forest rave until the sun comes up. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With a New House EP, Tyler Reese and Daghe Invite Oakland to the Dance Floor",
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"headTitle": "With a New House EP, Tyler Reese and Daghe Invite Oakland to the Dance Floor | KQED",
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"content": "\u003cp>It’s been clear for years now that \u003ca href=\"https://www.instagram.com/lovetylerreese/?hl=en\">Tyler Reese\u003c/a> has something special — she just needed the right place to showcase her gifts. A church-trained, powerhouse vocalist who once dreamt of performing on Broadway, Reese works behind the scenes as an audio engineer and vocal producer at \u003ca href=\"https://www.studioxrecording.com/\">Studio X\u003c/a>, an \u003ca href=\"https://www.kqed.org/arts/13897503/rapper-and-audio-engineer-xarina-opens-a-studio-of-her-own-in-east-oakland\">independent recording studio\u003c/a> in East Oakland.\u003c/p>\n\u003cp>On a recent, rainy Sunday evening, a fashionable crowd about 200-deep packed into the Black-owned vintage boutique ReLove to watch Reese step into the spotlight. To her surprise, fans not only belted the lyrics to her first-ever single, the sultry neo-soul track “Secondhand Smoke,” but also immediately caught the vibe of her new EP, \u003cem>WHTVR\u003c/em>, a five-track collection of flirty, dance floor-ready house songs that showcase Reese’s dynamic vocal range and playful personality.\u003c/p>\n\u003cp>“I walked out and I started crying,” Reese says. “After the show, so many people came up to me and they said, ‘Please keep doing this.’”\u003c/p>\n\u003cp>https://youtu.be/EZ1iGmf-iEA?si=4B_V4I9CTh2vwfas\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/daghe/?hl=en\">Daghe\u003c/a>, the Oakland DJ and tastemaker, executive-produced the project. He says Reese’s talent and open-mindedness, unclouded by ego or pressure to fit into a certain box, has reinvigorated his faith in the Bay Area music scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Before I worked on this project, I was over it, you know?” he says.\u003c/p>\n\u003cp>“Working with her just feels like early \u003ca href=\"https://www.kqed.org/arts/13938026/hbk-gang-iamsu-jay-anthony-p-lo-sage-gemini\">HBK\u003c/a>,” adds Daghe, referencing his hip-hop collective that dominated the Bay’s music scene in the 2010s. “Like, let’s just throw shit at the wall and see what sticks, let’s try this. … It’s getting me hyped.”\u003c/p>\n\u003cp>https://youtu.be/V9kjRQSgLis?si=nnK__SOHXvek2zA6\u003c/p>\n\u003cp>That playful spirit is infectious on the standout track “Chemical X,” where Reese’s angelic vocal runs are punctuated with playground chants over a drum ‘n’ bass beat. Vallejo rap star \u003ca href=\"https://www.instagram.com/nefthepharaoh/?hl=en\">Nef the Pharaoh\u003c/a> ditches his usual gruffness for a surprisingly whimsical guest verse where he namechecks all the characters from \u003cem>The Powerpuff Girls\u003c/em> — not just Blossom, Bubbles and Buttercup, but deep cuts like Miss Sara Bellum.\u003c/p>\n\u003cp>“Daghe has videos of us playing patty cake and high-fiving and screaming in the booth during that session,” Reese says with a huge smile.\u003c/p>\n\u003cfigure id=\"attachment_13984000\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693.png\" alt=\"\" width=\"2000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-1024x1536.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-1365x2048.png 1365w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Reese. \u003ccite>(Rossy Angelo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>WHTVR\u003c/em>, Reese knows she’s standing on the shoulders of other Black women who helped shape the past and present of house music, including \u003ca href=\"https://www.youtube.com/watch?v=iQTErSrzC64&list=RDiQTErSrzC64&start_radio=1&pp=oAcB\">Teedra Moses\u003c/a>, the New Orleans R&B singer who’s experienced a career revival thanks to Kaytranada’s popular remix of her 2009 hit “Be Your Girl.”\u003c/p>\n\u003cp>The Bay Area has made its own contributions to house thanks to artists like \u003ca href=\"https://www.rollingstone.com/feature/martha-wash-the-most-famous-unknown-singer-of-the-90s-speaks-out-231182/\">Martha Wash\u003c/a>, the legendary vocalist whose voice appeared on iconic hits like C+C Music Factory’s “Everybody Dance Now (Gonna Make You Sweat).” It took years (and a lawsuit) before she got proper credit. More recently, her story has inspired a greater appreciation for how she and many other church-raised Black singers have imbued house music with a spiritual ecstasy that fuels dance floors worldwide.\u003c/p>\n\u003cp>In Oakland and San Francisco, parties like \u003ca href=\"https://www.instagram.com/elementsoakland/?hl=en\">Elements\u003c/a> and \u003ca href=\"https://www.instagram.com/longlivesilk/?hl=en\">Silk\u003c/a> spotlight house music’s Black roots. But the genre’s also been heavily gentrified — so much so that the subgenre of Afro-house has \u003ca href=\"https://www.tiktok.com/@roadpodcast/video/7460675239085624607\">come to be associated with white people\u003c/a>.\u003c/p>\n\u003cp>Daghe says the Bay doesn’t have enough multicultural spaces for dance music. “I can’t get with white Afro-house, you know what I’m saying?” he adds. “I can’t get with the coffee shop shit.”\u003c/p>\n\u003cfigure id=\"attachment_13984001\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984001\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695.png\" alt=\"\" width=\"2000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-1024x1536.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-1365x2048.png 1365w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daghe \u003ccite>(Rossy Angelo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Daghe and other collaborators on \u003cem>WHTVR\u003c/em>, including rapper Kevin Allen, who produced two of the beats, come from the Bay’s hip-hop scene, and Daghe wasn’t sure if their audience would embrace the sound. But the studio sessions and the EP release show, put on by eclectic event producer Wine & Bowties, proved to him and Reese that the Bay Area is ready for some fresh energy. They’re fired up, and say there’s more on the way.\u003c/p>\n\u003cp>“It just made me get re-happy, re-excited about the Bay Area and what it can be,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“After the show, people were posting on Instagram, people were texting me and saying, ‘I love Oakland,’” Reese says. “It’s been ages since I’ve heard somebody say ‘I love Oakland,’ but people were leaving that show saying, ‘Nah, this is what makes me love this place.’ And that was an amazing affirmation.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been clear for years now that \u003ca href=\"https://www.instagram.com/lovetylerreese/?hl=en\">Tyler Reese\u003c/a> has something special — she just needed the right place to showcase her gifts. A church-trained, powerhouse vocalist who once dreamt of performing on Broadway, Reese works behind the scenes as an audio engineer and vocal producer at \u003ca href=\"https://www.studioxrecording.com/\">Studio X\u003c/a>, an \u003ca href=\"https://www.kqed.org/arts/13897503/rapper-and-audio-engineer-xarina-opens-a-studio-of-her-own-in-east-oakland\">independent recording studio\u003c/a> in East Oakland.\u003c/p>\n\u003cp>On a recent, rainy Sunday evening, a fashionable crowd about 200-deep packed into the Black-owned vintage boutique ReLove to watch Reese step into the spotlight. To her surprise, fans not only belted the lyrics to her first-ever single, the sultry neo-soul track “Secondhand Smoke,” but also immediately caught the vibe of her new EP, \u003cem>WHTVR\u003c/em>, a five-track collection of flirty, dance floor-ready house songs that showcase Reese’s dynamic vocal range and playful personality.\u003c/p>\n\u003cp>“I walked out and I started crying,” Reese says. “After the show, so many people came up to me and they said, ‘Please keep doing this.’”\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/EZ1iGmf-iEA'\n title='//www.youtube.com/embed/EZ1iGmf-iEA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/daghe/?hl=en\">Daghe\u003c/a>, the Oakland DJ and tastemaker, executive-produced the project. He says Reese’s talent and open-mindedness, unclouded by ego or pressure to fit into a certain box, has reinvigorated his faith in the Bay Area music scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Before I worked on this project, I was over it, you know?” he says.\u003c/p>\n\u003cp>“Working with her just feels like early \u003ca href=\"https://www.kqed.org/arts/13938026/hbk-gang-iamsu-jay-anthony-p-lo-sage-gemini\">HBK\u003c/a>,” adds Daghe, referencing his hip-hop collective that dominated the Bay’s music scene in the 2010s. “Like, let’s just throw shit at the wall and see what sticks, let’s try this. … It’s getting me hyped.”\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/V9kjRQSgLis'\n title='//www.youtube.com/embed/V9kjRQSgLis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That playful spirit is infectious on the standout track “Chemical X,” where Reese’s angelic vocal runs are punctuated with playground chants over a drum ‘n’ bass beat. Vallejo rap star \u003ca href=\"https://www.instagram.com/nefthepharaoh/?hl=en\">Nef the Pharaoh\u003c/a> ditches his usual gruffness for a surprisingly whimsical guest verse where he namechecks all the characters from \u003cem>The Powerpuff Girls\u003c/em> — not just Blossom, Bubbles and Buttercup, but deep cuts like Miss Sara Bellum.\u003c/p>\n\u003cp>“Daghe has videos of us playing patty cake and high-fiving and screaming in the booth during that session,” Reese says with a huge smile.\u003c/p>\n\u003cfigure id=\"attachment_13984000\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693.png\" alt=\"\" width=\"2000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-1024x1536.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3693-1365x2048.png 1365w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Reese. \u003ccite>(Rossy Angelo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>WHTVR\u003c/em>, Reese knows she’s standing on the shoulders of other Black women who helped shape the past and present of house music, including \u003ca href=\"https://www.youtube.com/watch?v=iQTErSrzC64&list=RDiQTErSrzC64&start_radio=1&pp=oAcB\">Teedra Moses\u003c/a>, the New Orleans R&B singer who’s experienced a career revival thanks to Kaytranada’s popular remix of her 2009 hit “Be Your Girl.”\u003c/p>\n\u003cp>The Bay Area has made its own contributions to house thanks to artists like \u003ca href=\"https://www.rollingstone.com/feature/martha-wash-the-most-famous-unknown-singer-of-the-90s-speaks-out-231182/\">Martha Wash\u003c/a>, the legendary vocalist whose voice appeared on iconic hits like C+C Music Factory’s “Everybody Dance Now (Gonna Make You Sweat).” It took years (and a lawsuit) before she got proper credit. More recently, her story has inspired a greater appreciation for how she and many other church-raised Black singers have imbued house music with a spiritual ecstasy that fuels dance floors worldwide.\u003c/p>\n\u003cp>In Oakland and San Francisco, parties like \u003ca href=\"https://www.instagram.com/elementsoakland/?hl=en\">Elements\u003c/a> and \u003ca href=\"https://www.instagram.com/longlivesilk/?hl=en\">Silk\u003c/a> spotlight house music’s Black roots. But the genre’s also been heavily gentrified — so much so that the subgenre of Afro-house has \u003ca href=\"https://www.tiktok.com/@roadpodcast/video/7460675239085624607\">come to be associated with white people\u003c/a>.\u003c/p>\n\u003cp>Daghe says the Bay doesn’t have enough multicultural spaces for dance music. “I can’t get with white Afro-house, you know what I’m saying?” he adds. “I can’t get with the coffee shop shit.”\u003c/p>\n\u003cfigure id=\"attachment_13984001\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984001\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695.png\" alt=\"\" width=\"2000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-1024x1536.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_3695-1365x2048.png 1365w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daghe \u003ccite>(Rossy Angelo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Daghe and other collaborators on \u003cem>WHTVR\u003c/em>, including rapper Kevin Allen, who produced two of the beats, come from the Bay’s hip-hop scene, and Daghe wasn’t sure if their audience would embrace the sound. But the studio sessions and the EP release show, put on by eclectic event producer Wine & Bowties, proved to him and Reese that the Bay Area is ready for some fresh energy. They’re fired up, and say there’s more on the way.\u003c/p>\n\u003cp>“It just made me get re-happy, re-excited about the Bay Area and what it can be,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“After the show, people were posting on Instagram, people were texting me and saying, ‘I love Oakland,’” Reese says. “It’s been ages since I’ve heard somebody say ‘I love Oakland,’ but people were leaving that show saying, ‘Nah, this is what makes me love this place.’ And that was an amazing affirmation.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "portola-festival-2025-pier-80-san-francisco-review-photos",
"title": "Portola Festival Turned Pier 80 Into ‘San Frandisco’",
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"headTitle": "Portola Festival Turned Pier 80 Into ‘San Frandisco’ | KQED",
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"content": "\u003cp>As the sky darkened over Pier 80 on Sunday night, the crowd at \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola\u003c/a>’s main stage swelled into what looked like an endless sea of people. Bodies bounced in unison as Australian tech-house producer Dom Dolla took the stage, thousands of hands reaching skyward as the elastic beat of “San Frandisco” surged.\u003c/p>\n\u003cp>The crowd chanted along: “San Francisco, where’s your disco?” And it felt like a rallying cry, charging up the already electric atmosphere. For a moment, the city had its answer: The disco was right here, on the pier, under the cranes and fog.\u003c/p>\n\u003cfigure id=\"attachment_13981575\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crowds enter the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pier 80 hosted San Francisco’s Portola Festival for its fourth year — and it was its sunniest weekend yet. Early arrivals trickled between stages Saturday afternoon, testing the waters of the eclectic lineup. Pop duo Magdalena Bay lit up the main stage with their shimmering, surrealist pop, with dreamy synths bouncing off the industrial cranes and shipping containers of Pier 80.\u003c/p>\n\u003cp>Meanwhile, strongly anticipated performances from Kettama and Yousuke Yukimatsu were somewhat hampered by the Warehouse’s acoustic challenges. With paper-thin metal walls and a long, cavernous layout, sound reflected unpredictably, leaving spots where bass and mids struggled to reach the crowd clearly. By the time Anti Up took the stage, however, the audio had noticeably improved, filling the space with much greater clarity.\u003c/p>\n\u003cfigure id=\"attachment_13981563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Festivalgoers dance inside the Despacio Tent during the first day of Portola Festival at Pier 80 in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The line for Despacio, an immersive dance experience, barely budged all weekend. And with good reason: once inside, the all-vinyl sound system filled the room with deep, textured grooves, and the spinning disco balls and subtle lighting made it easy to lose track of time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival’s designated throwback artist, Christina Aguilera, lit up the main stage with classic pop star showmanship. Dressed in silver sparkles and rhinestones and flanked by dancers, she delivered “Fighter” amid red smoke and hair-whipping choreography. “Genie in a Bottle” followed with a blue aura and bursts of fire as the sun set over Pier 80.\u003c/p>\n\u003cfigure id=\"attachment_13981617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christina Aguilera performs on the Pier Stage at Portola Festival in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Saturday’s final sets came from Mau P, who delivered a more restrained performance compared to his high-energy Coachella and EDC sets earlier this year. He played full songs with minimal mixing, and the set opened with a softer intro sampling “Like I Like It,” which contrasted with the intense build-ups and technical flare fans might have expected. Still, despite the gentler approach, the set still offered an upbeat, satisfying close to the night.\u003c/p>\n\u003cp>By Sunday, the momentum from Saturday not only carried over but continued building, with the crowd returning to Pier 80 buzzing with even more excitement for the festival’s final day.\u003c/p>\n\u003cfigure id=\"attachment_13981616\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Magdalena Bay performs on the Pier Stage during the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own Kreayshawn took the main stage Sunday afternoon with a rapidfire set of throwbacks, joined by two performers in Hello Kitty costumes. She powered through fan favorites like “Gucci Gucci,” “Twerkin!!!” and “Kitty,” channeling the charismatic chaos and catchy vibe that defined the early-2010s internet rap era.\u003c/p>\n\u003cp>During a poignant moment between lyrics, Kreayshawn shouted “Free Palestine” without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13981596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born rapper Kreayshawn performs on the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Rico Nasty, who turned late-afternoon sunlight into her spotlight. Charging through cult classics “Tia Tamera” and “Smack a Bitch,” the Crane Stage crowd ricocheted into one another with combustible energy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Portola loves a good afterparty. After Dom Dolla’s Sunday night performance, many headed over to the already packed Warehouse to catch the real finale: the final hour of Peggy Gou’s set. Strobes slicing through the dark, beats relentless and hypnotic, the crowd kept going as if Monday morning didn’t exist. It was the perfect exclamation mark to a wired weekend.\u003c/p>\n\u003ch2>More photos from Portola\u003c/h2>\n\u003cfigure id=\"attachment_13981615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981615\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gathers at the Crane Stage for German rapper Ski Aggu on the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981600\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou headlines the Warehouse as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981605\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer forms a heart with their hands in the crowd at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981604\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles float through the air inside the Warehouse on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Prodigy closes out Portola Festival with a set on the Crane Stage in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981599\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981599\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz, center, dance near the Crane Stage as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981598\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blood Orange performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rico Nasty performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Sandquist, also known as the “Festival Fairy,” hands out supplies to attendees on the second day of Portola Festival in San Francisco on Sept. 21, 2025. charity. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Williams wears spike studded sunglasses in the crowd at the Pier Stage on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz stop at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981577\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981577\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sutro Tower is visible from the Ship Tent as the sun sets on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem headlines the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981572\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981572\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Dare performs in the Ship Tent on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981570\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With the sun beating down throughout the day, attendees wore light clothing to keep cool at Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer holds out a flower inside the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Eric Quiero, Jasmine Guevara and Tyrone Celosa, all excited to see Christina Aguilera perform, pose for a photo during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yousuke Yukimatsu performs inside the Warehouse during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Sets from Dom Dolla, Peggy Gou and Christina Aguilera charged up a high-energy crowd of ravers and dancers.",
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"title": "Portola Festival Turned Pier 80 Into ‘San Frandisco’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the sky darkened over Pier 80 on Sunday night, the crowd at \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola\u003c/a>’s main stage swelled into what looked like an endless sea of people. Bodies bounced in unison as Australian tech-house producer Dom Dolla took the stage, thousands of hands reaching skyward as the elastic beat of “San Frandisco” surged.\u003c/p>\n\u003cp>The crowd chanted along: “San Francisco, where’s your disco?” And it felt like a rallying cry, charging up the already electric atmosphere. For a moment, the city had its answer: The disco was right here, on the pier, under the cranes and fog.\u003c/p>\n\u003cfigure id=\"attachment_13981575\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crowds enter the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pier 80 hosted San Francisco’s Portola Festival for its fourth year — and it was its sunniest weekend yet. Early arrivals trickled between stages Saturday afternoon, testing the waters of the eclectic lineup. Pop duo Magdalena Bay lit up the main stage with their shimmering, surrealist pop, with dreamy synths bouncing off the industrial cranes and shipping containers of Pier 80.\u003c/p>\n\u003cp>Meanwhile, strongly anticipated performances from Kettama and Yousuke Yukimatsu were somewhat hampered by the Warehouse’s acoustic challenges. With paper-thin metal walls and a long, cavernous layout, sound reflected unpredictably, leaving spots where bass and mids struggled to reach the crowd clearly. By the time Anti Up took the stage, however, the audio had noticeably improved, filling the space with much greater clarity.\u003c/p>\n\u003cfigure id=\"attachment_13981563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Festivalgoers dance inside the Despacio Tent during the first day of Portola Festival at Pier 80 in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The line for Despacio, an immersive dance experience, barely budged all weekend. And with good reason: once inside, the all-vinyl sound system filled the room with deep, textured grooves, and the spinning disco balls and subtle lighting made it easy to lose track of time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival’s designated throwback artist, Christina Aguilera, lit up the main stage with classic pop star showmanship. Dressed in silver sparkles and rhinestones and flanked by dancers, she delivered “Fighter” amid red smoke and hair-whipping choreography. “Genie in a Bottle” followed with a blue aura and bursts of fire as the sun set over Pier 80.\u003c/p>\n\u003cfigure id=\"attachment_13981617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christina Aguilera performs on the Pier Stage at Portola Festival in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Saturday’s final sets came from Mau P, who delivered a more restrained performance compared to his high-energy Coachella and EDC sets earlier this year. He played full songs with minimal mixing, and the set opened with a softer intro sampling “Like I Like It,” which contrasted with the intense build-ups and technical flare fans might have expected. Still, despite the gentler approach, the set still offered an upbeat, satisfying close to the night.\u003c/p>\n\u003cp>By Sunday, the momentum from Saturday not only carried over but continued building, with the crowd returning to Pier 80 buzzing with even more excitement for the festival’s final day.\u003c/p>\n\u003cfigure id=\"attachment_13981616\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Magdalena Bay performs on the Pier Stage during the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own Kreayshawn took the main stage Sunday afternoon with a rapidfire set of throwbacks, joined by two performers in Hello Kitty costumes. She powered through fan favorites like “Gucci Gucci,” “Twerkin!!!” and “Kitty,” channeling the charismatic chaos and catchy vibe that defined the early-2010s internet rap era.\u003c/p>\n\u003cp>During a poignant moment between lyrics, Kreayshawn shouted “Free Palestine” without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13981596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born rapper Kreayshawn performs on the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Rico Nasty, who turned late-afternoon sunlight into her spotlight. Charging through cult classics “Tia Tamera” and “Smack a Bitch,” the Crane Stage crowd ricocheted into one another with combustible energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Portola loves a good afterparty. After Dom Dolla’s Sunday night performance, many headed over to the already packed Warehouse to catch the real finale: the final hour of Peggy Gou’s set. Strobes slicing through the dark, beats relentless and hypnotic, the crowd kept going as if Monday morning didn’t exist. It was the perfect exclamation mark to a wired weekend.\u003c/p>\n\u003ch2>More photos from Portola\u003c/h2>\n\u003cfigure id=\"attachment_13981615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981615\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gathers at the Crane Stage for German rapper Ski Aggu on the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981600\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou headlines the Warehouse as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981605\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer forms a heart with their hands in the crowd at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981604\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles float through the air inside the Warehouse on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Prodigy closes out Portola Festival with a set on the Crane Stage in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981599\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981599\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz, center, dance near the Crane Stage as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981598\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blood Orange performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rico Nasty performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Sandquist, also known as the “Festival Fairy,” hands out supplies to attendees on the second day of Portola Festival in San Francisco on Sept. 21, 2025. charity. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Williams wears spike studded sunglasses in the crowd at the Pier Stage on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz stop at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981577\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981577\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sutro Tower is visible from the Ship Tent as the sun sets on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem headlines the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981572\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981572\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Dare performs in the Ship Tent on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981570\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With the sun beating down throughout the day, attendees wore light clothing to keep cool at Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer holds out a flower inside the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Eric Quiero, Jasmine Guevara and Tyrone Celosa, all excited to see Christina Aguilera perform, pose for a photo during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yousuke Yukimatsu performs inside the Warehouse during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "audium-celebrates-50th-anniversary-by-revisiting-its-very-first-soundscape",
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"content": "\u003cp>In 1970, Stan Shaff and Douglas McEachern bought a building in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> with a vision to choreograph sound.\u003c/p>\n\u003cp>For five years, they tinkered with the former donut shop’s layout and design, testing different kinds of audio speakers and acoustic treatments. And in 1975, they formally opened their final version of Audium, a sound theater \u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">known today\u003c/a> for its dark inner sanctum and 176 speakers dispersed over the walls, ceiling and floor.\u003c/p>\n\u003cp>To celebrate Audium’s 50th anniversary on Bush Street this summer, Dave Shaff, the director of Audium and son of founder Stan Shaff, is reviving \u003cem>Audium VI\u003c/em>, the very first tape piece for the space, created by his father, that will run as an immersive, in-the-dark experience every weekend between mid-July and August. \u003c/p>\n\u003cfigure id=\"attachment_13978439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Construction in the early 1970s transformed the former Stempel’s donut shop on Bush Street to Audium as it’s known today. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Audium experience goes much deeper than simply listening to prerecorded music. “There is a performance,” Shaff says, “and that’s the movement of the sound, literally like the choreography of taking the sound and moving it from one speaker to another.” \u003c/p>\n\u003cp>When the lights go out, “you’ve got nowhere else to go but inside yourself,” says Shaff. The sounds bouncing around the room tend to bring up memories, ideas and fantasies, he says, adding that “it kind of touches the subconscious.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the \u003cem>Audium VI\u003c/em> performances, Audium’s lobby space will display archival ephemera: an old desk with the writings of Stan Shaff, a telephone that plays a surprise recording when listeners hold it up to their ear, the old analog control board from the 1970s and even the original studio four-track tape machine used for shows. \u003c/p>\n\u003cfigure id=\"attachment_13978440\" class=\"wp-caption aligncenter\" style=\"max-width: 1513px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg\" alt=\"\" width=\"1513\" height=\"2000\" class=\"size-full wp-image-13978440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg 1513w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-768x1015.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-1162x1536.jpg 1162w\" sizes=\"auto, (max-width: 1513px) 100vw, 1513px\">\u003cfigcaption class=\"wp-caption-text\">A schematic from the original plans for Audium. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s been a lot of memories,” Shaff says about working with the archive. He described the process as “almost too personal.”\u003c/p>\n\u003cp>“It’s discovering, like, some parts of my parents and their own personal lives,” says Shaff, “I’ll hear them talking to each other on the tape at points, as younger adults.”\u003c/p>\n\u003cp>\u003cem>Audium VI\u003c/em> was composed 10 years before Shaff was born. He describes it as “pretty funky” and “out of the bounds of ordinary” — but he also resisted the urge to clean up the experimental composition’s rough edges. \u003c/p>\n\u003cp>“Dad liked to throw a lot of sounds at his audience,” says Shaff. “He’s like Jackson Pollock, you know, the painter that just threw paint on the canvas, except he’s throwing sounds.” \u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sounds could include electronic noises, field recordings from nature, melodic passages, fog horns and freight trains. In 2022, the resident artist Victoria Shen called Audium “\u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">one of the last cool, weird, old-school things in San Francisco\u003c/a>.”\u003c/p>\n\u003cp>The mission for Audium now, Shaff says, is to keep a little bit of that soul of San Francisco alive, while modernizing it for the present day. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Audium VI: Rewind’ runs July 11–Aug. 23 at Audium in San Francisco. \u003ca href=\"https://www.audium.org/audium-vi-rewind/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1970, Stan Shaff and Douglas McEachern bought a building in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> with a vision to choreograph sound.\u003c/p>\n\u003cp>For five years, they tinkered with the former donut shop’s layout and design, testing different kinds of audio speakers and acoustic treatments. And in 1975, they formally opened their final version of Audium, a sound theater \u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">known today\u003c/a> for its dark inner sanctum and 176 speakers dispersed over the walls, ceiling and floor.\u003c/p>\n\u003cp>To celebrate Audium’s 50th anniversary on Bush Street this summer, Dave Shaff, the director of Audium and son of founder Stan Shaff, is reviving \u003cem>Audium VI\u003c/em>, the very first tape piece for the space, created by his father, that will run as an immersive, in-the-dark experience every weekend between mid-July and August. \u003c/p>\n\u003cfigure id=\"attachment_13978439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Construction in the early 1970s transformed the former Stempel’s donut shop on Bush Street to Audium as it’s known today. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Audium experience goes much deeper than simply listening to prerecorded music. “There is a performance,” Shaff says, “and that’s the movement of the sound, literally like the choreography of taking the sound and moving it from one speaker to another.” \u003c/p>\n\u003cp>When the lights go out, “you’ve got nowhere else to go but inside yourself,” says Shaff. The sounds bouncing around the room tend to bring up memories, ideas and fantasies, he says, adding that “it kind of touches the subconscious.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the \u003cem>Audium VI\u003c/em> performances, Audium’s lobby space will display archival ephemera: an old desk with the writings of Stan Shaff, a telephone that plays a surprise recording when listeners hold it up to their ear, the old analog control board from the 1970s and even the original studio four-track tape machine used for shows. \u003c/p>\n\u003cfigure id=\"attachment_13978440\" class=\"wp-caption aligncenter\" style=\"max-width: 1513px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg\" alt=\"\" width=\"1513\" height=\"2000\" class=\"size-full wp-image-13978440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg 1513w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-768x1015.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-1162x1536.jpg 1162w\" sizes=\"auto, (max-width: 1513px) 100vw, 1513px\">\u003cfigcaption class=\"wp-caption-text\">A schematic from the original plans for Audium. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s been a lot of memories,” Shaff says about working with the archive. He described the process as “almost too personal.”\u003c/p>\n\u003cp>“It’s discovering, like, some parts of my parents and their own personal lives,” says Shaff, “I’ll hear them talking to each other on the tape at points, as younger adults.”\u003c/p>\n\u003cp>\u003cem>Audium VI\u003c/em> was composed 10 years before Shaff was born. He describes it as “pretty funky” and “out of the bounds of ordinary” — but he also resisted the urge to clean up the experimental composition’s rough edges. \u003c/p>\n\u003cp>“Dad liked to throw a lot of sounds at his audience,” says Shaff. “He’s like Jackson Pollock, you know, the painter that just threw paint on the canvas, except he’s throwing sounds.” \u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sounds could include electronic noises, field recordings from nature, melodic passages, fog horns and freight trains. In 2022, the resident artist Victoria Shen called Audium “\u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">one of the last cool, weird, old-school things in San Francisco\u003c/a>.”\u003c/p>\n\u003cp>The mission for Audium now, Shaff says, is to keep a little bit of that soul of San Francisco alive, while modernizing it for the present day. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Audium VI: Rewind’ runs July 11–Aug. 23 at Audium in San Francisco. \u003ca href=\"https://www.audium.org/audium-vi-rewind/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://portolamusicfestival.com/\">San Francisco’s Portola returns\u003c/a> to rave another day in front of the shipping cranes at Pier 80, and the massive music festival just announced its 2025 lineup.\u003c/p>\n\u003cp>LCD Soundsystem, who ruled the Brooklyn electroclash scene of the 2000s, performs Saturday, Sept. 20, along with U.K. big beat legends the Chemical Brothers, who’ll be playing a DJ set in the warehouse. Anti Up, an EDM and tech-house duo made up of Chris Lake and Chris Lorenzo, will also headline, on the heels of rocking a massive crowd at Coachella. Continuing Portola’s venerable tradition of booking at least one throwback pop artist (Natasha Bedingfield was last year), Christina Aguilera will break up the schedule of nonstop DJs to perform live.\u003c/p>\n\u003cp>Portola continues on Sunday, Sept. 21, with “Firestarter” hitmakers The Prodigy (whose singer Keith Flint died in 2019), and a live set by Moby. DJ, producer and singer Peggy Gou, whose Korean-language house anthems have fueled dance floors world over, will also perform alongside punk-rapper Rico Nasty, art-pop singer Blood Orange, experimental producer Arca, R&B singer Revyn Lenae and more.\u003c/p>\n\u003cp>Tickets for Portola go on sale at 12 p.m. on Thursday, May 15. \u003ca href=\"https://portolamusicfestival.com/\">More details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13933091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933091\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Outside Lands in 2023. Another Planet Entertainment, the festival’s producer, is teaming up with the city to throw a free dance party with Dirtybird Records at Embarcadero Plaza on June 14. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A year after drawing thousands to the Embarcadero in San Francisco, homegrown electronic music label \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\">Dirtybird\u003c/a> will throw the second-annual free Back to Baysics dance party at Embarcadero Plaza on June 14.\u003c/p>\n\u003cp>The influential San Francisco label’s \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\">D.I.Y. beginnings trace back to 2005\u003c/a>, when it emerged as a champion of funky, bass-heavy dance music with an outsider appeal. Dirtybird has since been acquired by San Francisco-based, globe-spanning label EMPIRE in 2022, and has thrown numerous high-profile events with a who’s-who of electronic music. (The Dirtybird Campout, coming to Mendocino in July, features major artists like Jungle, Aluna and Justin Martin.)\u003c/p>\n\u003cp>Last summer, Back to Baysics packed the plaza with electronic music lovers of all ages who came to see Belgian DJ Sacha Robotti and local acts Deron Delgado and Moody Jones. The DJ lineup for this year’s party has yet to be announced.\u003c/p>\n\u003cp>[aside postID='arts_13874615']Back to Baysics is part of a free concert series from Another Planet Entertainment (the producers of Outside Lands), the Recreation and Parks Department and Mayor Daniel Lurie’s office. “Our arts and culture are helping to drive San Francisco’s comeback, and this is a perfect example of that energy,” said Lurie in a statement.\u003c/p>\n\u003cp>The concert series was born from Another Planet’s agreement with the city to produce free concerts in exchange for hosting ticketed shows in Golden Gate Park after Outside Lands. More free concerts will be announced this summer at Union Square and Civic Center, and again in 2027.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lurie sees \u003ca href=\"https://www.kqed.org/arts/13972568/san-francisco-music-week-industry-summit\">live music as key to downtown’s recovery\u003c/a>. Building on his predecessor London Breed’s success, he proposed legislation to create five more “\u003ca href=\"https://www.kqed.org/news/11974216/could-outdoor-drinking-revitalize-californias-economy\">entertainment zones\u003c/a>” that allow bars to sell alcohol to-go during specific hours, including block parties and special events. Lurie also supports \u003ca href=\"https://www.kqed.org/news/12027526/lurie-banks-on-more-bars-revive-san-franciscos-struggling-downtown\">state legislation to create more liquor licenses\u003c/a> to reduce red tape for new bars and restaurants.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Back to Baysics takes place at Embarcadero Plaza on June 14, 1–5 p.m. \u003ca href=\"https://apeconcerts.com/events/dirtybird-250614/\">Free RSVP here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13933091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933091\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Outside Lands in 2023. Another Planet Entertainment, the festival’s producer, is teaming up with the city to throw a free dance party with Dirtybird Records at Embarcadero Plaza on June 14. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A year after drawing thousands to the Embarcadero in San Francisco, homegrown electronic music label \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\">Dirtybird\u003c/a> will throw the second-annual free Back to Baysics dance party at Embarcadero Plaza on June 14.\u003c/p>\n\u003cp>The influential San Francisco label’s \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\">D.I.Y. beginnings trace back to 2005\u003c/a>, when it emerged as a champion of funky, bass-heavy dance music with an outsider appeal. Dirtybird has since been acquired by San Francisco-based, globe-spanning label EMPIRE in 2022, and has thrown numerous high-profile events with a who’s-who of electronic music. (The Dirtybird Campout, coming to Mendocino in July, features major artists like Jungle, Aluna and Justin Martin.)\u003c/p>\n\u003cp>Last summer, Back to Baysics packed the plaza with electronic music lovers of all ages who came to see Belgian DJ Sacha Robotti and local acts Deron Delgado and Moody Jones. The DJ lineup for this year’s party has yet to be announced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Back to Baysics is part of a free concert series from Another Planet Entertainment (the producers of Outside Lands), the Recreation and Parks Department and Mayor Daniel Lurie’s office. “Our arts and culture are helping to drive San Francisco’s comeback, and this is a perfect example of that energy,” said Lurie in a statement.\u003c/p>\n\u003cp>The concert series was born from Another Planet’s agreement with the city to produce free concerts in exchange for hosting ticketed shows in Golden Gate Park after Outside Lands. More free concerts will be announced this summer at Union Square and Civic Center, and again in 2027.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lurie sees \u003ca href=\"https://www.kqed.org/arts/13972568/san-francisco-music-week-industry-summit\">live music as key to downtown’s recovery\u003c/a>. Building on his predecessor London Breed’s success, he proposed legislation to create five more “\u003ca href=\"https://www.kqed.org/news/11974216/could-outdoor-drinking-revitalize-californias-economy\">entertainment zones\u003c/a>” that allow bars to sell alcohol to-go during specific hours, including block parties and special events. Lurie also supports \u003ca href=\"https://www.kqed.org/news/12027526/lurie-banks-on-more-bars-revive-san-franciscos-struggling-downtown\">state legislation to create more liquor licenses\u003c/a> to reduce red tape for new bars and restaurants.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Back to Baysics takes place at Embarcadero Plaza on June 14, 1–5 p.m. \u003ca href=\"https://apeconcerts.com/events/dirtybird-250614/\">Free RSVP here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ghostrave-magic-theatre",
"title": "Merging Indigenous Tradition With Club Culture in ‘GhostRave’",
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"headTitle": "Merging Indigenous Tradition With Club Culture in ‘GhostRave’ | KQED",
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"content": "\u003cp>\u003cem>“They told the people they could dance a new world into being…”\u003cbr>\n— ‘Lame Deer, Seeker of Visions,’ by John Fire Lame Deer and Richard Erdoes\u003c/em>\u003c/p>\n\u003cp>In 1889, the Ghost Dance movement spread among a number of Native American nations across the Western United States. Originating as far back as 1869 with the Northern Paiute, the Ghost (or Spirit) Dance was a ritual and belief system promising a future of land properly restored to its original inhabitants.\u003c/p>\n\u003cp>The Ghost Dance was adopted by the Lakota in early 1890, and became central to their resistance movement. It was also used as a supposed justification, on the part of the United States Army, for the massacre at Wounded Knee. Despite the horror of that event, the Ghost Dance lived on, notably resurfacing during the 1970s AIM movement.\u003c/p>\n\u003cfigure id=\"attachment_13966561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg\" alt=\"\" width=\"2000\" height=\"1330\" class=\"size-full wp-image-13966561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1920x1277.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dany Benitez (Coyote) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than 100 years from the rise of the Ghost Dance, an entirely new and electronic music-based dance movement emerged. House music has now made its way around the world, uniting ravers, club kids and musical innovators — a high-energy scene that playwright and producer Jerome Joseph Gentes cites as inspiration for his time-traveling, musical theatre workshop production \u003cem>GhostRave\u003c/em>, playing Oct. 17–27 at Magic Theatre.\u003c/p>\n\u003cp>A descendant of the Fort Belknap A’aninin and the Standing Rock Lakota, Gentes currently resides in Palm Springs. But it’s his time in the Bay Area in the 1990s that he draws upon for \u003cem>GhostRave\u003c/em>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I grew up in the Bay Area, in the heyday of South of Market club life, Gentes says, “and I thought, wow…If we could just go back for one night. Wouldn’t it be great?”\u003c/p>\n\u003cfigure id=\"attachment_13966562\" class=\"wp-caption aligncenter\" style=\"max-width: 1368px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg\" alt=\"\" width=\"1368\" height=\"2000\" class=\"size-full wp-image-13966562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1020x1491.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1051x1536.jpg 1051w\" sizes=\"(max-width: 1368px) 100vw, 1368px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga (Chayson) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After meeting Brandon M.P. Roberts during a Palm Springs production of the Nathan Hall-penned kink opera \u003cem>Unbound\u003c/em> (which Gentes produced), the two quickly recognized kindred artistic inclinations, and began brainstorming ways to create their own theatrical experience in a warehouse club setting. With Gentes as playwright, lyricist and director, and Roberts as composer, sound designer and DJ, each brings their skills and passion to the project.\u003c/p>\n\u003cfigure id=\"attachment_13966745\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg\" alt=\"\" width=\"810\" height=\"1080\" class=\"size-full wp-image-13966745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-768x1024.jpg 768w\" sizes=\"(max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">Yaadi Erica Richardson rehearses with Brandon M.P. Roberts for ‘GhostRave.’ \u003ccite>(Courtesy TigerBear Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featuring earnest but self-destructive indigenous club kid Chayson (played by W. Fran Astorga), \u003cem>GhostRave\u003c/em> kicks off in a nightclub, set to resemble the historic San Francisco queer establishment \u003ca href=\"https://www.kqed.org/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening\">The Stud\u003c/a>. As an immersive show, \u003cem>GhostRave\u003c/em>’s audience members can walk around the space, dance with each other and perhaps even take part in the scene as Roberts spins tracks. \u003c/p>\n\u003cp>But what begins as a messy night out for Chayson becomes an unexpected jaunt to 1890 and then to 2090, thanks to some interference from Coyote (Dany Benitez). While traveling through time — a witness to both a Ghost Dance ritual and to a post-Earth migration — Chayson learns to value themselves better, and value the earth, not only physically but psychically. What starts out as mere desire to return to a familiar place becomes a deeper yearning to actively embrace it.\u003c/p>\n\u003cfigure id=\"attachment_13966558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg\" alt=\"\" width=\"2000\" height=\"1299\" class=\"size-full wp-image-13966558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1536x998.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1920x1247.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Christina Kruszewska, Skylar Rose Adams and Meg Crosby-Jolliffe in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing about the Ghost Dance is it happened historically at the moment where the frontier had so completely closed, that the fate of Natives was sealed from that point forward,” Gentes says. “So I guess I was sort of saying ‘How do we deal with accepting that we may lose \u003cem>this\u003c/em> planet and then go forward?’ Can the energies of hope and action be brought to life again through a theater piece? In a way, we’re modernizing the idea that was lurking at the bottom of the Ghost Dance as well.”\u003c/p>\n\u003cp>While the actual Ghost Dance will not be portrayed onstage out of respect for its cultural significance, almost every character in the piece does eventually express themselves through dance and song (it is a musical, after all), the creation process of which has been a journey unto itself.\u003c/p>\n\u003cp>As the composer, Roberts has been creating the essential “sound palette” of the show. The task has involved raiding a collection of his father’s 1990s CDs, exploring ways of creating “the rhythms of the nightclub” with 19th century instruments and a sojourn in the desert for sonic and spiritual inspiration.\u003c/p>\n\u003cfigure id=\"attachment_13966559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg\" alt=\"\" width=\"2000\" height=\"1289\" class=\"size-full wp-image-13966559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1536x990.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1920x1237.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga and Justin P. Lopez in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really trying to identify what these characters sound like. For some of the characters, what do they listen to, you know, when we’re up in a space station, what music do they choose to put on?”\u003c/p>\n\u003cp>Meanwhile, Gentes has been realizing the not-so-subtle influence of the current political climate — and of climate change — on his characters, and on his own motivations for exploring their perspectives.\u003c/p>\n\u003cp>“One of the things I wanted to play with was this moment where the land back movement is strong and vocal…when we’re about to lose the entire planet, anyway,” he says. “I thought, what would it be like when we have to talk about land back, and we’re not on this planet anymore, as natives? And I realized that’s a really great question I would love to pursue for a long time to come.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>GhostRave plays Oct. 17–27, 2024, at Magic Theatre in San Francisco. \u003ca href=\"https://magictheatre.org/calendar/ghostrave\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“They told the people they could dance a new world into being…”\u003cbr>\n— ‘Lame Deer, Seeker of Visions,’ by John Fire Lame Deer and Richard Erdoes\u003c/em>\u003c/p>\n\u003cp>In 1889, the Ghost Dance movement spread among a number of Native American nations across the Western United States. Originating as far back as 1869 with the Northern Paiute, the Ghost (or Spirit) Dance was a ritual and belief system promising a future of land properly restored to its original inhabitants.\u003c/p>\n\u003cp>The Ghost Dance was adopted by the Lakota in early 1890, and became central to their resistance movement. It was also used as a supposed justification, on the part of the United States Army, for the massacre at Wounded Knee. Despite the horror of that event, the Ghost Dance lived on, notably resurfacing during the 1970s AIM movement.\u003c/p>\n\u003cfigure id=\"attachment_13966561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg\" alt=\"\" width=\"2000\" height=\"1330\" class=\"size-full wp-image-13966561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1920x1277.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dany Benitez (Coyote) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than 100 years from the rise of the Ghost Dance, an entirely new and electronic music-based dance movement emerged. House music has now made its way around the world, uniting ravers, club kids and musical innovators — a high-energy scene that playwright and producer Jerome Joseph Gentes cites as inspiration for his time-traveling, musical theatre workshop production \u003cem>GhostRave\u003c/em>, playing Oct. 17–27 at Magic Theatre.\u003c/p>\n\u003cp>A descendant of the Fort Belknap A’aninin and the Standing Rock Lakota, Gentes currently resides in Palm Springs. But it’s his time in the Bay Area in the 1990s that he draws upon for \u003cem>GhostRave\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I grew up in the Bay Area, in the heyday of South of Market club life, Gentes says, “and I thought, wow…If we could just go back for one night. Wouldn’t it be great?”\u003c/p>\n\u003cfigure id=\"attachment_13966562\" class=\"wp-caption aligncenter\" style=\"max-width: 1368px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg\" alt=\"\" width=\"1368\" height=\"2000\" class=\"size-full wp-image-13966562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1020x1491.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1051x1536.jpg 1051w\" sizes=\"(max-width: 1368px) 100vw, 1368px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga (Chayson) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After meeting Brandon M.P. Roberts during a Palm Springs production of the Nathan Hall-penned kink opera \u003cem>Unbound\u003c/em> (which Gentes produced), the two quickly recognized kindred artistic inclinations, and began brainstorming ways to create their own theatrical experience in a warehouse club setting. With Gentes as playwright, lyricist and director, and Roberts as composer, sound designer and DJ, each brings their skills and passion to the project.\u003c/p>\n\u003cfigure id=\"attachment_13966745\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg\" alt=\"\" width=\"810\" height=\"1080\" class=\"size-full wp-image-13966745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-768x1024.jpg 768w\" sizes=\"(max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">Yaadi Erica Richardson rehearses with Brandon M.P. Roberts for ‘GhostRave.’ \u003ccite>(Courtesy TigerBear Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featuring earnest but self-destructive indigenous club kid Chayson (played by W. Fran Astorga), \u003cem>GhostRave\u003c/em> kicks off in a nightclub, set to resemble the historic San Francisco queer establishment \u003ca href=\"https://www.kqed.org/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening\">The Stud\u003c/a>. As an immersive show, \u003cem>GhostRave\u003c/em>’s audience members can walk around the space, dance with each other and perhaps even take part in the scene as Roberts spins tracks. \u003c/p>\n\u003cp>But what begins as a messy night out for Chayson becomes an unexpected jaunt to 1890 and then to 2090, thanks to some interference from Coyote (Dany Benitez). While traveling through time — a witness to both a Ghost Dance ritual and to a post-Earth migration — Chayson learns to value themselves better, and value the earth, not only physically but psychically. What starts out as mere desire to return to a familiar place becomes a deeper yearning to actively embrace it.\u003c/p>\n\u003cfigure id=\"attachment_13966558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg\" alt=\"\" width=\"2000\" height=\"1299\" class=\"size-full wp-image-13966558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1536x998.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1920x1247.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Christina Kruszewska, Skylar Rose Adams and Meg Crosby-Jolliffe in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing about the Ghost Dance is it happened historically at the moment where the frontier had so completely closed, that the fate of Natives was sealed from that point forward,” Gentes says. “So I guess I was sort of saying ‘How do we deal with accepting that we may lose \u003cem>this\u003c/em> planet and then go forward?’ Can the energies of hope and action be brought to life again through a theater piece? In a way, we’re modernizing the idea that was lurking at the bottom of the Ghost Dance as well.”\u003c/p>\n\u003cp>While the actual Ghost Dance will not be portrayed onstage out of respect for its cultural significance, almost every character in the piece does eventually express themselves through dance and song (it is a musical, after all), the creation process of which has been a journey unto itself.\u003c/p>\n\u003cp>As the composer, Roberts has been creating the essential “sound palette” of the show. The task has involved raiding a collection of his father’s 1990s CDs, exploring ways of creating “the rhythms of the nightclub” with 19th century instruments and a sojourn in the desert for sonic and spiritual inspiration.\u003c/p>\n\u003cfigure id=\"attachment_13966559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg\" alt=\"\" width=\"2000\" height=\"1289\" class=\"size-full wp-image-13966559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1536x990.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1920x1237.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga and Justin P. Lopez in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really trying to identify what these characters sound like. For some of the characters, what do they listen to, you know, when we’re up in a space station, what music do they choose to put on?”\u003c/p>\n\u003cp>Meanwhile, Gentes has been realizing the not-so-subtle influence of the current political climate — and of climate change — on his characters, and on his own motivations for exploring their perspectives.\u003c/p>\n\u003cp>“One of the things I wanted to play with was this moment where the land back movement is strong and vocal…when we’re about to lose the entire planet, anyway,” he says. “I thought, what would it be like when we have to talk about land back, and we’re not on this planet anymore, as natives? And I realized that’s a really great question I would love to pursue for a long time to come.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>GhostRave plays Oct. 17–27, 2024, at Magic Theatre in San Francisco. \u003ca href=\"https://magictheatre.org/calendar/ghostrave\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"title": "Latino USA",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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"pbs-newshour": {
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},
"perspectives": {
"id": "perspectives",
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"order": 14
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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