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"headTitle": "The 20 Best Bay Area Albums of 2022 | KQED",
"content": "\u003cp>Though the music industry has been \u003ca href=\"https://www.npr.org/2022/09/19/1122947022/tour-canceled-covid-safety-concerts-masks\">incredibly challenging for independent artists\u003c/a> since the start of the pandemic, the Bay Area brought it in 2022. Throughout the year, veteran artists and newcomers alike set new bars for ingenuity and excellence. They invited us to have fun and get inspired, but they also offered opportunities for catharsis, for processing global events and personal challenges.\u003c/p>\n\u003cp>Without further ado, these are KQED Arts & Culture’s favorite albums of the year, in no particular order. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2KvfsMy0IQ2XRd5Rh7Ur2Q?utm_source=generator\" width=\"100%\" height=\"80\" 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>Zyah Belle, \u003cem>Yam Grier\u003c/em> (Guin Records)\u003c/h2>\n\u003cp>Zyah Belle has range. On her most confident album yet, the Vallejo-raised singer delves into the many emotional shades of love, using them as a catalyst for growth and self-mastery. On the opening track, “Ready Or Not,” Belle arrives, heart bursting, approaching a new love as if it were a magical gateway to another realm. Her silky mezzo-soprano voice, honed in church choir, makes her rapture contagious. But passions cool on “Holding On,” a low-key disco track with lyrics about not wanting to accept that a relationship is past its expiration date.\u003c/p>\n\u003cp>We see Belle embrace her sexuality on “Back to Back,” a smoldering duet with Jordan Hawkins, where the singers yearn for a hookup too good not to pursue. And with standout track “Cold Blooded,” Belle shifts beyond pretty and embodies a darker persona — one who learned the game from Too $hort, who gets name-dropped in the track. The minimalist guitar strum of “Healing” offers a tender moment of reprieve, offering affirmations for anyone recovering from a setback. A solid companion piece to grown-woman R&B albums like Jazmine Sullivan’s \u003cem>Heaux Tales\u003c/em> and Ari Lennox’s \u003cem>Shea Butter Baby\u003c/em>, Belle’s \u003cem>Yam Grier\u003c/em> is emotionally honest, and full of sumptuous textures and smart storytelling. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5E5phS3ZeUFwzrDMqqQiwx?utm_source=generator\" width=\"100%\" height=\"80\" 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>Mistah F.A.B., \u003cem>Black Designer\u003c/em> (Faeva Afta)\u003c/h2>\n\u003cp>It doesn’t take long for Oakland rapper Mistah F.A.B. to articulate why \u003cem>Black Designer\u003c/em> is being called his “mature” album: just 22 seconds into its eponymous kickoff track, he raps, “Busy as hell but always answer when my daughter calls / Present when my son took his first steps.” Other song titles reference Black cultural icons — among them Duke Ellington, Dorothy Dandridge, Mansa Musa, and W.E.B. Du Bois. “George Washington Carver” could have easily been titled “Flower Shop” — it’s more about props than crops — but artistic license appears to be a by-product of F.A.B. owning his own masters.\u003c/p>\n\u003cp>F.A.B. has added adulting to a skillset that already included evocative imagery and nimble, punchline-laden flows. High-flying tales of lavish international trips fluidly contrast with socially conscious and inspirational messages: “I grew up poor, who ashamed of that? Not me / It’s just evidence that can’t nothing in life stop me,” he raps. \u003cem>Black Designer\u003c/em>’s 22 tracks, spanning over 80 minutes, run lyrical circles around 95% of rappers alive. Though rooted in boastfulness, the use of patterns, alliteration, slang and metaphors overflow with creative mojo and a newfound sense of purpose. The album eschews trap or drill beats, instead offering up lush beds of jazzy, soulful loops more consistent with hip-hop’s history than its present state. The result is one of the best Bay Area hip-hop albums in recent memory, one that knows the world is bigger than the block. \u003cem>—\u003c/em>\u003cem> Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4DTVVsFW3Jhi4Jw8flTAGR?utm_source=generator\" width=\"100%\" height=\"80\" 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>Rexx Life Raj, \u003cem>The Blue Hour\u003c/em> (Rexx Life/EMPIRE)\u003c/h2>\n\u003cp>After the recent passing of his mother and father, Berkeley’s Rexx Life Raj took time to pour his pain into a work of art, \u003cem>The Blue Hour\u003c/em>.\u003c/p>\n\u003cp>The 12-track album, named after the time of the day just before dawn, takes listeners through some of the darkest moments in Raj’s life. And still, between intimate details of grief, he finds space to slide in slices of levity, clever lyrics and a player lifestyle.\u003c/p>\n\u003cp>“Beauty in The Madness,” featuring Wale and Fireboy DML, is a club-ready track for those who like to dance. “Scared Money” is a raw display of real rapper bars over a beat that’s an audible punch in the face. “Jerry Curl,” featuring Larry June, is the soundtrack to smoke and ride to.\u003c/p>\n\u003cp>But it’s the song “Save Yourself” that’s arguably the most important song to come out of the region this year. Raj opens his first verse by rapping, “When I was down bad / Looked in the mirror and realized I was all that I had / Had fam and the gang is the landing pad / But if I don’t steer the plane, then it’ll still crash.”\u003c/p>\n\u003cp>He delivers a Sunday morning sermon about self-reliance while riding a bass-heavy beat. It taps directly into the cerebral cortex and pushes listeners to enter a transcendent state where pain and love merge in this thing we know as music.\u003c/p>\n\u003cp>It’s art at its highest form.\u003c/p>\n\u003cp>To mourn in public is to show the world your full humanity. To create art and invite others to share in the grieving process pushes all of us to be more fully human. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4C87UAmhJ3nhATyp9nCI4i?utm_source=generator\" width=\"100%\" height=\"80\" 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>Fantastic Negrito, \u003cem>White Jesus Black Problems\u003c/em> (Storefront Records)\u003c/h2>\n\u003cp>Liberated from the show-business pressures he encountered in the 1990s, when he was a young R&B singer with a major-label deal, Oakland’s Fantastic Negrito has earned a national following in recent years. The inaugural winner of NPR’s Tiny Desk Contest, and a three-time Grammy winner for Best Contemporary Blues Album, he’s emphasized honesty and a pursuit of self that honors his roots.\u003c/p>\n\u003cp>On Fantastic Negrito’s latest album, \u003cem>White Jesus Black Problems\u003c/em>, the angelically psychedelic chorus of opening track “Venomous Dogma” enraptures you and doesn’t let go. Another track, “You Don’t Belong Here,” is a sound-rich window into the realities of oppression and otherness.\u003c/p>\n\u003cp>Fantastic Negrito released \u003cem>White Jesus Black Problems\u003c/em> with a \u003ca href=\"https://www.youtube.com/watch?v=BGOBdCscvgo\" target=\"_blank\" rel=\"noopener noreferrer\">short film of the same title\u003c/a>. As he narrates in the introduction, it’s “a love story” — one that he lays bare on “Virginia Soil,” the last track on the album. It situates the listener in Oakland and Virginia at the same time, and honors Fantastic Negrito’s 18th-century ancestors. His white Scottish grandmother, Gallamore, and his enslaved African American grandfather — whom Negrito calls Courage — lived in defiance of the racist social order of their time. “Freedom will come,” Fantastic Negrito sings triumphantly on the track. As listeners, we’re better for his prophetic nudges towards liberty. \u003cem>— Camilo Garzón\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3iIQrRl8NG7AgSJlStJdQw?utm_source=generator\" width=\"100%\" height=\"80\" 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>mxmtoon, \u003cem>rising\u003c/em> (AWAL Recordings America)\u003c/h2>\n\u003cp>When Maia — known as mxmtoon — was 17, she wrote “prom dress,” a sad yet upbeat anthem for lost teenagers overwhelmed by doubt and confusion. Now, four years later, the Oakland-born singer-songwriter reflects on how life has changed and her evolution in her latest album, \u003cem>rising\u003c/em>.\u003c/p>\n\u003cp>Like much of mxmtoon’s discography, \u003cem>rising\u003c/em> features tender, heartfelt lyrics and dreamy pop instrumentals delivered with high, soft vocals. Many songs on the album tackle aging, nostalgia, the pressures of societal expectations and what it means to look forward as you let go of your younger self. In “victim of nostalgia,” a track fit for a coming-of-age film, mxmtoon sings: “It’s the panic of growing up / It’s the fear of fallin’ down,” illustrating her unsteadiness as she enters her early 20s.\u003c/p>\n\u003cp>But this doubt is balanced by songs like “kaleidoscope,” where she accepts that the chaos the unknown is where she can truly grow. “Count all of my colors, but you’ll never know,” she sings, boldly accepting that this new era she enters is one of many to come. \u003cem>— Kristie Song\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=2855467910/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>Toro Y Moi, \u003cem>Mahal\u003c/em> (Dead Oceans)\u003c/h2>\n\u003cp>Every single one of my teenage years was spent in the 1990s. While a lot of people look back on their formative years and cringe, I never have. I loved everything about that decade — the fashion, the music, the creative communities, the attitude. The current ’90s revival then, has been filling me with joy all year — and Toro Y Moi’s chillwave has proven to be the perfect soundtrack.\u003c/p>\n\u003cp>On \u003cem>Mahal\u003c/em>, the Oakland artist and producer (real name: Chaz Bear) mashes a plethora of ’90s trends seamlessly into one expansive, alluring mirage. Combining dreamy soundscapes, fuzzy indie-rock guitars, hip-hop beats (that occasionally nod in the direction of drum and bass) and the same ’70s funk sensibilities we embraced in the ’90s, Toro Y Moi is so retro, he’s entirely of the moment.\u003c/p>\n\u003cp>To me, \u003cem>Mahal\u003c/em> sounds like seven people smoking weed in a tiny dorm room, backpacks and skateboards piled up in the corner. It sounds like making out under the stars on the walk home. It sounds like dancing with your friends in a sweaty basement. It sounds like living, and it’s beautiful. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3I7zgqesHxrk9YQ5ZrHz3v?utm_source=generator\" width=\"100%\" height=\"80\" 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>Tales of the Town\u003c/em> (Tales of the Town)\u003c/h2>\n\u003cp>It’s been a tremendously exciting year for Bay Area rap and R&B, and \u003cem>Tales of the Town\u003c/em> is the natural culmination. With a who’s-who of the region’s rich talent (including Guap, ShooterGang Kony, G-Eazy, P-Lo, Jane Handcock, Koran Streets, Pallaví, Shy’An G, Ian Kelly, ALLBLACK, Kevin Allen and others), the compilation isn’t a sampler so much as a statement of purpose. Concurrent with the \u003ca href=\"https://www.kqed.org/arts/13921254/introducing-tales-of-the-town-by-hella-black-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">podcast of the same name\u003c/a> (presented by activist organization People’s Programs), \u003cem>Tales of the Town\u003c/em> addresses Oakland history, sports, police brutality, gentrification and the housing crisis — all while proving the case for Oakland as a center of Black Excellence.\u003c/p>\n\u003cp>The multigenerational result is verses from veterans like J Stalin, who addresses Oscar Grant (“Three years for a Black life / And they want you to praise Christ?”), and newcomers like LaRussell, who takes on police and environmental racism (“How they build a hood and a power plant adjacent?”). With spoken-word segues from Town figures like Tupac Shakur and an overarching trajectory toward making Oakland a more equitable city, \u003cem>Tales of the Town\u003c/em> is 2022’s sharpest musical snapshot of the Bay Area right now. \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=370607175/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>Samora Pinderhughes, \u003cem>GRIEF\u003c/em> (Stretch Music/Ropeadope)\u003c/h2>\n\u003cp>The Bay Area got a deep look into the research that inspired Berkeley-reared pianist, songwriter and vocalist Samora Pinderhughes’ album \u003cem>GRIEF\u003c/em> last spring with \u003cem>The Healing Project\u003c/em>, a multimedia installation at Yerba Buena Center for the Arts produced by Anna Deavere Smith, Glenn Ligon and Vijay Iyer. A cool-toned but scorching \u003cem>cri de coeur\u003c/em> revealing the costs of mass incarceration, \u003cem>GRIEF\u003c/em> peels back the mounting losses one devastating track at a time.\u003c/p>\n\u003cp>Like on the title song, with its sinuous, whispered refrain of “death is much worse for the ones left behind,” the project’s inviting melodic hooks and luscious production generate crackling tension with the abject content. Spiritually charged but utterly grounded, the songs don’t attempt to put pieces back together as much as honor the wounds, hinting at avenues toward healing. Joined by a superlative ensemble featuring drummer Marcus Gilmore, electric bassist Boom Bishop, double bassist Clovis Nicolas, alto saxophonist Immanuel Wilkins, tenor saxophonist Lucas Pino and vocalists Nio Levon and Jehbreal Jackson — as well Samora’s younger sister Elena Pinderhughes on flute — \u003cem>GRIEF\u003c/em> marks Pinderhughes’ transformation from promising jazz pianist to visionary songwriter and producer with a rarified skillset and prophetic agenda. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1475871226&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Hokage Simon, \u003cem>Neon Noir\u003c/em> (self-released)\u003c/h2>\n\u003cp>Vallejo artist Hokage Simon has had an eventful year. He’s been handling his business, playing keys for rising artists like LaRussell and Elujay, and even walking in the 2022 TOMBOGO fashion show. He dropped his seven-song album \u003cem>Neon Noir\u003c/em> this summer, following up on the joint album he released with LaRussell, \u003cem>For What It’s Worth\u003c/em>, in March. Simon wrote \u003cem>Neon Noir\u003c/em> while battling cancer, and he released it on the one-year anniversary of his recovery. On the summery song “Enough,” featuring Tomas Jordan, Simon fuses an R&B two-step with a funky undertone and light vocals. This album spotlights Simon’s expansive synth playing, traversing R&B, psychedelic pop, jazz and boogie. On another standout song, “Gullible,” Simon sings about being sprung over someone, taking the listener back to the nostalgia of early crushes. With \u003cem>Neon Noir\u003c/em>, Simon took a dark moment in his life and made something luminous. \u003cem>— Nia Coats\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/13EB3cUBrQNqkBZCUgCawi?utm_source=generator\" width=\"100%\" height=\"80\" 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>Kamaiyah, \u003cem>DIVINE TIMING (DELUXE)\u003c/em> (KEEP IT LIT ENT.)\u003c/h2>\n\u003cp>Since her 2016 debut, \u003cem>A Good Night in the Ghetto\u003c/em>, Kamaiyah has asserted her way to the top of the hip-hop food chain, claiming a 2017 \u003ci>XXL\u003c/i> Freshman title and collabing with rap’s biggest trendsetters, including Drake, YG, Lil Yachty and G-Eazy. This year, the Oakland star returned with a refined version of her trademark vibe on \u003cem>DIVINE TIMING (DELUXE)\u003c/em>. Her second studio album, this project is made for the slappaholics, hustlers and smooth talkers. It’s a soundtrack for those who yearn for G-funk’s synth and bass on songs like “WHEN I SWANG.” Then there are the drippy bells and relentless tales of braggadocio on “Play Too Much,” featuring Cash Kidd.\u003c/p>\n\u003cp>For Oakland’s rap queen, it’s not just about flexing lyrical muscle over West Coast house party beats. She’s also here to share knowledge and intimate memories from her journey. On the album’s only interlude, “Brenda Talks From Heaven,” an audio recording plays a distorted voice message from a departed loved one. The humanity of the artist sharing a tender moment in a time of pain provides a moment of transcendence.\u003c/p>\n\u003cp>\u003cem>DIVINE TIMING (DELUXE)\u003c/em> is laced with a generous but not-overly-saturated number of guest features, including Vallejo’s Da Boii, Detroit’s Sada Baby and Dej Loaf, and the late Stockton rapper Young Slo-Be. With twice as many tracks included on this deluxe version as the original release, Kamaiyah reminds us why her flow is limitless — and divinely timed for Bay Area fans. \u003cem>— Alan Chazaro\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=3201079726/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>Brijean, \u003cem>Angelo\u003c/em> (Ghostly International)\u003c/h2>\n\u003cp>On the dance floor, we typically hear songs about love and desire, but disco-house duo Brijean offers an invitation to move our bodies as a form of release from pain. Their EP \u003ci>Angelo\u003c/i> opens with the echoes of singer-percussionist Brijean Murphy beckoning, “Which way to the club?” as if inviting us down an enchanted rabbit hole. But subtly and masterfully, the project weaves in themes of grief. Murphy and her musical and life partner, bassist-producer Doug Stuart, both lost parents over the past two years. The memory of Brijean’s father, Latin jazz percussionist Patrick Murphy, is embedded in \u003ci>Angelo\u003c/i>’s DNA through her dexterous conga rhythms, which the bandleader has referred to as family heirlooms.\u003c/p>\n\u003cp>“Shy Guy” and “Ooh La La” conjure a technicolor party somewhere balmy and tropical. But \u003ci>Angelo\u003c/i> comes to a more contemplative moment on the title track, named after the car in which Murphy and Stuart drove away from the Bay Area, first to care for ailing family members, and then to relocate to Los Angeles. That feeling of longing for loved ones, whether separated by distance or on another plane, comes into full view on “Caldwell’s Way,” a wistful, downtempo pop track with a keyboard solo that invites you to stare out the window in contemplation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2eR6L5nfTqjp97Kty4fCgs?utm_source=generator\" width=\"100%\" height=\"80\" 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>Elujay, \u003cem>Circmvnt\u003c/em> (OneTime!)\u003c/h2>\n\u003cp>Elujay’s track “Ratrace” set the tone for 2022. The refreshing percussion, light keys and bright synths combine to create a head-nodding beat, over which the Oakland-raised artist floats lyrics about yearning to be removed from our fast-paced society.\u003c/p>\n\u003cp>“It is easier to disassociate / Forget the race, rat race/ I’d risk it for you,” sings Elujay over production by Chris Palowitch, Hokage Simon and Anthony Shogun.\u003c/p>\n\u003cp>“Ratrace” is the first single off Elujay’s January 2022 release, \u003cem>Circmvnt\u003c/em>, a project full of delightful harmonies and heavy lyrics. On “Pandemia,” for example, he writes about the dangers of overconsumption and critiques the notion of sending children to school in the middle of the pandemic. But the song is so chill that the magnitude of the lyrics might escape you if you don’t read along as Elujay sings.\u003c/p>\n\u003cp>The album isn’t solely deep meditations about existential crises and the ills of society. On “Luvaroq,” which features serpantwithfeet, Elujay brings fans into his version of a lovers’ rock track. And on “1080p” (with HXNS), Elujay gives listeners music to break a sweat on the dancefloor.\u003c/p>\n\u003cp>\u003cem>Circmvnt\u003c/em> is both a soundtrack for the cool kids who have 1980s nostalgia and the philosophers who contemplate the future of humankind. \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=2944541219/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>Dregs One, \u003cem>Sucka Repellent\u003c/em> (Audio Vandals)\u003c/h2>\n\u003cp>Anyone who follows Dregs One on TikTok already knows: the man is a well of Bay Area hip-hop culture, broadcasting his mini-histories of legends like Mac Dre, Ill Mannered Playas, Hieroglyphics and RBL Posse to 41,000 followers. What’s not so widely known is Dregs’ own deep rap career — the latest installment of which, \u003cem>Sucka Repellent\u003c/em>, rolls up 30-plus years of Bay Area hip-hop history into 16 streetwise tracks.\u003c/p>\n\u003cp>Dregs nods to the bassline of Too Short’s “Blow the Whistle” in “28 Dubs”; the DJ Fresh-produced “Bobby Brown” calls for unity and blessings from “Frisco to San Jo, represent the Town bizness / Vallejo, Sacramento, Palo Alto, Richmond”; and guests like Husalah (“Geeked Up”), Cellski (“City Life”) and add an indelible Bay Area stamp.\u003c/p>\n\u003cp>But perhaps the most vivid encapsulation of Dregs’ own story comes on “Rap Cats.” In one succinct verse, Dregs recounts his aspirations as a hungry kid growing up in Lakeview: listening to \u003cem>The Wake Up Show\u003c/em>, wanting to sound like Tupac, digging in the crates, watching graffiti in the tunnels from the bus, selling albums on consignment and rocking house parties. With a guest verse from the one and only Spice 1, \u003cem>Sucka Repellent\u003c/em> comes full circle to an abiding truth: Frisco dreams really can come true. \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=306833697/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>spacemoth, \u003cem>No Past No Future\u003c/em> (Wax Nine/Carpark Records)\u003c/h2>\n\u003cp>It’s an album that opens with an unflinching question — “When is this shit gonna end?” — and closes with a wholly depressing answer: “No future here.”\u003c/p>\n\u003cp>\u003cem>No Past No Future\u003c/em> is the disillusioned brainchild of Maryam Qudus, a studio engineer and producer that Bay Area locals might recognize from Women’s Audio Mission or Tiny Telephone studios. Qudus sounds like Stereolab’s cooler sister after spending an evening with Kathleen Hanna’s \u003cem>Julie Ruin\u003c/em> album, combining dreamy soundscapes, thoroughly dystopian lyrics and irresistibly lo-fi dance moments. (“Pipe and Pistol” and “Noise of Everyday Life” are upbeat highlights.) In between, Qudus touches on the racism she deals with because of her Afghan heritage (“L.O.T.F”) and offers a cleverly constructed critique of sexual harassment (“Asking for You”) that would’ve been at home on the \u003cem>Promising Young Woman\u003c/em> soundtrack.\u003c/p>\n\u003cp>Seamlessly combining sounds of the future with the persistent idea that there won’t be one isn’t a recipe that should work, but it is surprisingly satisfying in Qudus’ capable hands. Stash a copy in your doomsday bunker immediately. —\u003cem> Rae Alexandra\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=1909652176/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>Mystic, \u003cem>Dreaming In Cursive: The Girl Who Loved Sparklers\u003c/em> (Beautifull Soundworks)\u003c/h2>\n\u003cp>Mystic’s long-awaited third album arrived in August, two decades after her now-classic \u003cem>Cuts For Luck and Scars For Freedom\u003c/em>. In that time, she’s become an educator and healer, working in youth development. The Oakland MC brings that perspective to \u003cem>Dreaming In Cursive\u003c/em>, along with her own lived experiences, resulting in that rare hip-hop album that grounds itself in love and revels in wisdom. The album overflows with positive affirmations, cognizant of human struggle, but aspirational in nature and spiritual in tone. Mystic promises to “show you magic,” yet her invocations have more to do with uplifting souls than occult sorcery.\u003c/p>\n\u003cp>Mystic has always been a unicorn, talented at rapping, singing and spoken word, while being both socially conscious and street-savvy. \u003cem>Dreaming In Cursive\u003c/em> trades some of the edginess of her debut for a mellower overall vibe, complete with tasteful keyboards and poetic interludes. Boom-bap beats don’t dominate every track, but when they do surface, as on the anthemic single “We Are the People,” they bring a strident urgency without overshadowing her lyrical message. Which is, simply, that love is a revolutionary, transformative act that is foundational to liberation. Loving unapologetically — the album’s preeminent theme — requires having faith, vulnerability and intentional openness. This isn’t what we normally hear from rappers, but it’s perhaps what we need to hear more often. \u003cem>— Eric Arnold\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=670857443/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>Try the Pie, \u003cem>A Widening Burst of Forever\u003c/em> (Get Better Records)\u003c/h2>\n\u003cp>Equal parts cathartic and tender, Try the Pie’s \u003cem>A Widening Burst of Forever\u003c/em> features nine tracks that bounce between wistful and slow, loud and grungy. In “Asleep on the Lawn,” San Jose-raised singer-songwriter Bean Tupou’s clear and high vocals pierce the heavy reverberations of a simple guitar melody. “I didn’t see it like you,” they sing, soft and melancholic. Then, in “Last of You,” Tupou pivots into something grittier — with a more urgent vocal delivery and faster, cranked-up guitar riffs that collide into something worth headbanging to.\u003c/p>\n\u003cp>The album’s raw instrumentals are often paired with heartfelt lyrics. In “Awful Moon,” Tupou sings, “I’m just a fern below the dirt / unemerged,” confessing to an unnamed person that they are still delicate, still burgeoning, still growing into an unknown. \u003cem>— Kristie Song\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=1815539143/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>Spote Breeze, \u003cem>Cascade Viewing\u003c/em> (Hot Record Societe)\u003c/h2>\n\u003cp>Spote Breeze is one the best-kept secrets of the Bay Area’s hip-hop scene. He’s usually hiding behind glasses and a hoodie, and rarely does he promote himself. But his music for self-described introverts shows that the quiet ones, the people who sit back and observe, often have the wisest things to say. On \u003ci>Cascade Viewing\u003c/i>, airy jazz- and soul-inflected beats by OG Jarin crackle with the sound of a vintage record player. With this vibe of an intimate listening session, the production gives the Oakland MC space to explore his inner world, as if writing diary entries in the blank pages of a notebook.\u003c/p>\n\u003cp>Spote’s story-rich verses ruminate on hard life experiences, eventually pulling out kernels of wisdom about friendship, personal growth and spirituality. Like the title \u003ci>Cascade Viewing\u003c/i> suggests (it’s an almost-homonym for “casket viewing”), brushes with death haunt the album’s 13 tracks. But even amid grim reminders of our mortality, Spote builds a more hopeful future, and his intricate rhymes are the foundation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0BAcSuVdtXejNW6zQsIlJa?utm_source=generator\" width=\"100%\" height=\"80\" 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>Nate Curry and YMTK, \u003cem>By Design\u003c/em> (Self-Released)\u003c/h2>\n\u003cp>In February, Oakland’s YMTK and Sacramento’s Nate Curry dropped \u003cem>By Design\u003c/em>, a nine-track project that fuses modern R&B with touches of trip-hop, heavy basslines and a dash pop flare. It’s the definition of eclectic.\u003c/p>\n\u003cp>The album begins with a mellow title track, about the perseverance it takes to achieve your goals, and takes listeners through a journey of physical attraction, the pursuit of love and the process of healing from love lost.\u003c/p>\n\u003cp>The house-influenced “Miss That” is a feel-good song about a relationship ending — somewhat of a contradictory notion, but it works really well for the healing process. It’s followed by “Silence,” where Jay Anthony joins YMTK and Nate Curry on a beat with a blappin’, mobb music bassline. The album features Bay Area standouts Guap, P-Lo and Symba — and a rare verse from Lil B — as well as Los Angeles’ Iman Europe and Phabo.\u003c/p>\n\u003cp>The sonic diversity in this album is a nod to the talent of Nate Curry and YMTK, who’ve figured out ways to work with a wide range of artists from the region. When Northern Californian artists join to create quality work, it does wonders for all of us. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3Z9uDO0cSfAgKDhwHHh2mQ?utm_source=generator\" width=\"100%\" height=\"80\" 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>Calvin Keys, \u003cem>Blue Keys\u003c/em> (Wide Hive Records)\u003c/h2>\n\u003cp>On the cusp of his 80th birthday, Calvin Keys sounds as lean and potent as ever. The Oakland guitarist has been at the center of the Bay Area jazz since the mid-1970s, and his new album \u003cem>Blue Keys\u003c/em> finds him keeping company with a bevy of similarly distinguished masters, including former Bay Area-based percussionist Babatunde Lea, bassist Henry “The Skipper” Franklin, alto saxophonist Gary Bartz and trombonist Steve Turre (who also contributes on conch shells). As with many releases on Berkeley’s Wide Hive Records, label owner Gregory Howe is in the thick of the action as a pianist, organist, composer and overall sound designer. Rather than a late-career valedictory statement, Keys’ fourth release on Wide Hive is the work of an artist who still sounds hungry to extend his creative purview.\u003c/p>\n\u003cp>Keys is best known for his understated eloquence in straight-ahead jazz settings, placing each note for maximum rhythmic and emotional impact. Blue Keys surrounds him with thickly textured horns, kicking off with “Peregrines Dive.” Laced with the woozily surging opening refrain from Horace Silver’s hard-bop classic “Nutville,” the tune gains momentum and heft until the horns give way, and Keys resets the stage with a sharply etched, telegraphic solo. Turre’s gorgeous conch solo on “Ck 22” provides a striking tonal contrast to Keys’ stinging phrasing while the second half “At Arrival” opens up into a delicate Keys and Bartz duet that’s worth the price of admission alone. Smart, soulful and pleasingly concise, Keys is an improviser in his prime. \u003cem>— Andrew Gilbert\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=1280115653/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>Richie Cunning, \u003cem>Big Deal\u003c/em> (Son of the City)\u003c/h2>\n\u003cp>Rappers often shout out Frank Sinatra for his style, his underworld ties and his attitude. But let’s face it: musically, the two are worlds apart. Pop-vocal easy listening from the 1950s mixed with today’s hip-hop? The idea sounds preposterous.\u003c/p>\n\u003cp>Enter San Francisco rapper Richie Cunning and his latest album, \u003cem>Big Deal\u003c/em>, filled with lush strings, muted trumpet, walking bass and tinkling piano. While Cunning raps with smooth ease, the voices of Sammy Davis Jr. and Bobby Darin weave in and out, and the whole thing is structured and paced to resemble a boom-bap microphone fiend time-traveling to a midnight set at an Eisenhower-era supper club.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Weirdly, it works. Cunning obviously cares about his source material and hip-hop in equal measure, and even seems to acknowledge the illusory myth that the 1950s provided (“Here’s to everybody hopin’ to escape their ghosts”). Each time I hear \u003cem>Big Deal\u003c/em>, I think the same thing: someone better book him at Yoshi’s soon. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though the music industry has been \u003ca href=\"https://www.npr.org/2022/09/19/1122947022/tour-canceled-covid-safety-concerts-masks\">incredibly challenging for independent artists\u003c/a> since the start of the pandemic, the Bay Area brought it in 2022. Throughout the year, veteran artists and newcomers alike set new bars for ingenuity and excellence. They invited us to have fun and get inspired, but they also offered opportunities for catharsis, for processing global events and personal challenges.\u003c/p>\n\u003cp>Without further ado, these are KQED Arts & Culture’s favorite albums of the year, in no particular order. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2KvfsMy0IQ2XRd5Rh7Ur2Q?utm_source=generator\" width=\"100%\" height=\"80\" 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>Zyah Belle, \u003cem>Yam Grier\u003c/em> (Guin Records)\u003c/h2>\n\u003cp>Zyah Belle has range. On her most confident album yet, the Vallejo-raised singer delves into the many emotional shades of love, using them as a catalyst for growth and self-mastery. On the opening track, “Ready Or Not,” Belle arrives, heart bursting, approaching a new love as if it were a magical gateway to another realm. Her silky mezzo-soprano voice, honed in church choir, makes her rapture contagious. But passions cool on “Holding On,” a low-key disco track with lyrics about not wanting to accept that a relationship is past its expiration date.\u003c/p>\n\u003cp>We see Belle embrace her sexuality on “Back to Back,” a smoldering duet with Jordan Hawkins, where the singers yearn for a hookup too good not to pursue. And with standout track “Cold Blooded,” Belle shifts beyond pretty and embodies a darker persona — one who learned the game from Too $hort, who gets name-dropped in the track. The minimalist guitar strum of “Healing” offers a tender moment of reprieve, offering affirmations for anyone recovering from a setback. A solid companion piece to grown-woman R&B albums like Jazmine Sullivan’s \u003cem>Heaux Tales\u003c/em> and Ari Lennox’s \u003cem>Shea Butter Baby\u003c/em>, Belle’s \u003cem>Yam Grier\u003c/em> is emotionally honest, and full of sumptuous textures and smart storytelling. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5E5phS3ZeUFwzrDMqqQiwx?utm_source=generator\" width=\"100%\" height=\"80\" 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>Mistah F.A.B., \u003cem>Black Designer\u003c/em> (Faeva Afta)\u003c/h2>\n\u003cp>It doesn’t take long for Oakland rapper Mistah F.A.B. to articulate why \u003cem>Black Designer\u003c/em> is being called his “mature” album: just 22 seconds into its eponymous kickoff track, he raps, “Busy as hell but always answer when my daughter calls / Present when my son took his first steps.” Other song titles reference Black cultural icons — among them Duke Ellington, Dorothy Dandridge, Mansa Musa, and W.E.B. Du Bois. “George Washington Carver” could have easily been titled “Flower Shop” — it’s more about props than crops — but artistic license appears to be a by-product of F.A.B. owning his own masters.\u003c/p>\n\u003cp>F.A.B. has added adulting to a skillset that already included evocative imagery and nimble, punchline-laden flows. High-flying tales of lavish international trips fluidly contrast with socially conscious and inspirational messages: “I grew up poor, who ashamed of that? Not me / It’s just evidence that can’t nothing in life stop me,” he raps. \u003cem>Black Designer\u003c/em>’s 22 tracks, spanning over 80 minutes, run lyrical circles around 95% of rappers alive. Though rooted in boastfulness, the use of patterns, alliteration, slang and metaphors overflow with creative mojo and a newfound sense of purpose. The album eschews trap or drill beats, instead offering up lush beds of jazzy, soulful loops more consistent with hip-hop’s history than its present state. The result is one of the best Bay Area hip-hop albums in recent memory, one that knows the world is bigger than the block. \u003cem>—\u003c/em>\u003cem> Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4DTVVsFW3Jhi4Jw8flTAGR?utm_source=generator\" width=\"100%\" height=\"80\" 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>Rexx Life Raj, \u003cem>The Blue Hour\u003c/em> (Rexx Life/EMPIRE)\u003c/h2>\n\u003cp>After the recent passing of his mother and father, Berkeley’s Rexx Life Raj took time to pour his pain into a work of art, \u003cem>The Blue Hour\u003c/em>.\u003c/p>\n\u003cp>The 12-track album, named after the time of the day just before dawn, takes listeners through some of the darkest moments in Raj’s life. And still, between intimate details of grief, he finds space to slide in slices of levity, clever lyrics and a player lifestyle.\u003c/p>\n\u003cp>“Beauty in The Madness,” featuring Wale and Fireboy DML, is a club-ready track for those who like to dance. “Scared Money” is a raw display of real rapper bars over a beat that’s an audible punch in the face. “Jerry Curl,” featuring Larry June, is the soundtrack to smoke and ride to.\u003c/p>\n\u003cp>But it’s the song “Save Yourself” that’s arguably the most important song to come out of the region this year. Raj opens his first verse by rapping, “When I was down bad / Looked in the mirror and realized I was all that I had / Had fam and the gang is the landing pad / But if I don’t steer the plane, then it’ll still crash.”\u003c/p>\n\u003cp>He delivers a Sunday morning sermon about self-reliance while riding a bass-heavy beat. It taps directly into the cerebral cortex and pushes listeners to enter a transcendent state where pain and love merge in this thing we know as music.\u003c/p>\n\u003cp>It’s art at its highest form.\u003c/p>\n\u003cp>To mourn in public is to show the world your full humanity. To create art and invite others to share in the grieving process pushes all of us to be more fully human. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4C87UAmhJ3nhATyp9nCI4i?utm_source=generator\" width=\"100%\" height=\"80\" 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>Fantastic Negrito, \u003cem>White Jesus Black Problems\u003c/em> (Storefront Records)\u003c/h2>\n\u003cp>Liberated from the show-business pressures he encountered in the 1990s, when he was a young R&B singer with a major-label deal, Oakland’s Fantastic Negrito has earned a national following in recent years. The inaugural winner of NPR’s Tiny Desk Contest, and a three-time Grammy winner for Best Contemporary Blues Album, he’s emphasized honesty and a pursuit of self that honors his roots.\u003c/p>\n\u003cp>On Fantastic Negrito’s latest album, \u003cem>White Jesus Black Problems\u003c/em>, the angelically psychedelic chorus of opening track “Venomous Dogma” enraptures you and doesn’t let go. Another track, “You Don’t Belong Here,” is a sound-rich window into the realities of oppression and otherness.\u003c/p>\n\u003cp>Fantastic Negrito released \u003cem>White Jesus Black Problems\u003c/em> with a \u003ca href=\"https://www.youtube.com/watch?v=BGOBdCscvgo\" target=\"_blank\" rel=\"noopener noreferrer\">short film of the same title\u003c/a>. As he narrates in the introduction, it’s “a love story” — one that he lays bare on “Virginia Soil,” the last track on the album. It situates the listener in Oakland and Virginia at the same time, and honors Fantastic Negrito’s 18th-century ancestors. His white Scottish grandmother, Gallamore, and his enslaved African American grandfather — whom Negrito calls Courage — lived in defiance of the racist social order of their time. “Freedom will come,” Fantastic Negrito sings triumphantly on the track. As listeners, we’re better for his prophetic nudges towards liberty. \u003cem>— Camilo Garzón\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3iIQrRl8NG7AgSJlStJdQw?utm_source=generator\" width=\"100%\" height=\"80\" 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>mxmtoon, \u003cem>rising\u003c/em> (AWAL Recordings America)\u003c/h2>\n\u003cp>When Maia — known as mxmtoon — was 17, she wrote “prom dress,” a sad yet upbeat anthem for lost teenagers overwhelmed by doubt and confusion. Now, four years later, the Oakland-born singer-songwriter reflects on how life has changed and her evolution in her latest album, \u003cem>rising\u003c/em>.\u003c/p>\n\u003cp>Like much of mxmtoon’s discography, \u003cem>rising\u003c/em> features tender, heartfelt lyrics and dreamy pop instrumentals delivered with high, soft vocals. Many songs on the album tackle aging, nostalgia, the pressures of societal expectations and what it means to look forward as you let go of your younger self. In “victim of nostalgia,” a track fit for a coming-of-age film, mxmtoon sings: “It’s the panic of growing up / It’s the fear of fallin’ down,” illustrating her unsteadiness as she enters her early 20s.\u003c/p>\n\u003cp>But this doubt is balanced by songs like “kaleidoscope,” where she accepts that the chaos the unknown is where she can truly grow. “Count all of my colors, but you’ll never know,” she sings, boldly accepting that this new era she enters is one of many to come. \u003cem>— Kristie Song\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=2855467910/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>Toro Y Moi, \u003cem>Mahal\u003c/em> (Dead Oceans)\u003c/h2>\n\u003cp>Every single one of my teenage years was spent in the 1990s. While a lot of people look back on their formative years and cringe, I never have. I loved everything about that decade — the fashion, the music, the creative communities, the attitude. The current ’90s revival then, has been filling me with joy all year — and Toro Y Moi’s chillwave has proven to be the perfect soundtrack.\u003c/p>\n\u003cp>On \u003cem>Mahal\u003c/em>, the Oakland artist and producer (real name: Chaz Bear) mashes a plethora of ’90s trends seamlessly into one expansive, alluring mirage. Combining dreamy soundscapes, fuzzy indie-rock guitars, hip-hop beats (that occasionally nod in the direction of drum and bass) and the same ’70s funk sensibilities we embraced in the ’90s, Toro Y Moi is so retro, he’s entirely of the moment.\u003c/p>\n\u003cp>To me, \u003cem>Mahal\u003c/em> sounds like seven people smoking weed in a tiny dorm room, backpacks and skateboards piled up in the corner. It sounds like making out under the stars on the walk home. It sounds like dancing with your friends in a sweaty basement. It sounds like living, and it’s beautiful. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3I7zgqesHxrk9YQ5ZrHz3v?utm_source=generator\" width=\"100%\" height=\"80\" 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>Tales of the Town\u003c/em> (Tales of the Town)\u003c/h2>\n\u003cp>It’s been a tremendously exciting year for Bay Area rap and R&B, and \u003cem>Tales of the Town\u003c/em> is the natural culmination. With a who’s-who of the region’s rich talent (including Guap, ShooterGang Kony, G-Eazy, P-Lo, Jane Handcock, Koran Streets, Pallaví, Shy’An G, Ian Kelly, ALLBLACK, Kevin Allen and others), the compilation isn’t a sampler so much as a statement of purpose. Concurrent with the \u003ca href=\"https://www.kqed.org/arts/13921254/introducing-tales-of-the-town-by-hella-black-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">podcast of the same name\u003c/a> (presented by activist organization People’s Programs), \u003cem>Tales of the Town\u003c/em> addresses Oakland history, sports, police brutality, gentrification and the housing crisis — all while proving the case for Oakland as a center of Black Excellence.\u003c/p>\n\u003cp>The multigenerational result is verses from veterans like J Stalin, who addresses Oscar Grant (“Three years for a Black life / And they want you to praise Christ?”), and newcomers like LaRussell, who takes on police and environmental racism (“How they build a hood and a power plant adjacent?”). With spoken-word segues from Town figures like Tupac Shakur and an overarching trajectory toward making Oakland a more equitable city, \u003cem>Tales of the Town\u003c/em> is 2022’s sharpest musical snapshot of the Bay Area right now. \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=370607175/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>Samora Pinderhughes, \u003cem>GRIEF\u003c/em> (Stretch Music/Ropeadope)\u003c/h2>\n\u003cp>The Bay Area got a deep look into the research that inspired Berkeley-reared pianist, songwriter and vocalist Samora Pinderhughes’ album \u003cem>GRIEF\u003c/em> last spring with \u003cem>The Healing Project\u003c/em>, a multimedia installation at Yerba Buena Center for the Arts produced by Anna Deavere Smith, Glenn Ligon and Vijay Iyer. A cool-toned but scorching \u003cem>cri de coeur\u003c/em> revealing the costs of mass incarceration, \u003cem>GRIEF\u003c/em> peels back the mounting losses one devastating track at a time.\u003c/p>\n\u003cp>Like on the title song, with its sinuous, whispered refrain of “death is much worse for the ones left behind,” the project’s inviting melodic hooks and luscious production generate crackling tension with the abject content. Spiritually charged but utterly grounded, the songs don’t attempt to put pieces back together as much as honor the wounds, hinting at avenues toward healing. Joined by a superlative ensemble featuring drummer Marcus Gilmore, electric bassist Boom Bishop, double bassist Clovis Nicolas, alto saxophonist Immanuel Wilkins, tenor saxophonist Lucas Pino and vocalists Nio Levon and Jehbreal Jackson — as well Samora’s younger sister Elena Pinderhughes on flute — \u003cem>GRIEF\u003c/em> marks Pinderhughes’ transformation from promising jazz pianist to visionary songwriter and producer with a rarified skillset and prophetic agenda. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1475871226&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Hokage Simon, \u003cem>Neon Noir\u003c/em> (self-released)\u003c/h2>\n\u003cp>Vallejo artist Hokage Simon has had an eventful year. He’s been handling his business, playing keys for rising artists like LaRussell and Elujay, and even walking in the 2022 TOMBOGO fashion show. He dropped his seven-song album \u003cem>Neon Noir\u003c/em> this summer, following up on the joint album he released with LaRussell, \u003cem>For What It’s Worth\u003c/em>, in March. Simon wrote \u003cem>Neon Noir\u003c/em> while battling cancer, and he released it on the one-year anniversary of his recovery. On the summery song “Enough,” featuring Tomas Jordan, Simon fuses an R&B two-step with a funky undertone and light vocals. This album spotlights Simon’s expansive synth playing, traversing R&B, psychedelic pop, jazz and boogie. On another standout song, “Gullible,” Simon sings about being sprung over someone, taking the listener back to the nostalgia of early crushes. With \u003cem>Neon Noir\u003c/em>, Simon took a dark moment in his life and made something luminous. \u003cem>— Nia Coats\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/13EB3cUBrQNqkBZCUgCawi?utm_source=generator\" width=\"100%\" height=\"80\" 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>Kamaiyah, \u003cem>DIVINE TIMING (DELUXE)\u003c/em> (KEEP IT LIT ENT.)\u003c/h2>\n\u003cp>Since her 2016 debut, \u003cem>A Good Night in the Ghetto\u003c/em>, Kamaiyah has asserted her way to the top of the hip-hop food chain, claiming a 2017 \u003ci>XXL\u003c/i> Freshman title and collabing with rap’s biggest trendsetters, including Drake, YG, Lil Yachty and G-Eazy. This year, the Oakland star returned with a refined version of her trademark vibe on \u003cem>DIVINE TIMING (DELUXE)\u003c/em>. Her second studio album, this project is made for the slappaholics, hustlers and smooth talkers. It’s a soundtrack for those who yearn for G-funk’s synth and bass on songs like “WHEN I SWANG.” Then there are the drippy bells and relentless tales of braggadocio on “Play Too Much,” featuring Cash Kidd.\u003c/p>\n\u003cp>For Oakland’s rap queen, it’s not just about flexing lyrical muscle over West Coast house party beats. She’s also here to share knowledge and intimate memories from her journey. On the album’s only interlude, “Brenda Talks From Heaven,” an audio recording plays a distorted voice message from a departed loved one. The humanity of the artist sharing a tender moment in a time of pain provides a moment of transcendence.\u003c/p>\n\u003cp>\u003cem>DIVINE TIMING (DELUXE)\u003c/em> is laced with a generous but not-overly-saturated number of guest features, including Vallejo’s Da Boii, Detroit’s Sada Baby and Dej Loaf, and the late Stockton rapper Young Slo-Be. With twice as many tracks included on this deluxe version as the original release, Kamaiyah reminds us why her flow is limitless — and divinely timed for Bay Area fans. \u003cem>— Alan Chazaro\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=3201079726/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>Brijean, \u003cem>Angelo\u003c/em> (Ghostly International)\u003c/h2>\n\u003cp>On the dance floor, we typically hear songs about love and desire, but disco-house duo Brijean offers an invitation to move our bodies as a form of release from pain. Their EP \u003ci>Angelo\u003c/i> opens with the echoes of singer-percussionist Brijean Murphy beckoning, “Which way to the club?” as if inviting us down an enchanted rabbit hole. But subtly and masterfully, the project weaves in themes of grief. Murphy and her musical and life partner, bassist-producer Doug Stuart, both lost parents over the past two years. The memory of Brijean’s father, Latin jazz percussionist Patrick Murphy, is embedded in \u003ci>Angelo\u003c/i>’s DNA through her dexterous conga rhythms, which the bandleader has referred to as family heirlooms.\u003c/p>\n\u003cp>“Shy Guy” and “Ooh La La” conjure a technicolor party somewhere balmy and tropical. But \u003ci>Angelo\u003c/i> comes to a more contemplative moment on the title track, named after the car in which Murphy and Stuart drove away from the Bay Area, first to care for ailing family members, and then to relocate to Los Angeles. That feeling of longing for loved ones, whether separated by distance or on another plane, comes into full view on “Caldwell’s Way,” a wistful, downtempo pop track with a keyboard solo that invites you to stare out the window in contemplation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2eR6L5nfTqjp97Kty4fCgs?utm_source=generator\" width=\"100%\" height=\"80\" 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>Elujay, \u003cem>Circmvnt\u003c/em> (OneTime!)\u003c/h2>\n\u003cp>Elujay’s track “Ratrace” set the tone for 2022. The refreshing percussion, light keys and bright synths combine to create a head-nodding beat, over which the Oakland-raised artist floats lyrics about yearning to be removed from our fast-paced society.\u003c/p>\n\u003cp>“It is easier to disassociate / Forget the race, rat race/ I’d risk it for you,” sings Elujay over production by Chris Palowitch, Hokage Simon and Anthony Shogun.\u003c/p>\n\u003cp>“Ratrace” is the first single off Elujay’s January 2022 release, \u003cem>Circmvnt\u003c/em>, a project full of delightful harmonies and heavy lyrics. On “Pandemia,” for example, he writes about the dangers of overconsumption and critiques the notion of sending children to school in the middle of the pandemic. But the song is so chill that the magnitude of the lyrics might escape you if you don’t read along as Elujay sings.\u003c/p>\n\u003cp>The album isn’t solely deep meditations about existential crises and the ills of society. On “Luvaroq,” which features serpantwithfeet, Elujay brings fans into his version of a lovers’ rock track. And on “1080p” (with HXNS), Elujay gives listeners music to break a sweat on the dancefloor.\u003c/p>\n\u003cp>\u003cem>Circmvnt\u003c/em> is both a soundtrack for the cool kids who have 1980s nostalgia and the philosophers who contemplate the future of humankind. \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=2944541219/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>Dregs One, \u003cem>Sucka Repellent\u003c/em> (Audio Vandals)\u003c/h2>\n\u003cp>Anyone who follows Dregs One on TikTok already knows: the man is a well of Bay Area hip-hop culture, broadcasting his mini-histories of legends like Mac Dre, Ill Mannered Playas, Hieroglyphics and RBL Posse to 41,000 followers. What’s not so widely known is Dregs’ own deep rap career — the latest installment of which, \u003cem>Sucka Repellent\u003c/em>, rolls up 30-plus years of Bay Area hip-hop history into 16 streetwise tracks.\u003c/p>\n\u003cp>Dregs nods to the bassline of Too Short’s “Blow the Whistle” in “28 Dubs”; the DJ Fresh-produced “Bobby Brown” calls for unity and blessings from “Frisco to San Jo, represent the Town bizness / Vallejo, Sacramento, Palo Alto, Richmond”; and guests like Husalah (“Geeked Up”), Cellski (“City Life”) and add an indelible Bay Area stamp.\u003c/p>\n\u003cp>But perhaps the most vivid encapsulation of Dregs’ own story comes on “Rap Cats.” In one succinct verse, Dregs recounts his aspirations as a hungry kid growing up in Lakeview: listening to \u003cem>The Wake Up Show\u003c/em>, wanting to sound like Tupac, digging in the crates, watching graffiti in the tunnels from the bus, selling albums on consignment and rocking house parties. With a guest verse from the one and only Spice 1, \u003cem>Sucka Repellent\u003c/em> comes full circle to an abiding truth: Frisco dreams really can come true. \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=306833697/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>spacemoth, \u003cem>No Past No Future\u003c/em> (Wax Nine/Carpark Records)\u003c/h2>\n\u003cp>It’s an album that opens with an unflinching question — “When is this shit gonna end?” — and closes with a wholly depressing answer: “No future here.”\u003c/p>\n\u003cp>\u003cem>No Past No Future\u003c/em> is the disillusioned brainchild of Maryam Qudus, a studio engineer and producer that Bay Area locals might recognize from Women’s Audio Mission or Tiny Telephone studios. Qudus sounds like Stereolab’s cooler sister after spending an evening with Kathleen Hanna’s \u003cem>Julie Ruin\u003c/em> album, combining dreamy soundscapes, thoroughly dystopian lyrics and irresistibly lo-fi dance moments. (“Pipe and Pistol” and “Noise of Everyday Life” are upbeat highlights.) In between, Qudus touches on the racism she deals with because of her Afghan heritage (“L.O.T.F”) and offers a cleverly constructed critique of sexual harassment (“Asking for You”) that would’ve been at home on the \u003cem>Promising Young Woman\u003c/em> soundtrack.\u003c/p>\n\u003cp>Seamlessly combining sounds of the future with the persistent idea that there won’t be one isn’t a recipe that should work, but it is surprisingly satisfying in Qudus’ capable hands. Stash a copy in your doomsday bunker immediately. —\u003cem> Rae Alexandra\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=1909652176/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>Mystic, \u003cem>Dreaming In Cursive: The Girl Who Loved Sparklers\u003c/em> (Beautifull Soundworks)\u003c/h2>\n\u003cp>Mystic’s long-awaited third album arrived in August, two decades after her now-classic \u003cem>Cuts For Luck and Scars For Freedom\u003c/em>. In that time, she’s become an educator and healer, working in youth development. The Oakland MC brings that perspective to \u003cem>Dreaming In Cursive\u003c/em>, along with her own lived experiences, resulting in that rare hip-hop album that grounds itself in love and revels in wisdom. The album overflows with positive affirmations, cognizant of human struggle, but aspirational in nature and spiritual in tone. Mystic promises to “show you magic,” yet her invocations have more to do with uplifting souls than occult sorcery.\u003c/p>\n\u003cp>Mystic has always been a unicorn, talented at rapping, singing and spoken word, while being both socially conscious and street-savvy. \u003cem>Dreaming In Cursive\u003c/em> trades some of the edginess of her debut for a mellower overall vibe, complete with tasteful keyboards and poetic interludes. Boom-bap beats don’t dominate every track, but when they do surface, as on the anthemic single “We Are the People,” they bring a strident urgency without overshadowing her lyrical message. Which is, simply, that love is a revolutionary, transformative act that is foundational to liberation. Loving unapologetically — the album’s preeminent theme — requires having faith, vulnerability and intentional openness. This isn’t what we normally hear from rappers, but it’s perhaps what we need to hear more often. \u003cem>— Eric Arnold\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=670857443/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>Try the Pie, \u003cem>A Widening Burst of Forever\u003c/em> (Get Better Records)\u003c/h2>\n\u003cp>Equal parts cathartic and tender, Try the Pie’s \u003cem>A Widening Burst of Forever\u003c/em> features nine tracks that bounce between wistful and slow, loud and grungy. In “Asleep on the Lawn,” San Jose-raised singer-songwriter Bean Tupou’s clear and high vocals pierce the heavy reverberations of a simple guitar melody. “I didn’t see it like you,” they sing, soft and melancholic. Then, in “Last of You,” Tupou pivots into something grittier — with a more urgent vocal delivery and faster, cranked-up guitar riffs that collide into something worth headbanging to.\u003c/p>\n\u003cp>The album’s raw instrumentals are often paired with heartfelt lyrics. In “Awful Moon,” Tupou sings, “I’m just a fern below the dirt / unemerged,” confessing to an unnamed person that they are still delicate, still burgeoning, still growing into an unknown. \u003cem>— Kristie Song\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=1815539143/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>Spote Breeze, \u003cem>Cascade Viewing\u003c/em> (Hot Record Societe)\u003c/h2>\n\u003cp>Spote Breeze is one the best-kept secrets of the Bay Area’s hip-hop scene. He’s usually hiding behind glasses and a hoodie, and rarely does he promote himself. But his music for self-described introverts shows that the quiet ones, the people who sit back and observe, often have the wisest things to say. On \u003ci>Cascade Viewing\u003c/i>, airy jazz- and soul-inflected beats by OG Jarin crackle with the sound of a vintage record player. With this vibe of an intimate listening session, the production gives the Oakland MC space to explore his inner world, as if writing diary entries in the blank pages of a notebook.\u003c/p>\n\u003cp>Spote’s story-rich verses ruminate on hard life experiences, eventually pulling out kernels of wisdom about friendship, personal growth and spirituality. Like the title \u003ci>Cascade Viewing\u003c/i> suggests (it’s an almost-homonym for “casket viewing”), brushes with death haunt the album’s 13 tracks. But even amid grim reminders of our mortality, Spote builds a more hopeful future, and his intricate rhymes are the foundation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0BAcSuVdtXejNW6zQsIlJa?utm_source=generator\" width=\"100%\" height=\"80\" 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>Nate Curry and YMTK, \u003cem>By Design\u003c/em> (Self-Released)\u003c/h2>\n\u003cp>In February, Oakland’s YMTK and Sacramento’s Nate Curry dropped \u003cem>By Design\u003c/em>, a nine-track project that fuses modern R&B with touches of trip-hop, heavy basslines and a dash pop flare. It’s the definition of eclectic.\u003c/p>\n\u003cp>The album begins with a mellow title track, about the perseverance it takes to achieve your goals, and takes listeners through a journey of physical attraction, the pursuit of love and the process of healing from love lost.\u003c/p>\n\u003cp>The house-influenced “Miss That” is a feel-good song about a relationship ending — somewhat of a contradictory notion, but it works really well for the healing process. It’s followed by “Silence,” where Jay Anthony joins YMTK and Nate Curry on a beat with a blappin’, mobb music bassline. The album features Bay Area standouts Guap, P-Lo and Symba — and a rare verse from Lil B — as well as Los Angeles’ Iman Europe and Phabo.\u003c/p>\n\u003cp>The sonic diversity in this album is a nod to the talent of Nate Curry and YMTK, who’ve figured out ways to work with a wide range of artists from the region. When Northern Californian artists join to create quality work, it does wonders for all of us. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3Z9uDO0cSfAgKDhwHHh2mQ?utm_source=generator\" width=\"100%\" height=\"80\" 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>Calvin Keys, \u003cem>Blue Keys\u003c/em> (Wide Hive Records)\u003c/h2>\n\u003cp>On the cusp of his 80th birthday, Calvin Keys sounds as lean and potent as ever. The Oakland guitarist has been at the center of the Bay Area jazz since the mid-1970s, and his new album \u003cem>Blue Keys\u003c/em> finds him keeping company with a bevy of similarly distinguished masters, including former Bay Area-based percussionist Babatunde Lea, bassist Henry “The Skipper” Franklin, alto saxophonist Gary Bartz and trombonist Steve Turre (who also contributes on conch shells). As with many releases on Berkeley’s Wide Hive Records, label owner Gregory Howe is in the thick of the action as a pianist, organist, composer and overall sound designer. Rather than a late-career valedictory statement, Keys’ fourth release on Wide Hive is the work of an artist who still sounds hungry to extend his creative purview.\u003c/p>\n\u003cp>Keys is best known for his understated eloquence in straight-ahead jazz settings, placing each note for maximum rhythmic and emotional impact. Blue Keys surrounds him with thickly textured horns, kicking off with “Peregrines Dive.” Laced with the woozily surging opening refrain from Horace Silver’s hard-bop classic “Nutville,” the tune gains momentum and heft until the horns give way, and Keys resets the stage with a sharply etched, telegraphic solo. Turre’s gorgeous conch solo on “Ck 22” provides a striking tonal contrast to Keys’ stinging phrasing while the second half “At Arrival” opens up into a delicate Keys and Bartz duet that’s worth the price of admission alone. Smart, soulful and pleasingly concise, Keys is an improviser in his prime. \u003cem>— Andrew Gilbert\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=1280115653/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>Richie Cunning, \u003cem>Big Deal\u003c/em> (Son of the City)\u003c/h2>\n\u003cp>Rappers often shout out Frank Sinatra for his style, his underworld ties and his attitude. But let’s face it: musically, the two are worlds apart. Pop-vocal easy listening from the 1950s mixed with today’s hip-hop? The idea sounds preposterous.\u003c/p>\n\u003cp>Enter San Francisco rapper Richie Cunning and his latest album, \u003cem>Big Deal\u003c/em>, filled with lush strings, muted trumpet, walking bass and tinkling piano. While Cunning raps with smooth ease, the voices of Sammy Davis Jr. and Bobby Darin weave in and out, and the whole thing is structured and paced to resemble a boom-bap microphone fiend time-traveling to a midnight set at an Eisenhower-era supper club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> began in 1993 as a one-night indie rock show at The Kennel Club (now The Independent). In the 30 years since, it’s grown into a multi-day festival, encompassing so many different genres and venues in San Francisco, Oakland, Berkeley and even Sacramento. But even though big-name artists like Azealia Banks, Wilco’s Jeff Tweedy and Ty Dolla Sign have graced its stages, Noise Pop still maintains its intimate feel. Rather than dropping music fans in the middle of an empty field, the festival invites fans to adventure about the Bay Area live music scene, discovering local acts at small clubs and witnessing storied reunions and cult pop stars at bigger venues.\u003c/p>\n\u003cp>With Noise Pop’s 30th anniversary festival approaching Feb. 20-26, 2023, organizers announced the first phase of its lineup. Veteran indie rockers \u003ca href=\"https://yolatengo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yo La Tengo\u003c/a> are slated to headline, joined by synth-goth duo \u003ca href=\"https://boyharsher.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Boy Harsher\u003c/a>, political punk \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Mould\u003c/a> and Jersey club producer \u003ca href=\"https://soundcloud.com/uniiqu3\" target=\"_blank\" rel=\"noopener noreferrer\">UNIIQU3\u003c/a>. The rest of the 100-act lineup will be announced in the coming months.\u003c/p>\n\u003cp>\u003cstrong>Lineup: \u003c/strong>\u003c/p>\n\u003cp>Yo La Tengo\u003cbr>\nBoy Harsher\u003cbr>\nDuster\u003cbr>\nSTRFKR\u003cbr>\nFIDLAR\u003cbr>\nBob Mould (solo electric set)\u003cbr>\nCovet\u003cbr>\nTourist\u003cbr>\nUNIIQU3\u003cbr>\nChippy Nonstop\u003cbr>\nChristian Kuria\u003cbr>\nMareux\u003cbr>\nNo Vacation\u003cbr>\nChisel\u003cbr>\nChloé Robinson b2b DJ ADHD\u003cbr>\nWhite Reaper\u003cbr>\nFake Fruit\u003cbr>\nRozzi\u003cbr>\nCurtis Waters\u003cbr>\nFlasher\u003cbr>\nThe Messthetics\u003cbr>\nKristine Leschper (fka Mothers)\u003cbr>\nSobs\u003cbr>\nNGHTCRWLR\u003cbr>\nJDM Global\u003cbr>\nJames Brandon Lewis\u003cbr>\nNate Mercereau\u003cbr>\nSatya\u003cbr>\nMalia\u003cbr>\nEveryone Asked About You\u003cbr>\nMesmé\u003cbr>\nNarrow Head\u003cbr>\nLiily\u003cbr>\n20 Minute Loop\u003cbr>\nDash George\u003cbr>\nSoft Blue Shimmer\u003cbr>\nWabie\u003cbr>\nDas Kope\u003cbr>\nTaipei Houston\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> began in 1993 as a one-night indie rock show at The Kennel Club (now The Independent). In the 30 years since, it’s grown into a multi-day festival, encompassing so many different genres and venues in San Francisco, Oakland, Berkeley and even Sacramento. But even though big-name artists like Azealia Banks, Wilco’s Jeff Tweedy and Ty Dolla Sign have graced its stages, Noise Pop still maintains its intimate feel. Rather than dropping music fans in the middle of an empty field, the festival invites fans to adventure about the Bay Area live music scene, discovering local acts at small clubs and witnessing storied reunions and cult pop stars at bigger venues.\u003c/p>\n\u003cp>With Noise Pop’s 30th anniversary festival approaching Feb. 20-26, 2023, organizers announced the first phase of its lineup. Veteran indie rockers \u003ca href=\"https://yolatengo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yo La Tengo\u003c/a> are slated to headline, joined by synth-goth duo \u003ca href=\"https://boyharsher.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Boy Harsher\u003c/a>, political punk \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Mould\u003c/a> and Jersey club producer \u003ca href=\"https://soundcloud.com/uniiqu3\" target=\"_blank\" rel=\"noopener noreferrer\">UNIIQU3\u003c/a>. The rest of the 100-act lineup will be announced in the coming months.\u003c/p>\n\u003cp>\u003cstrong>Lineup: \u003c/strong>\u003c/p>\n\u003cp>Yo La Tengo\u003cbr>\nBoy Harsher\u003cbr>\nDuster\u003cbr>\nSTRFKR\u003cbr>\nFIDLAR\u003cbr>\nBob Mould (solo electric set)\u003cbr>\nCovet\u003cbr>\nTourist\u003cbr>\nUNIIQU3\u003cbr>\nChippy Nonstop\u003cbr>\nChristian Kuria\u003cbr>\nMareux\u003cbr>\nNo Vacation\u003cbr>\nChisel\u003cbr>\nChloé Robinson b2b DJ ADHD\u003cbr>\nWhite Reaper\u003cbr>\nFake Fruit\u003cbr>\nRozzi\u003cbr>\nCurtis Waters\u003cbr>\nFlasher\u003cbr>\nThe Messthetics\u003cbr>\nKristine Leschper (fka Mothers)\u003cbr>\nSobs\u003cbr>\nNGHTCRWLR\u003cbr>\nJDM Global\u003cbr>\nJames Brandon Lewis\u003cbr>\nNate Mercereau\u003cbr>\nSatya\u003cbr>\nMalia\u003cbr>\nEveryone Asked About You\u003cbr>\nMesmé\u003cbr>\nNarrow Head\u003cbr>\nLiily\u003cbr>\n20 Minute Loop\u003cbr>\nDash George\u003cbr>\nSoft Blue Shimmer\u003cbr>\nWabie\u003cbr>\nDas Kope\u003cbr>\nTaipei Houston\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Songs that straight-up tell you they’re about America are tricky. They can veer so easily into grandstanding or cliché. The ones that don’t — the songs that say something \u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\" target=\"_blank\" rel=\"noopener noreferrer\">real and honest\u003c/a> about the United States — are often sad and conflicted. Then we as listeners \u003ca href=\"https://www.youtube.com/watch?v=EPhWR4d3FJQ\">overlook those darker aspects\u003c/a> in our collective memory in order to make said songs more easily enjoyable at 4th of July barbecues. This irony isn’t new.\u003c/p>\n\u003cp>What’s fresh about \u003ca href=\"https://www.kqed.org/news/11638481/rainbow-girls-turn-up-their-political-message-by-turning-off-their-amps\">Rainbow Girls\u003c/a>’ “American Dream” is how poignantly the North Bay trio captures the changing shape of this country’s broken promises — without soapboxing. This song knocks the wind out of me. Vulnerability, stubborn hope and deep, overwhelming grief all leak through the spaces between the words and the harmonies and the fingerpicked guitar.[aside label= postID=\"news_11638481\"]\u003c/p>\n\u003cp>The band wrote “American Dream” \u003ca href=\"https://www.popmatters.com/rainbow-girls-american-dream-2507655759.html\">five years ago\u003c/a>; it’s the title track from an album they released November 8, 2017. When I first heard it — a year after the election that, fittingly, knocked the wind out of so many of us — it made me cry. It tapped so perfectly into that feeling of being \u003cem>robbed\u003c/em>.\u003c/p>\n\u003cp>But of course I had also spent much of 2017 feeling stupid, and privileged, for thinking anything had ever been guaranteed. To those of us who graduated high school around 9/11 (kicking off decades of war) and entered the job market during a historic recession (all while basic costs of living continued to skyrocket), adult life had been one instance after another of the bottom dropping out. Why should we expect anything different?\u003c/p>\n\u003cp>Five years later, now with a live version and warm, intimate video recorded at the band’s Bodega home, this song still makes me cry — for all the same reasons and also some new ones.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>It’s nice to have a plan for growing old\u003cbr>\nUnfathomable luxury, a plan for growing old\u003cbr>\nIt hits you all at once, then you wish that you’d been told\u003cbr>\nBut circumstances change and then you’re kicked out in the cold\u003cbr>\nBut everyone’s worth something and it’s not their weight in gold\u003c/em>\u003c/p>\n\u003cp>A lot of people have downsized their dreams over the last few years. Forget a white picket fence and 2.5 children; try staying sober one more day, keeping your loved ones healthy or affording that next grocery run. In 2022, so many of us are trying to stay afloat on an increasingly flimsy life raft of sure things: Will it be safe to have a family holiday party next month? Will I be able to afford health care when I’m 65? Will it not matter, because the entirety of California will be on fire or under the sea or somehow both?\u003c/p>\n\u003cp>“American Dream” is a sad and conflicted song, to be sure. But it also now plays, to me, as quietly triumphant. Because against a backdrop of economic desperation and uncertainty, it becomes fundamentally beautiful to \u003cem>have\u003c/em> dreams — to not only admit to them, but to nurture and share them.\u003c/p>\n\u003cp>The institutions have failed us. Home ownership is increasingly out of reach. This song reminds me that how we treat one another, and the small ways we bear witness to each others’ humanity and desire and grief — finding ways to say \u003cem>yes, you were here, your hopes meant something, you mean something\u003c/em> — all of that is still very much up to us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rqV852TP8gA\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Songs that straight-up tell you they’re about America are tricky. They can veer so easily into grandstanding or cliché. The ones that don’t — the songs that say something \u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\" target=\"_blank\" rel=\"noopener noreferrer\">real and honest\u003c/a> about the United States — are often sad and conflicted. Then we as listeners \u003ca href=\"https://www.youtube.com/watch?v=EPhWR4d3FJQ\">overlook those darker aspects\u003c/a> in our collective memory in order to make said songs more easily enjoyable at 4th of July barbecues. This irony isn’t new.\u003c/p>\n\u003cp>What’s fresh about \u003ca href=\"https://www.kqed.org/news/11638481/rainbow-girls-turn-up-their-political-message-by-turning-off-their-amps\">Rainbow Girls\u003c/a>’ “American Dream” is how poignantly the North Bay trio captures the changing shape of this country’s broken promises — without soapboxing. This song knocks the wind out of me. Vulnerability, stubborn hope and deep, overwhelming grief all leak through the spaces between the words and the harmonies and the fingerpicked guitar.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The band wrote “American Dream” \u003ca href=\"https://www.popmatters.com/rainbow-girls-american-dream-2507655759.html\">five years ago\u003c/a>; it’s the title track from an album they released November 8, 2017. When I first heard it — a year after the election that, fittingly, knocked the wind out of so many of us — it made me cry. It tapped so perfectly into that feeling of being \u003cem>robbed\u003c/em>.\u003c/p>\n\u003cp>But of course I had also spent much of 2017 feeling stupid, and privileged, for thinking anything had ever been guaranteed. To those of us who graduated high school around 9/11 (kicking off decades of war) and entered the job market during a historic recession (all while basic costs of living continued to skyrocket), adult life had been one instance after another of the bottom dropping out. Why should we expect anything different?\u003c/p>\n\u003cp>Five years later, now with a live version and warm, intimate video recorded at the band’s Bodega home, this song still makes me cry — for all the same reasons and also some new ones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>It’s nice to have a plan for growing old\u003cbr>\nUnfathomable luxury, a plan for growing old\u003cbr>\nIt hits you all at once, then you wish that you’d been told\u003cbr>\nBut circumstances change and then you’re kicked out in the cold\u003cbr>\nBut everyone’s worth something and it’s not their weight in gold\u003c/em>\u003c/p>\n\u003cp>A lot of people have downsized their dreams over the last few years. Forget a white picket fence and 2.5 children; try staying sober one more day, keeping your loved ones healthy or affording that next grocery run. In 2022, so many of us are trying to stay afloat on an increasingly flimsy life raft of sure things: Will it be safe to have a family holiday party next month? Will I be able to afford health care when I’m 65? Will it not matter, because the entirety of California will be on fire or under the sea or somehow both?\u003c/p>\n\u003cp>“American Dream” is a sad and conflicted song, to be sure. But it also now plays, to me, as quietly triumphant. Because against a backdrop of economic desperation and uncertainty, it becomes fundamentally beautiful to \u003cem>have\u003c/em> dreams — to not only admit to them, but to nurture and share them.\u003c/p>\n\u003cp>The institutions have failed us. Home ownership is increasingly out of reach. This song reminds me that how we treat one another, and the small ways we bear witness to each others’ humanity and desire and grief — finding ways to say \u003cem>yes, you were here, your hopes meant something, you mean something\u003c/em> — all of that is still very much up to us.\u003c/p>\n\u003cp>\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/rqV852TP8gA'\n title='//www.youtube.com/embed/rqV852TP8gA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Shannon and the Clams to Headline Oakland's Halloween Meltdown",
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"content": "\u003cp>Hot on the heels of the rock ‘n’ roll triumph that was \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\" target=\"_blank\" rel=\"noopener noreferrer\">Mosswood Meltdown\u003c/a>, promoter Total Trash Productions has announced details for this October’s Halloween Meltdown, set for Oct. 8 and 9 in Mosswood Park. Once again, female artists are set to rule the day with Amyl and the Sniffers and Shannon and the Clams headlining. (Shannon Shaw appears to be going for some kind of record: She also played both days of the Mosswood Meltdown, performing a solo set on Saturday and as part of Hunx and His Punx on Sunday.) John Waters will host, as usual.\u003c/p>\n\u003cp>The Halloween Meltdown will be Amyl & the Sniffers’ first appearance back in the Bay since the Aussie quartet’s sold-out dates at the Great American Music Hall in early May. Legendarily mulletted frontwoman Amy Taylor promises to bring Saturday night to a frenzied and frenetic close.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z–D1flPLnk\u003c/p>\n\u003cp>The Melbourne punks have some hard acts to follow, going on after garage-punk greasers \u003ca href=\"https://www.youtube.com/watch?v=CN42I3oViX8&t=25s\" target=\"_blank\" rel=\"noopener noreferrer\">The Spits\u003c/a> and experimental icon \u003ca href=\"https://www.lydia-lunch.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lydia Lunch\u003c/a>. Opening the day are \u003ca href=\"https://bodydoubleusa.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Body Double\u003c/a>, \u003ca href=\"https://www.instagram.com/kidcongopowers/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kid Congo Powers\u003c/a> and \u003ca href=\"https://pleasekillme.com/demolition-doll-rods/\" target=\"_blank\" rel=\"noopener noreferrer\">Demolition Doll Rods\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YvTTVOYWB44\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Sunday, before Shannon & the Clams croon the weekend to a close, Ty Segall’s ’70s-inspired \u003ca href=\"https://intheredrecords.com/collections/fuzz\" target=\"_blank\" rel=\"noopener noreferrer\">Fuzz\u003c/a> will bring the heavy riffs, \u003ca href=\"https://www.sheer-mag.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sheer Mag\u003c/a> will provide the emotional anthems and \u003ca href=\"https://www.instagram.com/niis.losangeles/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">NIIS\u003c/a> will be offering unfiltered rage. Best of all, \u003ca href=\"https://josiecotton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Josie Cotton\u003c/a> will make an appearance. In case you can’t quite remember where you’ve heard the name before, try a viewing of the 1983 classic \u003cem>Valley Girl\u003c/em>, including the number featured below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E3gzRg-8qD8\u003c/p>\n\u003cp>Those in need of some jump scares not provided by the music on offer will be pleased to hear there will also be a haunted house on site at the festival, as well as a costume contest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Halloween Meltdown will take place at Oakland’s Mosswood Park on Oct. 8 and 9, 2022. \u003ca href=\"https://wl.seetickets.us/event/Halloween-Meltdown-2022-Hosted-by-John-Waters/493038?afflky=MosswoodMeltdown\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hot on the heels of the rock ‘n’ roll triumph that was \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\" target=\"_blank\" rel=\"noopener noreferrer\">Mosswood Meltdown\u003c/a>, promoter Total Trash Productions has announced details for this October’s Halloween Meltdown, set for Oct. 8 and 9 in Mosswood Park. Once again, female artists are set to rule the day with Amyl and the Sniffers and Shannon and the Clams headlining. (Shannon Shaw appears to be going for some kind of record: She also played both days of the Mosswood Meltdown, performing a solo set on Saturday and as part of Hunx and His Punx on Sunday.) John Waters will host, as usual.\u003c/p>\n\u003cp>The Halloween Meltdown will be Amyl & the Sniffers’ first appearance back in the Bay since the Aussie quartet’s sold-out dates at the Great American Music Hall in early May. Legendarily mulletted frontwoman Amy Taylor promises to bring Saturday night to a frenzied and frenetic close.\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/Z'\n title='//www.youtube.com/embed/Z'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Melbourne punks have some hard acts to follow, going on after garage-punk greasers \u003ca href=\"https://www.youtube.com/watch?v=CN42I3oViX8&t=25s\" target=\"_blank\" rel=\"noopener noreferrer\">The Spits\u003c/a> and experimental icon \u003ca href=\"https://www.lydia-lunch.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Lydia Lunch\u003c/a>. Opening the day are \u003ca href=\"https://bodydoubleusa.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Body Double\u003c/a>, \u003ca href=\"https://www.instagram.com/kidcongopowers/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kid Congo Powers\u003c/a> and \u003ca href=\"https://pleasekillme.com/demolition-doll-rods/\" target=\"_blank\" rel=\"noopener noreferrer\">Demolition Doll Rods\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YvTTVOYWB44'\n title='//www.youtube.com/embed/YvTTVOYWB44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Sunday, before Shannon & the Clams croon the weekend to a close, Ty Segall’s ’70s-inspired \u003ca href=\"https://intheredrecords.com/collections/fuzz\" target=\"_blank\" rel=\"noopener noreferrer\">Fuzz\u003c/a> will bring the heavy riffs, \u003ca href=\"https://www.sheer-mag.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sheer Mag\u003c/a> will provide the emotional anthems and \u003ca href=\"https://www.instagram.com/niis.losangeles/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">NIIS\u003c/a> will be offering unfiltered rage. Best of all, \u003ca href=\"https://josiecotton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Josie Cotton\u003c/a> will make an appearance. In case you can’t quite remember where you’ve heard the name before, try a viewing of the 1983 classic \u003cem>Valley Girl\u003c/em>, including the number featured below.\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/E3gzRg-8qD8'\n title='//www.youtube.com/embed/E3gzRg-8qD8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those in need of some jump scares not provided by the music on offer will be pleased to hear there will also be a haunted house on site at the festival, as well as a costume contest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Halloween Meltdown will take place at Oakland’s Mosswood Park on Oct. 8 and 9, 2022. \u003ca href=\"https://wl.seetickets.us/event/Halloween-Meltdown-2022-Hosted-by-John-Waters/493038?afflky=MosswoodMeltdown\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bikini Kill, Kim Gordon Unleash Feminist Punk Rage at Mosswood Meltdown",
"headTitle": "Bikini Kill, Kim Gordon Unleash Feminist Punk Rage at Mosswood Meltdown | KQED",
"content": "\u003cp>Baby punks with colorful mullets, gray-haired scene veterans and hundreds of others in between descended on Oakland’s Mosswood Park on July 2 and 3 for \u003ca href=\"https://mosswoodmeltdown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mosswood Meltdown\u003c/a>. The foggy holiday weekend marked the rock festival’s reemergence after the pandemic—and after \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\" target=\"_blank\" rel=\"noopener noreferrer\">scandal shook the community surrounding the event\u003c/a>, formerly known as Burger Boogaloo.\u003c/p>\n\u003cp>In 2020, two prominent musicians and an anonymous Instagram account accused various Burger Records musicians of multiple forms of sexual abuse, including grooming teenage fans. Burger Boogaloo changed its name to Mosswood Meltdown, and festival organizers \u003ca href=\"https://www.instagram.com/p/CC60JzVhctt/?utm_source=ig_web_copy_link&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">cut ties with the Southern California label\u003c/a>, which they said never profited from the event. Host John Waters stuck by festival organizers Marc Ribak and Amy Carver of Total Trash Productions, as did many bands.\u003c/p>\n\u003cfigure id=\"attachment_13915745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915745\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters introduces Shannon Shaw at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with rebranding, Mosswood Meltdown curated a lineup prominently featuring women and LGBTQ+ bands, including riot grrrl originators Bikini Kill, rock icon Kim Gordon, ’90s punks Pansy Division and teen prodigies The Linda Lindas. While at times it felt like the Burger Records scandal loomed over the celebration (“Congrats on the hard pivot,” singer Shannon Shaw said from the stage on Saturday), the new approach brought out a crowd with many women, queer and trans people, who moshed in the front of the stages, shared cigarettes with friends, bought vinyl and generally had a blast.\u003c/p>\n\u003cp>Here’s how it all went down.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13915763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915763\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw performs at Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shannon Shaw plays country-punk with heart\u003c/h2>\n\u003cp>Shannon and the Clams frontwoman Shannon Shaw had the audience hanging on her every word, singing even more powerfully and soulfully live than on her solo album, \u003ci>Shannon in Nashville\u003c/i>. On Saturday, Shaw went maximalist. Joining her on stage was a seven-piece band: two guitarists (acoustic and electric), an electric violinist, a synth player doubling as a trumpeter, auxiliary percussion, a drummer and Shaw herself on bass, plus three backup singers called the Donettes who wore messy beehives and pink sequins. The instrumental excellence on stage made Shaw’s gritty mix of classic country, garage rock and doo-wop even more invigorating as she sang about broken love and freedom.\u003c/p>\n\u003cfigure id=\"attachment_13915764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw performs at Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set also attested to Shaw’s kind heart: about halfway through the set, fans called for medical attention for someone in the crowd. Shaw asked for a medic from the mic, waited until someone was on the way before playing her next song, and then dedicated it to the person who needed help.\u003ci>—N.V.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915769\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Gordon headlines Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kim Gordon gets experimental\u003c/h2>\n\u003cp>Fans packed the stage at sunset on Saturday for an artist who’s had a profound influence on alternative rock for decades: Kim Gordon, the Sonic Youth co-founder who remains a cultural influence on music, visual art and fashion. A hypnotic, electronic drone was Gordon’s cue, and she took the stage with a three-piece band of young musicians with a rambunctious stage presence and big, distorted punk and shoegaze sound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While playing guitar, Gordon approached her effect pedals like a scientist, tinkering with knobs to get the precise level of distortion to deploy at the perfect moment. She switched instruments multiple times, and even John Waters—who praised her heartily in his intro as the “Joan Didion of indie rock”—at one point stepped in as an honorary roadie, handing her a new guitar from the side of the stage.\u003c/p>\n\u003cp>Gordon got weird: she slapped her guitars and even rubbed one on the inflatable set decorations while climbing the speakers; her bandmate at one point played slide guitar using a screwdriver. Throughout the set, they fine-tuned and built upon the sound through improvisation. In her signature deadpan delivery, Gordon sang her new solo material, which commented on modern feminism and capitalism and incorporated elements of spoken word.\u003c/p>\n\u003cfigure id=\"attachment_13915750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Gordon headlines Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe the packed crowd was too hypnotized to cheer loudly, but they were clearly enthralled. At one point, Gordon commented that it was quiet in the audience. But the energy shifted when someone jumped off the barricade to crowd surf—then another, then another. The singer and her band began to rock even harder. And, coincidentally, since it’s Fourth of July weekend in Oakland, fireworks went off behind Gordon just as she sang one of her last songs, bringing the night to a perfect close.\u003ci>—N.V.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Gordon headlines Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Podium perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Podium starts a mosh pit\u003c/h2>\n\u003cp>For a large number of people attending the Meltdown on Sunday, it was hard to focus on much beyond the prospect of finally seeing Bikini Kill—a band that hasn’t played the Bay Area since 1995. For those who arrived early, however, there were ample rewards. First and foremost, Podium.\u003c/p>\n\u003cp>The Spanish quartet jolted the festival awake at 2pm with driving punk rock that announced itself with thunderous guitars. They piqued the crowd’s interest with kinetic aggression and an aerobic on-stage presence, then broke down the audience’s early-afternoon reservations with an on-field dance party. Dazzling vocalist África Mansaray gave up on the stage and submerged herself in the pit for three tracks straight, prompting toothy smiles and appreciative moshing from the early birds in attendance. Mansaray’s energy and palpable joy infected everyone within 50 feet and the band left triumphant—and, frankly, almost impossible to follow.\u003ci>—Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Podium perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Thyrone (left) joins a mosh pit as Podium perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pansy Division at the Mosswood Meltdown VIP section in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pansy Division makes a political statement\u003c/h2>\n\u003cp>Pansy Division managed to kick up an impressive (and literal) dust storm later in the afternoon, with a series of queer anthems that ran the gamut between dirty love songs and political indignance. Bassist/vocalist Chris Freeman had the best time sprinting between the two, one moment raising smiles with “Dick of Death” and “James Bondage,” and the next donning Supreme Court robes to flip off photos of homophobic politicians, backed by the decievingly dulcet tones of “Blame the Bible.” Despite a warm-hearted, feel-good set, the San Francisco quartet was clear about its motivations, even after 30 years in the game. “Our existence is a political act,” vocalist/guitarist Jon Ginoli noted, and it was impossible not to feel a rush of gratitude for the band’s years of service.\u003ci>—R.A.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pansy Division perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pansy Division perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Linda Lindas perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Linda Lindas showcase their evolution\u003c/h2>\n\u003cp>It’s only fitting that The Linda Lindas were left with the task of warming up the crowd before the headliners arrived—the teen band first got national attention at Bikini Kill’s first reunion shows in L.A. in 2019. But oh, what a difference three years makes. Where the band’s 2019 opening set was made up of covers and performed in an adorably unassuming manner, the Linda Lindas on stage at Mosswood were an altogether fiercer beast.\u003c/p>\n\u003cfigure id=\"attachment_13915777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915777\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Linda Lindas perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Linda Lindas at Mosswood Park in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This time, the quartet came armed with newfound confidence, an impressive debut album (\u003ci>Growing Up\u003c/i>) and one rage-fuelled viral song. (“\u003ca href=\"https://www.kqed.org/arts/13897650/teen-rockers-the-linda-lindas-racist-sexist-boys-is-the-anthem-we-needed\" target=\"_blank\" rel=\"noopener noreferrer\">Racist Sexist Boy\u003c/a>” is an altogether angrier prospect live and in person.) And these young women performed like consummate professionals despite still being aged between 11 and 17. Sunday evening, “Talking to Myself” legitimately sounded like the Ramones and Blondie combined forces and birthed four gifted children. If it wasn’t for the band’s unsullied between-song banter (“Does anyone have any pets?”, “Is it anyone’s first show?”) you’d never know that the oldest member of the Linda Lindas wasn’t even born until seven years after Bikini Kill broke up the first time.\u003ci>—R.A.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Linda Lindas at Mosswood Park in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bikini Kill channel their rage\u003c/h2>\n\u003cp>And then they finally arrived. Bikini Kill is not a band people have ever held casual views about. And after COVID-related delays and a glaring lack of other Bay Area dates, the pressure was on for Bikini Kill to fulfill thousands of teenage wishes that have been lingering for decades. If I’m honest, my expectations weren’t as high as they once were. I attended one of the band’s 2019 reunion shows and, while it was certainly a bucket list item fulfilled, I left the Los Angeles Palladium feeling slightly robbed. The set I watched that night was cleaner, slower and more precise than the Bikini Kill I grew up with. It lacked spontaneity. It lacked—well—grit.\u003c/p>\n\u003cp>Bikini Kill’s Mosswood performance wiped all of that from memory. Sunday night’s headlining set was exactly as urgent and guttural and passionate and sarcastic as the 1990s Bikini Kill the world has been craving since they broke up. Perhaps the other dates the band did recently loosened them up. Or perhaps the rage of watching American women get robbed of their bodily autonomy a week and a half ago finally just tipped these fervent feminists over the edge and back into the vat of righteous anger they emerged from in the first place.\u003c/p>\n\u003cfigure id=\"attachment_13915731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Frontwoman Kathleen Hanna noted that Sunday’s set was like “partying at the end of the world.” And perhaps that’s true. But if the world is indeed ending, I can think of no greater—or more inspiring—soundtrack than the one Bikini Kill left us with on Sunday night. The encore consisted of “Double Dare Ya” and “Rebel Girl”—a coupling that was undoubtedly not an accident.\u003ci>—R.A.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915727\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bleached performs at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bleached performs at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915734\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell performs at Mosswood Park in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell performs at Mosswood Park in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915737\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees start a mosh pit as Pansy Division perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters introduces Pansy Division at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pansy Division perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul and Isadora Karjian (center) watch The Linda Lindas perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915772\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dirtbombs perform at Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dirtbombs perform at Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roary Racket (left) and Heather Hellskiss watch Shannon Shaw perform at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw greets fans at the Mosswood Meltdown merch booth on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Podium perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie Barbee (left) and Grace Sykes at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915746\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kepi Ghoulie (left) and friends at Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915743\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hunx and His Punx perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915742\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hunx and His Punx perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hunx and His Punx perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915740\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hunx and His Punx perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Front row as The Linda Lindas perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The Oakland festival felt like “partying at the end of the world,” Kathleen Hanna said on stage.",
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"title": "Bikini Kill, Kim Gordon Unleash Feminist Punk Rage at Mosswood Meltdown | KQED",
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"headline": "Bikini Kill, Kim Gordon Unleash Feminist Punk Rage at Mosswood Meltdown",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Baby punks with colorful mullets, gray-haired scene veterans and hundreds of others in between descended on Oakland’s Mosswood Park on July 2 and 3 for \u003ca href=\"https://mosswoodmeltdown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mosswood Meltdown\u003c/a>. The foggy holiday weekend marked the rock festival’s reemergence after the pandemic—and after \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\" target=\"_blank\" rel=\"noopener noreferrer\">scandal shook the community surrounding the event\u003c/a>, formerly known as Burger Boogaloo.\u003c/p>\n\u003cp>In 2020, two prominent musicians and an anonymous Instagram account accused various Burger Records musicians of multiple forms of sexual abuse, including grooming teenage fans. Burger Boogaloo changed its name to Mosswood Meltdown, and festival organizers \u003ca href=\"https://www.instagram.com/p/CC60JzVhctt/?utm_source=ig_web_copy_link&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">cut ties with the Southern California label\u003c/a>, which they said never profited from the event. Host John Waters stuck by festival organizers Marc Ribak and Amy Carver of Total Trash Productions, as did many bands.\u003c/p>\n\u003cfigure id=\"attachment_13915745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915745\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Shannon-Shaw-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-01006.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters introduces Shannon Shaw at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with rebranding, Mosswood Meltdown curated a lineup prominently featuring women and LGBTQ+ bands, including riot grrrl originators Bikini Kill, rock icon Kim Gordon, ’90s punks Pansy Division and teen prodigies The Linda Lindas. While at times it felt like the Burger Records scandal loomed over the celebration (“Congrats on the hard pivot,” singer Shannon Shaw said from the stage on Saturday), the new approach brought out a crowd with many women, queer and trans people, who moshed in the front of the stages, shared cigarettes with friends, bought vinyl and generally had a blast.\u003c/p>\n\u003cp>Here’s how it all went down.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13915763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915763\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw performs at Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shannon Shaw plays country-punk with heart\u003c/h2>\n\u003cp>Shannon and the Clams frontwoman Shannon Shaw had the audience hanging on her every word, singing even more powerfully and soulfully live than on her solo album, \u003ci>Shannon in Nashville\u003c/i>. On Saturday, Shaw went maximalist. Joining her on stage was a seven-piece band: two guitarists (acoustic and electric), an electric violinist, a synth player doubling as a trumpeter, auxiliary percussion, a drummer and Shaw herself on bass, plus three backup singers called the Donettes who wore messy beehives and pink sequins. The instrumental excellence on stage made Shaw’s gritty mix of classic country, garage rock and doo-wop even more invigorating as she sang about broken love and freedom.\u003c/p>\n\u003cfigure id=\"attachment_13915764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-performs-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw performs at Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set also attested to Shaw’s kind heart: about halfway through the set, fans called for medical attention for someone in the crowd. Shaw asked for a medic from the mic, waited until someone was on the way before playing her next song, and then dedicated it to the person who needed help.\u003ci>—N.V.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915769\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Gordon headlines Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kim Gordon gets experimental\u003c/h2>\n\u003cp>Fans packed the stage at sunset on Saturday for an artist who’s had a profound influence on alternative rock for decades: Kim Gordon, the Sonic Youth co-founder who remains a cultural influence on music, visual art and fashion. A hypnotic, electronic drone was Gordon’s cue, and she took the stage with a three-piece band of young musicians with a rambunctious stage presence and big, distorted punk and shoegaze sound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While playing guitar, Gordon approached her effect pedals like a scientist, tinkering with knobs to get the precise level of distortion to deploy at the perfect moment. She switched instruments multiple times, and even John Waters—who praised her heartily in his intro as the “Joan Didion of indie rock”—at one point stepped in as an honorary roadie, handing her a new guitar from the side of the stage.\u003c/p>\n\u003cp>Gordon got weird: she slapped her guitars and even rubbed one on the inflatable set decorations while climbing the speakers; her bandmate at one point played slide guitar using a screwdriver. Throughout the set, they fine-tuned and built upon the sound through improvisation. In her signature deadpan delivery, Gordon sang her new solo material, which commented on modern feminism and capitalism and incorporated elements of spoken word.\u003c/p>\n\u003cfigure id=\"attachment_13915750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Gordon headlines Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe the packed crowd was too hypnotized to cheer loudly, but they were clearly enthralled. At one point, Gordon commented that it was quiet in the audience. But the energy shifted when someone jumped off the barricade to crowd surf—then another, then another. The singer and her band began to rock even harder. And, coincidentally, since it’s Fourth of July weekend in Oakland, fireworks went off behind Gordon just as she sang one of her last songs, bringing the night to a perfect close.\u003ci>—N.V.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kim-Gordon-headlines-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Gordon headlines Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Podium perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Podium starts a mosh pit\u003c/h2>\n\u003cp>For a large number of people attending the Meltdown on Sunday, it was hard to focus on much beyond the prospect of finally seeing Bikini Kill—a band that hasn’t played the Bay Area since 1995. For those who arrived early, however, there were ample rewards. First and foremost, Podium.\u003c/p>\n\u003cp>The Spanish quartet jolted the festival awake at 2pm with driving punk rock that announced itself with thunderous guitars. They piqued the crowd’s interest with kinetic aggression and an aerobic on-stage presence, then broke down the audience’s early-afternoon reservations with an on-field dance party. Dazzling vocalist África Mansaray gave up on the stage and submerged herself in the pit for three tracks straight, prompting toothy smiles and appreciative moshing from the early birds in attendance. Mansaray’s energy and palpable joy infected everyone within 50 feet and the band left triumphant—and, frankly, almost impossible to follow.\u003ci>—Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Podium perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Claudia-Thyrone-left-joins-a-mosh-pit-as-Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Thyrone (left) joins a mosh pit as Podium perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-at-the-Mosswood-Meltdown-VIP-section-in-Oakland-on-Sunday-July-3-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pansy Division at the Mosswood Meltdown VIP section in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pansy Division makes a political statement\u003c/h2>\n\u003cp>Pansy Division managed to kick up an impressive (and literal) dust storm later in the afternoon, with a series of queer anthems that ran the gamut between dirty love songs and political indignance. Bassist/vocalist Chris Freeman had the best time sprinting between the two, one moment raising smiles with “Dick of Death” and “James Bondage,” and the next donning Supreme Court robes to flip off photos of homophobic politicians, backed by the decievingly dulcet tones of “Blame the Bible.” Despite a warm-hearted, feel-good set, the San Francisco quartet was clear about its motivations, even after 30 years in the game. “Our existence is a political act,” vocalist/guitarist Jon Ginoli noted, and it was impossible not to feel a rush of gratitude for the band’s years of service.\u003ci>—R.A.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pansy Division perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915754\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pansy Division perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-03-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Linda Lindas perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Linda Lindas showcase their evolution\u003c/h2>\n\u003cp>It’s only fitting that The Linda Lindas were left with the task of warming up the crowd before the headliners arrived—the teen band first got national attention at Bikini Kill’s first reunion shows in L.A. in 2019. But oh, what a difference three years makes. Where the band’s 2019 opening set was made up of covers and performed in an adorably unassuming manner, the Linda Lindas on stage at Mosswood were an altogether fiercer beast.\u003c/p>\n\u003cfigure id=\"attachment_13915777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915777\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022-02-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Linda Lindas perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Linda Lindas at Mosswood Park in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This time, the quartet came armed with newfound confidence, an impressive debut album (\u003ci>Growing Up\u003c/i>) and one rage-fuelled viral song. (“\u003ca href=\"https://www.kqed.org/arts/13897650/teen-rockers-the-linda-lindas-racist-sexist-boys-is-the-anthem-we-needed\" target=\"_blank\" rel=\"noopener noreferrer\">Racist Sexist Boy\u003c/a>” is an altogether angrier prospect live and in person.) And these young women performed like consummate professionals despite still being aged between 11 and 17. Sunday evening, “Talking to Myself” legitimately sounded like the Ramones and Blondie combined forces and birthed four gifted children. If it wasn’t for the band’s unsullied between-song banter (“Does anyone have any pets?”, “Is it anyone’s first show?”) you’d never know that the oldest member of the Linda Lindas wasn’t even born until seven years after Bikini Kill broke up the first time.\u003ci>—R.A.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Linda-Lindas-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Linda Lindas at Mosswood Park in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bikini Kill channel their rage\u003c/h2>\n\u003cp>And then they finally arrived. Bikini Kill is not a band people have ever held casual views about. And after COVID-related delays and a glaring lack of other Bay Area dates, the pressure was on for Bikini Kill to fulfill thousands of teenage wishes that have been lingering for decades. If I’m honest, my expectations weren’t as high as they once were. I attended one of the band’s 2019 reunion shows and, while it was certainly a bucket list item fulfilled, I left the Los Angeles Palladium feeling slightly robbed. The set I watched that night was cleaner, slower and more precise than the Bikini Kill I grew up with. It lacked spontaneity. It lacked—well—grit.\u003c/p>\n\u003cp>Bikini Kill’s Mosswood performance wiped all of that from memory. Sunday night’s headlining set was exactly as urgent and guttural and passionate and sarcastic as the 1990s Bikini Kill the world has been craving since they broke up. Perhaps the other dates the band did recently loosened them up. Or perhaps the rage of watching American women get robbed of their bodily autonomy a week and a half ago finally just tipped these fervent feminists over the edge and back into the vat of righteous anger they emerged from in the first place.\u003c/p>\n\u003cfigure id=\"attachment_13915731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frontwoman Kathleen Hanna noted that Sunday’s set was like “partying at the end of the world.” And perhaps that’s true. But if the world is indeed ending, I can think of no greater—or more inspiring—soundtrack than the one Bikini Kill left us with on Sunday night. The encore consisted of “Double Dare Ya” and “Rebel Girl”—a coupling that was undoubtedly not an accident.\u003ci>—R.A.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915727\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bleached performs at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bleached-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bleached performs at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915734\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell performs at Mosswood Park in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Brontez-Purnell-performs-at-Mosswood-Park-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell performs at Mosswood Park in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915737\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Festival-attendees-start-a-mosh-pit-as-Pansy-Division-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees start a mosh pit as Pansy Division perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/John-Waters-introduces-Pansy-Division-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters introduces Pansy Division at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Pansy-Division-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pansy Division perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Paul-and-Isadora-Karjian-center-watch-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-0A.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paul and Isadora Karjian (center) watch The Linda Lindas perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915772\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dirtbombs perform at Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-Dirtbombs-perform-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dirtbombs perform at Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-03.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/The-crowd-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Roary-Racket-left-and-Heather-Hellskiss-watch-Shannon-Shaw-perform-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roary Racket (left) and Heather Hellskiss watch Shannon Shaw perform at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Shannon-Shaw-greets-fans-at-the-Mosswood-Meltdown-merch-booth-on-Saturday-July-2-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw greets fans at the Mosswood Meltdown merch booth on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Podium-performs-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Podium perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Maddie-Barbee-left-and-Grace-Sykes-at-Mosswood-Meltdown-in-Oakland-on-Saturday-July-2-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie Barbee (left) and Grace Sykes at Mosswood Meltdown in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915746\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Kepi-Ghoulie-left-and-friends-at-Mosswood-Meltdown-at-Mosswood-Park-in-Oakland-on-Saturday-July-2-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kepi Ghoulie (left) and friends at Mosswood Meltdown at Mosswood Park in Oakland on Saturday, July 2, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915743\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hunx and His Punx perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915742\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hunx and His Punx perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hunx and His Punx perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915740\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Hunx-and-His-Punx-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hunx and His Punx perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13915739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Front-row-as-The-Linda-Lindas-perform-at-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Front row as The Linda Lindas perform at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Try the Pie’s ‘New Dust’ Contemplates Beauty In a Season of Loss",
"headTitle": "Try the Pie’s ‘New Dust’ Contemplates Beauty In a Season of Loss | KQED",
"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The last two years have been colored by loss and grief for so many—whether the literal loss of loved ones, or the profound reckoning the pandemic has forced on so many people’s careers, health, living spaces or social communities.\u003c/p>\n\u003cp>Bean Tupou, guitarist and vocalist of the Bay Area indie punk outfit \u003ca href=\"https://trythepie.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Try the Pie\u003c/a>, is no different. “I lost some family members and friends in 2020, so connecting with my family was a big part of my life during the pandemic,” says Tupou, who grew up in San Jose and moved to San Francisco in 2016. “Those losses took me a while to work through.”\u003c/p>\n\u003cp>“New Dust,” Try the Pie’s first new release since their excellent 2015 full-length \u003cem>Domestication\u003c/em>, approaches the topic with a deceptive sweetness. An uptempo, melodic grunge track with heavy guitars, harmonies and an earworm of a hook, it culminates in a cacophony of reverb before Tupou delivers the final refrain: “And it scares me to know that I’m like dust / and it scares me to know that I’m exactly what you want.” It all calls to mind the sweet-salty pull of ’90s indie titans like Juliana Hatfield or the Breeders.\u003c/p>\n\u003cp>“It’s based on fleeting thoughts someone might have specifically after a loved one dies,” says Tupou. “I think it’s more of a reflection of how beautiful it can be to be close to someone and how finite that is.”\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=2970449998/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>Recorded with \u003ca href=\"https://www.kqed.org/arts/13900577/interns-turned-engineers-take-the-reins-at-sfs-historic-different-fur-studios\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur’s Grace Coleman\u003c/a> at El Studio in San Francisco, the track shows off the new full-band sound after a few years as mostly a solo act: Bailey Lupo joined the band on bass in 2015, and second guitarist Laine Barriga joined in 2018; drummer Nick Lopez and Tupou are original members.\u003c/p>\n\u003cp>“New Dust” is also Try the Pie’s first release since signing to the Philadelphia-based, queer-run label \u003ca href=\"https://getbetterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Better Records\u003c/a>, a move that Tupou says has opened up new possibilities for the group, adding that they have plans to release more music within the year. So no, fans won’t have to wait until 2029 for the next record. [aside postid='arts_11884077']\u003c/p>\n\u003cp>“The last seven years, personally, were a huge period of both growth and change for me, and I was definitely focused on other aspects of my life (aside from music), and I honestly felt out of practice and out of touch in some ways,” says Tupou. “Signing with them has helped me get back on the horse.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The last two years have been colored by loss and grief for so many—whether the literal loss of loved ones, or the profound reckoning the pandemic has forced on so many people’s careers, health, living spaces or social communities.\u003c/p>\n\u003cp>Bean Tupou, guitarist and vocalist of the Bay Area indie punk outfit \u003ca href=\"https://trythepie.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Try the Pie\u003c/a>, is no different. “I lost some family members and friends in 2020, so connecting with my family was a big part of my life during the pandemic,” says Tupou, who grew up in San Jose and moved to San Francisco in 2016. “Those losses took me a while to work through.”\u003c/p>\n\u003cp>“New Dust,” Try the Pie’s first new release since their excellent 2015 full-length \u003cem>Domestication\u003c/em>, approaches the topic with a deceptive sweetness. An uptempo, melodic grunge track with heavy guitars, harmonies and an earworm of a hook, it culminates in a cacophony of reverb before Tupou delivers the final refrain: “And it scares me to know that I’m like dust / and it scares me to know that I’m exactly what you want.” It all calls to mind the sweet-salty pull of ’90s indie titans like Juliana Hatfield or the Breeders.\u003c/p>\n\u003cp>“It’s based on fleeting thoughts someone might have specifically after a loved one dies,” says Tupou. “I think it’s more of a reflection of how beautiful it can be to be close to someone and how finite that is.”\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=2970449998/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>Recorded with \u003ca href=\"https://www.kqed.org/arts/13900577/interns-turned-engineers-take-the-reins-at-sfs-historic-different-fur-studios\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur’s Grace Coleman\u003c/a> at El Studio in San Francisco, the track shows off the new full-band sound after a few years as mostly a solo act: Bailey Lupo joined the band on bass in 2015, and second guitarist Laine Barriga joined in 2018; drummer Nick Lopez and Tupou are original members.\u003c/p>\n\u003cp>“New Dust” is also Try the Pie’s first release since signing to the Philadelphia-based, queer-run label \u003ca href=\"https://getbetterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Better Records\u003c/a>, a move that Tupou says has opened up new possibilities for the group, adding that they have plans to release more music within the year. So no, fans won’t have to wait until 2029 for the next record. \u003c/p>\u003c/div>",
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"title": "On ‘Mahal,’ Toro y Moi Shows Love to the Bay Area and His Filipino Community",
"headTitle": "On ‘Mahal,’ Toro y Moi Shows Love to the Bay Area and His Filipino Community | KQED",
"content": "\u003cp>[dropcap]W[/dropcap]hat do you do when the internet no longer feels like a realm of play and possibility, but more like an exhausting, 24/7 fire hydrant of hype, depressing news and misinformation?\u003c/p>\n\u003cp>If you’re \u003ca href=\"https://toroymoi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro y Moi\u003c/a>, you log on to eBay, buy a Filipino Jeepney, load it up with your friends and cruise around the Bay Area, from North Oakland to the Golden Gate Bridge. For one, a customized, multicolored bus—brought to the islands by American soldiers during World War II and \u003ca href=\"https://www.caranddriver.com/news/a15344340/the-history-of-the-jeepney-the-philippines-mass-transit-solution/\" target=\"_blank\" rel=\"noopener noreferrer\">adapted into public transit\u003c/a>—makes eye-catching content for music videos.\u003c/p>\n\u003cp>But for Oakland singer-songwriter and producer Toro y Moi—real name Chaz Bear—the bus has also become a place to connect one-on-one with other artists, listeners and the local community at large.\u003c/p>\n\u003cp>Over the past couple of weeks, he’s been driving it to local businesses like \u003ca href=\"https://www.lowergrandradio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lower Grand Radio\u003c/a> and \u003ca href=\"https://www.fobkitchen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FOB Kitchen\u003c/a>, meeting fans and playing songs from his new album, \u003ci>Mahal\u003c/i> (out April 29 via \u003ca href=\"https://deadoceans.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dead Oceans\u003c/a>), an oozing psych-rock project that pays homage to his Filipino roots and diasporic fanbase.\u003c/p>\n\u003cp>https://youtu.be/xI0alDWn2tM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For [the Jeepney] to have this story of this American machine going to the Philippines, being taken apart, remade, brought back to the States, and then shipped to the Bay and purchased by another Filipino-American—I feel like I see myself in it in some ways, being essentially like this multicultural thing,” says Bear, sipping a decaf iced coffee on a sunny, spring morning.\u003c/p>\n\u003cp>We’re listening to birds chirp under a canopy of leaves in the front yard of \u003ca href=\"https://companyrecordlabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Company Record Label and Art Studio\u003c/a>, his headquarters in an Oakland neighborhood filled with industrial warehouses. His powder blue Jeepney, decked out with miniature horse sculptures, horns and other ornamental tchotchkes, is parked outside.\u003c/p>\n\u003cp>“Now that I’ve literally found a vehicle to communicate my appreciation, it feels really good,” he says, chuckling at the accidental pun. “And it’s brought me closer to my Filipino community in the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13912455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-800x560.jpg\" alt=\"\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-1536x1074.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi hosts a popup at FOB Kitchen in Oakland on April 15. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]hose personal connections have been creative fuel for Bear lately, after two years of pandemic isolation and too much scrolling. The internet was where Bear first found his tribe. But now, he says, he needs a physical community.\u003c/p>\n\u003cp>“I made the shift to focus on local communities around 2016, when I started working on this record,” he says. “It’s mainly because it’s been a nightmare since Trump was president, and I think I just found the importance of reaching out to my POC community and subcultural community. [I’m] trying to just sort of find the language, find how to say it and how to speak it.”\u003c/p>\n\u003cfigure id=\"attachment_13912452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans showed up to hang out with Toro y Moi at FOB Kitchen, a Filipino restaurant in Oakland, on April 15. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before streaming and social media giants were the cultural forces they are now, Bear got his start in the late Aughts era of taste-making music blogs. He left his native South Carolina for Berkeley, and over the years—after collaborations with influential artists like \u003ca href=\"https://www.youtube.com/watch?v=b11EobcNdhw\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=OdXNvCOAs0w\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Scott\u003c/a>—he became a big name capable of commanding crowds of thousands at music festivals like Outside Lands, Afropunk and Coachella (where he just made a guest appearance April 23 during Flume’s set).\u003c/p>\n\u003cp>But although Bear could easily relocate to Los Angeles or New York for higher-profile opportunities, he’s happy to stay in Oakland, where he operates comfortably outside of the mainstream music industry. The Bay Area’s multiculturalism, alternative subcultures and activism—where artists of color can experiment and be weird—were big draws for him when he arrived here a decade ago and noticed the first two rows at his first show were packed with Filipino teens.\u003c/p>\n\u003cp>\u003ci>Mahal\u003c/i>, a title that means “love” in Tagalog, invites listeners to get lost in its jammy, \u003ci>wah\u003c/i>–pedal-laden sound that departs from the tightly produced, perfectionist approach of years past. His visuals for \u003ci>Mahal\u003c/i> reflect the change too. The cover of his 2019 album \u003ca href=\"https://www.kqed.org/arts/13848868/tory-y-moi-is-the-most-regular-famous-person-youll-ever-meet\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Outer Peace\u003c/i>\u003c/a> showed Bear sitting on a yoga ball, diligently working away at his laptop (its lead single, “\u003ca href=\"https://www.youtube.com/watch?v=Jm6hDWBZXc4\" target=\"_blank\" rel=\"noopener noreferrer\">Freelance\u003c/a>,” is a digital nomad anthem). But after spending the first year of the pandemic mostly interacting from behind a screen, the mood on \u003ci>Mahal\u003c/i>, whose cover shows the Jeepney parked in front of the Golden Gate Bridge, is all about getting out and cutting loose. [aside postid='arts_13905208']\u003c/p>\n\u003cp>“It’s a nice antithesis to the internet and the digital age,” Bear says. The album’s Summer of Love-meets-\u003ci>Summer of Soul\u003c/i> sound and aesthetic is on full display in his single “\u003ca href=\"https://www.youtube.com/watch?v=CvcoxunP7KU\" target=\"_blank\" rel=\"noopener noreferrer\">The Loop\u003c/a>,” a laid-back funk track where distorted, sprawling guitar solos accompany footage of Bear and friends cruising along the Pacific coast and goofing around.\u003c/p>\n\u003cp>https://youtu.be/CvcoxunP7KU\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=qSKlCWGaaao\" target=\"_blank\" rel=\"noopener noreferrer\">Magazine\u003c/a>,” another single from \u003ci>Mahal\u003c/i> that references environmental destruction and frustration with the modern world, features a duet with \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>, the uncategorizable Bay Area artist (signed to Flying Lotus’ Brainfeeder label) whose idiosyncratic jazz pop tells sci-fi sagas. “My lyrics are always just going to be a little bit more on the melancholy side, just because that’s what’s interesting to me,” Bear says. “How that feeling never leaves, but every other feeling does.”\u003c/p>\n\u003cp>The breezy, happy-go-lucky “Millennium” is a collaboration with The Mattson 2, a Los Angeles jazz duo comprised of twin guitarist brothers whose music Bear has released through Company Records.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qSKlCWGaaao\u003c/p>\n\u003cp>“We’re used to everything being so polished, and as music consumers we’re so quick to be like, ‘Oh no, that’s off’ because we’re so used to hearing Auto-Tune,” Bear says of his approach, noting that he first experimented with a grittier rock sound on 2015’s \u003ci>What For\u003c/i>. “I just try to almost challenge the listener.”\u003c/p>\n\u003cp>So was the process fun or nerve-wracking for such a meticulous producer? “It’s both. It’s definitely like, ‘OK, this might be a mistake,’ but also, I need to do this.”\u003c/p>\n\u003cp>[dropcap]B[/dropcap]ear is gearing up for a tour that kicks off in Ohio on April 29 with kindred spirits \u003ca href=\"http://www.khruangbin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Khruangbin\u003c/a>, the Texas trio whose soothing psychedelia has been on repeat for many during the stressful past two years. And \u003ci>Mahal\u003c/i> is his first release on the label Dead Oceans, where he’s in good company with Khruangbin, Japanese Breakfast, Mitski and Phoebe Bridgers.\u003c/p>\n\u003cp>“I feel like there’s been a response to the big EDM boom and the whole wave of mainstream rap and electronic [music],” he says. “I do feel like bands are making a comeback, and guitar-based music is alive and well.”\u003c/p>\n\u003cfigure id=\"attachment_13912454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/toro-y-moi-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi shows one of his paintings at Company Studio in Oakland. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear shows me around his workspace inside of Company, which he shares with a few other artists, including business partner Brendan Nakahara. His senior dog, Michael, trails us as he pulls out a few of his abstract paintings of colorful, floral designs. Much like his music, the aesthetic is streamlined yet embraces quirks and subtle imperfections.\u003c/p>\n\u003cp>It’s no secret that streaming doesn’t earn much these days. Even if you’re an artist like Bear, who boasts over three million monthly listeners on Spotify, you have to find other sources of income. He’s decided not to focus on merch, like a lot of musicians do: “We found ourselves packing T-shirts for two or three weeks and we were like, ‘Man, is this what we want to do?’” he says, adding, “It quickly reminds you of the capitalist game that we’re all a part of.”\u003c/p>\n\u003cfigure id=\"attachment_13912464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/toro-y-moi-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi’s dog, Michael. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear and Nakahara operate Company as a client-facing creative studio. They’ve worked on campaigns for big brands like Nike and Vans, but lately they’ve turned their focus to local establishments like \u003ca href=\"https://www.googleadservices.com/pagead/aclk?sa=L&ai=DChcSEwjHrcqenbD3AhV5DK0GHVTlAogYABAAGgJwdg&ae=2&ohost=www.google.com&cid=CAESauD2mLq40UmTU5dv3xTYBSKYpExvkUmD6I5IAaTdgsXjHPdK2Fw2aEZfVfGofqK-kiQtK0n59lm8-MrGN0l5wXm1QwRcrMxDsy4fjpJbOXwA7FvxCPAg0ZmPeftBh1ccNhrEtXNnE8fv6yw&sig=AOD64_1oqColadj1Hxc834nQkh4_jH2ydw&q&adurl&ved=2ahUKEwjEpcCenbD3AhWwHjQIHUyaA3UQ0Qx6BAgEEAE\" target=\"_blank\" rel=\"noopener noreferrer\">Red Bay Coffee\u003c/a>, the Black-owned Oakland roaster getting picked up by major retailers.\u003c/p>\n\u003cp>Over the last few years, Bear has thought a lot about his definition of success. And for him, it’s more about cultivating deeper relationships and using his resources to help grow the local scene rather than constantly chasing bigger-faster-more.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I want to work with companies in the Bay Area to raise the general interest in the Bay. There is so much to offer here outside of tech,” he says. “It feels good to be here, so I’m going to try to stay.”\u003c/p>\n\n",
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"excerpt": "The artist is prioritizing in-person connection over hype, and embracing a grittier psych-rock sound on his new album.",
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"headline": "On ‘Mahal,’ Toro y Moi Shows Love to the Bay Area and His Filipino Community",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hat do you do when the internet no longer feels like a realm of play and possibility, but more like an exhausting, 24/7 fire hydrant of hype, depressing news and misinformation?\u003c/p>\n\u003cp>If you’re \u003ca href=\"https://toroymoi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro y Moi\u003c/a>, you log on to eBay, buy a Filipino Jeepney, load it up with your friends and cruise around the Bay Area, from North Oakland to the Golden Gate Bridge. For one, a customized, multicolored bus—brought to the islands by American soldiers during World War II and \u003ca href=\"https://www.caranddriver.com/news/a15344340/the-history-of-the-jeepney-the-philippines-mass-transit-solution/\" target=\"_blank\" rel=\"noopener noreferrer\">adapted into public transit\u003c/a>—makes eye-catching content for music videos.\u003c/p>\n\u003cp>But for Oakland singer-songwriter and producer Toro y Moi—real name Chaz Bear—the bus has also become a place to connect one-on-one with other artists, listeners and the local community at large.\u003c/p>\n\u003cp>Over the past couple of weeks, he’s been driving it to local businesses like \u003ca href=\"https://www.lowergrandradio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lower Grand Radio\u003c/a> and \u003ca href=\"https://www.fobkitchen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FOB Kitchen\u003c/a>, meeting fans and playing songs from his new album, \u003ci>Mahal\u003c/i> (out April 29 via \u003ca href=\"https://deadoceans.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dead Oceans\u003c/a>), an oozing psych-rock project that pays homage to his Filipino roots and diasporic fanbase.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xI0alDWn2tM'\n title='//www.youtube.com/embed/xI0alDWn2tM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For [the Jeepney] to have this story of this American machine going to the Philippines, being taken apart, remade, brought back to the States, and then shipped to the Bay and purchased by another Filipino-American—I feel like I see myself in it in some ways, being essentially like this multicultural thing,” says Bear, sipping a decaf iced coffee on a sunny, spring morning.\u003c/p>\n\u003cp>We’re listening to birds chirp under a canopy of leaves in the front yard of \u003ca href=\"https://companyrecordlabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Company Record Label and Art Studio\u003c/a>, his headquarters in an Oakland neighborhood filled with industrial warehouses. His powder blue Jeepney, decked out with miniature horse sculptures, horns and other ornamental tchotchkes, is parked outside.\u003c/p>\n\u003cp>“Now that I’ve literally found a vehicle to communicate my appreciation, it feels really good,” he says, chuckling at the accidental pun. “And it’s brought me closer to my Filipino community in the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13912455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-800x560.jpg\" alt=\"\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-1536x1074.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi hosts a popup at FOB Kitchen in Oakland on April 15. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hose personal connections have been creative fuel for Bear lately, after two years of pandemic isolation and too much scrolling. The internet was where Bear first found his tribe. But now, he says, he needs a physical community.\u003c/p>\n\u003cp>“I made the shift to focus on local communities around 2016, when I started working on this record,” he says. “It’s mainly because it’s been a nightmare since Trump was president, and I think I just found the importance of reaching out to my POC community and subcultural community. [I’m] trying to just sort of find the language, find how to say it and how to speak it.”\u003c/p>\n\u003cfigure id=\"attachment_13912452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans showed up to hang out with Toro y Moi at FOB Kitchen, a Filipino restaurant in Oakland, on April 15. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before streaming and social media giants were the cultural forces they are now, Bear got his start in the late Aughts era of taste-making music blogs. He left his native South Carolina for Berkeley, and over the years—after collaborations with influential artists like \u003ca href=\"https://www.youtube.com/watch?v=b11EobcNdhw\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=OdXNvCOAs0w\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Scott\u003c/a>—he became a big name capable of commanding crowds of thousands at music festivals like Outside Lands, Afropunk and Coachella (where he just made a guest appearance April 23 during Flume’s set).\u003c/p>\n\u003cp>But although Bear could easily relocate to Los Angeles or New York for higher-profile opportunities, he’s happy to stay in Oakland, where he operates comfortably outside of the mainstream music industry. The Bay Area’s multiculturalism, alternative subcultures and activism—where artists of color can experiment and be weird—were big draws for him when he arrived here a decade ago and noticed the first two rows at his first show were packed with Filipino teens.\u003c/p>\n\u003cp>\u003ci>Mahal\u003c/i>, a title that means “love” in Tagalog, invites listeners to get lost in its jammy, \u003ci>wah\u003c/i>–pedal-laden sound that departs from the tightly produced, perfectionist approach of years past. His visuals for \u003ci>Mahal\u003c/i> reflect the change too. The cover of his 2019 album \u003ca href=\"https://www.kqed.org/arts/13848868/tory-y-moi-is-the-most-regular-famous-person-youll-ever-meet\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Outer Peace\u003c/i>\u003c/a> showed Bear sitting on a yoga ball, diligently working away at his laptop (its lead single, “\u003ca href=\"https://www.youtube.com/watch?v=Jm6hDWBZXc4\" target=\"_blank\" rel=\"noopener noreferrer\">Freelance\u003c/a>,” is a digital nomad anthem). But after spending the first year of the pandemic mostly interacting from behind a screen, the mood on \u003ci>Mahal\u003c/i>, whose cover shows the Jeepney parked in front of the Golden Gate Bridge, is all about getting out and cutting loose. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a nice antithesis to the internet and the digital age,” Bear says. The album’s Summer of Love-meets-\u003ci>Summer of Soul\u003c/i> sound and aesthetic is on full display in his single “\u003ca href=\"https://www.youtube.com/watch?v=CvcoxunP7KU\" target=\"_blank\" rel=\"noopener noreferrer\">The Loop\u003c/a>,” a laid-back funk track where distorted, sprawling guitar solos accompany footage of Bear and friends cruising along the Pacific coast and goofing around.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CvcoxunP7KU'\n title='//www.youtube.com/embed/CvcoxunP7KU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=qSKlCWGaaao\" target=\"_blank\" rel=\"noopener noreferrer\">Magazine\u003c/a>,” another single from \u003ci>Mahal\u003c/i> that references environmental destruction and frustration with the modern world, features a duet with \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>, the uncategorizable Bay Area artist (signed to Flying Lotus’ Brainfeeder label) whose idiosyncratic jazz pop tells sci-fi sagas. “My lyrics are always just going to be a little bit more on the melancholy side, just because that’s what’s interesting to me,” Bear says. “How that feeling never leaves, but every other feeling does.”\u003c/p>\n\u003cp>The breezy, happy-go-lucky “Millennium” is a collaboration with The Mattson 2, a Los Angeles jazz duo comprised of twin guitarist brothers whose music Bear has released through Company Records.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qSKlCWGaaao'\n title='//www.youtube.com/embed/qSKlCWGaaao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We’re used to everything being so polished, and as music consumers we’re so quick to be like, ‘Oh no, that’s off’ because we’re so used to hearing Auto-Tune,” Bear says of his approach, noting that he first experimented with a grittier rock sound on 2015’s \u003ci>What For\u003c/i>. “I just try to almost challenge the listener.”\u003c/p>\n\u003cp>So was the process fun or nerve-wracking for such a meticulous producer? “It’s both. It’s definitely like, ‘OK, this might be a mistake,’ but also, I need to do this.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>ear is gearing up for a tour that kicks off in Ohio on April 29 with kindred spirits \u003ca href=\"http://www.khruangbin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Khruangbin\u003c/a>, the Texas trio whose soothing psychedelia has been on repeat for many during the stressful past two years. And \u003ci>Mahal\u003c/i> is his first release on the label Dead Oceans, where he’s in good company with Khruangbin, Japanese Breakfast, Mitski and Phoebe Bridgers.\u003c/p>\n\u003cp>“I feel like there’s been a response to the big EDM boom and the whole wave of mainstream rap and electronic [music],” he says. “I do feel like bands are making a comeback, and guitar-based music is alive and well.”\u003c/p>\n\u003cfigure id=\"attachment_13912454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/toro-y-moi-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi shows one of his paintings at Company Studio in Oakland. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear shows me around his workspace inside of Company, which he shares with a few other artists, including business partner Brendan Nakahara. His senior dog, Michael, trails us as he pulls out a few of his abstract paintings of colorful, floral designs. Much like his music, the aesthetic is streamlined yet embraces quirks and subtle imperfections.\u003c/p>\n\u003cp>It’s no secret that streaming doesn’t earn much these days. Even if you’re an artist like Bear, who boasts over three million monthly listeners on Spotify, you have to find other sources of income. He’s decided not to focus on merch, like a lot of musicians do: “We found ourselves packing T-shirts for two or three weeks and we were like, ‘Man, is this what we want to do?’” he says, adding, “It quickly reminds you of the capitalist game that we’re all a part of.”\u003c/p>\n\u003cfigure id=\"attachment_13912464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/toro-y-moi-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi’s dog, Michael. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear and Nakahara operate Company as a client-facing creative studio. They’ve worked on campaigns for big brands like Nike and Vans, but lately they’ve turned their focus to local establishments like \u003ca href=\"https://www.googleadservices.com/pagead/aclk?sa=L&ai=DChcSEwjHrcqenbD3AhV5DK0GHVTlAogYABAAGgJwdg&ae=2&ohost=www.google.com&cid=CAESauD2mLq40UmTU5dv3xTYBSKYpExvkUmD6I5IAaTdgsXjHPdK2Fw2aEZfVfGofqK-kiQtK0n59lm8-MrGN0l5wXm1QwRcrMxDsy4fjpJbOXwA7FvxCPAg0ZmPeftBh1ccNhrEtXNnE8fv6yw&sig=AOD64_1oqColadj1Hxc834nQkh4_jH2ydw&q&adurl&ved=2ahUKEwjEpcCenbD3AhWwHjQIHUyaA3UQ0Qx6BAgEEAE\" target=\"_blank\" rel=\"noopener noreferrer\">Red Bay Coffee\u003c/a>, the Black-owned Oakland roaster getting picked up by major retailers.\u003c/p>\n\u003cp>Over the last few years, Bear has thought a lot about his definition of success. And for him, it’s more about cultivating deeper relationships and using his resources to help grow the local scene rather than constantly chasing bigger-faster-more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I want to work with companies in the Bay Area to raise the general interest in the Bay. There is so much to offer here outside of tech,” he says. “It feels good to be here, so I’m going to try to stay.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Must-See Concerts in the Bay Area This Fall",
"headTitle": "Must-See Concerts in the Bay Area This Fall | KQED",
"content": "\u003cp>Even with BottleRock and Outside Lands sold out, there are plenty of live music experiences to look forward to this fall, especially beyond the mega-fests.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>A concert on a mountaintop, beloved local acts at intimate clubs, a walking sound installation, must-see touring artists—you’ll find it all on this list. And because Bay Area music lovers can never be confined to a single genre or subculture, we’ve tried to include a bit of everything.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cp>https://youtu.be/nq33UIpMVo4\u003c/p>\n\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/los-rakas-the-new-parish-tickets/11259895\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas with Qing Qi\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The New Parish, Oakland\u003cbr>\nSept. 10\u003cbr>\nMasks required\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Los Rakas rep Oakland as hard as they do Panama, and influences from the two regions come together in a dynamic, signature sound that bridges Latin trap, hyphy, reggaeton and dancehall. The cousin duo has been rocking in the Bay Area since the mid 2000s, and on their 2019 album, \u003cem>Manes De Negocio\u003c/em>, they pay homage to their Afro-Latino roots and the African diaspora’s enormous contributions to reggaeton and urbano. Known for their pumped-up live shows, Los Rakas take the stage at their hometown concert hall, the New Parish, with support from Qing Qi, the East Palo Alto rapper whose music is delightfully raunchy and rebellious.\u003c/p>\n\u003cp>https://youtu.be/mfdYMKbNLww\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/soundsummit/events/sound-summit-2021-26107\" target=\"_blank\" rel=\"noopener noreferrer\">Sound Summit\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Mountain Theater, Mt. Tamalpais State Park, Mill Valley\u003cbr>\nSept. 11\u003cbr>\nProof of vaccination or negative COVID test required\u003c/em>\u003c/p>\n\u003cp>Nature lovers know that Mt. Tam is home to some of the most stunning hiking trails in the Bay Area, with 360-degree views of the Pacific Ocean, the Oakland and San Francisco skylines and even Mt. Diablo. This fall, Sound Summit returns to Mt. Tam’s Mountain Theater, a 4,000-seat amphitheater at the peak. The festival’s guitar-forward lineup boasts folk singer-songwriter Father John Misty, New Orleans funk band Cha Wa, Mill Valley folk singer Teal Collins, Texan rocker Lukas Nelson, folk-rock band Allah-Las and DJ Andy Cabic. Their stylings should provide a mellow soundtrack for gazing at the sunset and communing with bluejays and chipmunks. Round-trip bus service up to the top of the mountain is available. And remember, this is one of the Bay Area’s most prized natural treasures, so leave no trace.\u003c/p>\n\u003cp>https://youtu.be/hr-I6-gxecg\u003c/p>\n\u003ch2>\u003ca href=\"https://thechapelsf.com/e/the-residents-at-the-castro-theatre-161017813615/\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Castro Theatre, San Francisco\u003cbr>\nSept. 17\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>The Residents have been creating delightfully wacky music, performance and multimedia art in the Bay Area since 1969, making them as much of an institution as, say, the San Francisco Symphony or the Sisters of Perpetual Indulgence. Throughout their boundless career, they’ve written spoken-word rock operas, created fictional universes, scored documentaries and helped popularize the art of the music video. And all the while, the members of the collective have remained mostly anonymous. During the last several years, their album release schedule has remained as prolific as ever, and in 2020 they performed at the Museum of Modern Art. The subject matter? “A ruined evangelist and his twisted obsession with a pair of gender-fluid conjoined twins he claims are miracle workers,” according to the museum. Their performance at the Castro Theatre should be no less imaginative.\u003c/p>\n\u003cp>https://youtu.be/-k3JwqzgVl8\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/la-santa-cecilia-tickets-96595221909\" target=\"_blank\" rel=\"noopener noreferrer\">La Santa Cecilia\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Ritz, San Jose\u003cbr>\nSept. 17\u003c/em>\u003c/p>\n\u003cp>The members of La Santa Cecilia met while busking on the streets of Los Angeles, and together the Grammy-winning group created a sound that spans cumbia, mariachi, jazz and bossa nova—a reflection of their many musical influences as the children of immigrants. Singing in Spanish about topics as varied as family tragedy, immigrant rights and queer love, lead vocalist Marisol Hernandez brings powerful storytelling to the band’s danceable, accordion-, guitar- and percussion-forward compositions.\u003c/p>\n\u003cp>https://youtu.be/2ZfcZEIo6Bw\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theregencyballroom.com/events/detail/400451\" target=\"_blank\" rel=\"noopener noreferrer\">Japanese Breakfast with Luna Li\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Regency Ballroom, San Francisco\u003cbr>\nSept. 30–Oct. 1\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>Michelle Zauner of Japanese Breakfast writes lyrics that trace delicate outlines of emotions, as if drawing on a foggy window on an introspective, snowy day. Her writerly curiosity as a musician propelled her into a second career as an author. Earlier this year, her memoir about her mother’s death and her Korean heritage, \u003cem>Crying in H Mart\u003c/em>, became a \u003cem>New York Times\u003c/em> best seller. And a few months later, in June, she released her critically acclaimed album \u003cem>Jubilee\u003c/em>, an indie rock record with celebratory horns, hopeful strings, stomping dance floor catharses and bittersweet reflections on the fleeting nature of happiness. Harpist, violinist and multi-instrumentalist Luna Li joins her for two nights in San Francisco.\u003c/p>\n\u003cp>https://youtu.be/1NMZ0MpaEuY\u003c/p>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/409353/isaiah-rashad-tickets?skin=warfield&src=AEGLIVE_WWRFLSFO022715VEN001\" target=\"_blank\" rel=\"noopener noreferrer\">Isaiah Rashad\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Warfield, San Francisco\u003cbr>\nOct. 7\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>After five years of silence, Isaiah Rashad returned with what will surely be considered one of the best rap albums of 2021: \u003cem>The House is Burning\u003c/em>. The project chronicles a search for hope after hitting rock bottom, with warm, nostalgic rhythms occasionally destabilized by lurching, gothic undertones. Drawing on influences such as Three 6 Mafia, Outkast and his Top Dawg label mate Kendrick Lamar, Rashad wrote the album after several bad years of substance abuse and mental health issues that forced him to disappear from public life and eventually get clean. He writes with the sage perspective of someone who’s been to hell and back, finding beauty even amid these traumatic experiences, and managing to still have fun.\u003c/p>\n\u003cp>https://youtu.be/bl1IUpOT8NY\u003c/p>\n\u003ch2>\u003ca href=\"http://soundwavesf.com\" target=\"_blank\" rel=\"noopener noreferrer\">Soundwave NEXT: Translocality\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various outdoor locations, Bay Area\u003cbr>\nOct. 22, 2021–Feb. 22, 2022\u003c/em>\u003c/p>\n\u003cp>Soundwave made its Translocality festival COVID-safe by commissioning site-specific works that listeners can access via the \u003ca href=\"https://echoes.xyz\" target=\"_blank\" rel=\"noopener noreferrer\">Echoes app\u003c/a> as they walk through various landscapes. Lalin St. Juste, lead singer of the band the Seshen, created a piece for the Sutro Baths in San Francisco that questions the colonial-era artifact collections of figures like Adolph Sutro, a former San Francisco mayor. Travis “Queen” Roland takes participants into the National AIDS Memorial Grove in Golden Gate Park, where they’ll listen to a soundtrack that pays homage to queer nightlife, punk rock, cruising and drag from the ’70s to now, and then takes us into the future. The other artists are Rumi Koshino, Fereshteh Toosi, Dylan Marx, LeAnn Perry, John Patrick Moore, Akaina Ghosh, Tyler Holmes and Dario Slavazza.\u003c/p>\n\u003cp>https://youtu.be/XWSVHYBo_7I\u003c/p>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Nef-The-Pharaoh/433315?afflky=CornerstoneBerkeley\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Cornerstone, Berkeley\u003cbr>\nOct. 23\u003cbr>\nMasks required\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A Bay Area treasure, Nef the Pharaoh is carrying the torch of E-40 and Mac Dre with rhymes that are streetwise, politically aware, raunchy and occasionally psychedelic. The Vallejo native raps with the momentum of a bouncy ball, moving quickly between ideas and sometimes going in unpredictable directions. His breakout hit “Big Tymin” put him on the map in 2015, and since then he hasn’t slowed down with releases that have earned him a cult following—most recently, 2021’s \u003cem>SINsational\u003c/em>.\u003c/p>\n\n",
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"excerpt": "Intimate club gigs, a concert on a mountain top and site-specific sound art are just a few of the musical offerings in our fall preview. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even with BottleRock and Outside Lands sold out, there are plenty of live music experiences to look forward to this fall, especially beyond the mega-fests.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>A concert on a mountaintop, beloved local acts at intimate clubs, a walking sound installation, must-see touring artists—you’ll find it all on this list. And because Bay Area music lovers can never be confined to a single genre or subculture, we’ve tried to include a bit of everything.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\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/nq33UIpMVo4'\n title='//www.youtube.com/embed/nq33UIpMVo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/los-rakas-the-new-parish-tickets/11259895\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas with Qing Qi\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The New Parish, Oakland\u003cbr>\nSept. 10\u003cbr>\nMasks required\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Los Rakas rep Oakland as hard as they do Panama, and influences from the two regions come together in a dynamic, signature sound that bridges Latin trap, hyphy, reggaeton and dancehall. The cousin duo has been rocking in the Bay Area since the mid 2000s, and on their 2019 album, \u003cem>Manes De Negocio\u003c/em>, they pay homage to their Afro-Latino roots and the African diaspora’s enormous contributions to reggaeton and urbano. Known for their pumped-up live shows, Los Rakas take the stage at their hometown concert hall, the New Parish, with support from Qing Qi, the East Palo Alto rapper whose music is delightfully raunchy and rebellious.\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/mfdYMKbNLww'\n title='//www.youtube.com/embed/mfdYMKbNLww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/soundsummit/events/sound-summit-2021-26107\" target=\"_blank\" rel=\"noopener noreferrer\">Sound Summit\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Mountain Theater, Mt. Tamalpais State Park, Mill Valley\u003cbr>\nSept. 11\u003cbr>\nProof of vaccination or negative COVID test required\u003c/em>\u003c/p>\n\u003cp>Nature lovers know that Mt. Tam is home to some of the most stunning hiking trails in the Bay Area, with 360-degree views of the Pacific Ocean, the Oakland and San Francisco skylines and even Mt. Diablo. This fall, Sound Summit returns to Mt. Tam’s Mountain Theater, a 4,000-seat amphitheater at the peak. The festival’s guitar-forward lineup boasts folk singer-songwriter Father John Misty, New Orleans funk band Cha Wa, Mill Valley folk singer Teal Collins, Texan rocker Lukas Nelson, folk-rock band Allah-Las and DJ Andy Cabic. Their stylings should provide a mellow soundtrack for gazing at the sunset and communing with bluejays and chipmunks. Round-trip bus service up to the top of the mountain is available. And remember, this is one of the Bay Area’s most prized natural treasures, so leave no trace.\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/hr-I6-gxecg'\n title='//www.youtube.com/embed/hr-I6-gxecg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://thechapelsf.com/e/the-residents-at-the-castro-theatre-161017813615/\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Castro Theatre, San Francisco\u003cbr>\nSept. 17\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>The Residents have been creating delightfully wacky music, performance and multimedia art in the Bay Area since 1969, making them as much of an institution as, say, the San Francisco Symphony or the Sisters of Perpetual Indulgence. Throughout their boundless career, they’ve written spoken-word rock operas, created fictional universes, scored documentaries and helped popularize the art of the music video. And all the while, the members of the collective have remained mostly anonymous. During the last several years, their album release schedule has remained as prolific as ever, and in 2020 they performed at the Museum of Modern Art. The subject matter? “A ruined evangelist and his twisted obsession with a pair of gender-fluid conjoined twins he claims are miracle workers,” according to the museum. Their performance at the Castro Theatre should be no less imaginative.\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/-k3JwqzgVl8'\n title='//www.youtube.com/embed/-k3JwqzgVl8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/la-santa-cecilia-tickets-96595221909\" target=\"_blank\" rel=\"noopener noreferrer\">La Santa Cecilia\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Ritz, San Jose\u003cbr>\nSept. 17\u003c/em>\u003c/p>\n\u003cp>The members of La Santa Cecilia met while busking on the streets of Los Angeles, and together the Grammy-winning group created a sound that spans cumbia, mariachi, jazz and bossa nova—a reflection of their many musical influences as the children of immigrants. Singing in Spanish about topics as varied as family tragedy, immigrant rights and queer love, lead vocalist Marisol Hernandez brings powerful storytelling to the band’s danceable, accordion-, guitar- and percussion-forward compositions.\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/2ZfcZEIo6Bw'\n title='//www.youtube.com/embed/2ZfcZEIo6Bw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.theregencyballroom.com/events/detail/400451\" target=\"_blank\" rel=\"noopener noreferrer\">Japanese Breakfast with Luna Li\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Regency Ballroom, San Francisco\u003cbr>\nSept. 30–Oct. 1\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>Michelle Zauner of Japanese Breakfast writes lyrics that trace delicate outlines of emotions, as if drawing on a foggy window on an introspective, snowy day. Her writerly curiosity as a musician propelled her into a second career as an author. Earlier this year, her memoir about her mother’s death and her Korean heritage, \u003cem>Crying in H Mart\u003c/em>, became a \u003cem>New York Times\u003c/em> best seller. And a few months later, in June, she released her critically acclaimed album \u003cem>Jubilee\u003c/em>, an indie rock record with celebratory horns, hopeful strings, stomping dance floor catharses and bittersweet reflections on the fleeting nature of happiness. Harpist, violinist and multi-instrumentalist Luna Li joins her for two nights in San Francisco.\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/1NMZ0MpaEuY'\n title='//www.youtube.com/embed/1NMZ0MpaEuY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.axs.com/events/409353/isaiah-rashad-tickets?skin=warfield&src=AEGLIVE_WWRFLSFO022715VEN001\" target=\"_blank\" rel=\"noopener noreferrer\">Isaiah Rashad\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Warfield, San Francisco\u003cbr>\nOct. 7\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>After five years of silence, Isaiah Rashad returned with what will surely be considered one of the best rap albums of 2021: \u003cem>The House is Burning\u003c/em>. The project chronicles a search for hope after hitting rock bottom, with warm, nostalgic rhythms occasionally destabilized by lurching, gothic undertones. Drawing on influences such as Three 6 Mafia, Outkast and his Top Dawg label mate Kendrick Lamar, Rashad wrote the album after several bad years of substance abuse and mental health issues that forced him to disappear from public life and eventually get clean. He writes with the sage perspective of someone who’s been to hell and back, finding beauty even amid these traumatic experiences, and managing to still have fun.\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/bl1IUpOT8NY'\n title='//www.youtube.com/embed/bl1IUpOT8NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://soundwavesf.com\" target=\"_blank\" rel=\"noopener noreferrer\">Soundwave NEXT: Translocality\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various outdoor locations, Bay Area\u003cbr>\nOct. 22, 2021–Feb. 22, 2022\u003c/em>\u003c/p>\n\u003cp>Soundwave made its Translocality festival COVID-safe by commissioning site-specific works that listeners can access via the \u003ca href=\"https://echoes.xyz\" target=\"_blank\" rel=\"noopener noreferrer\">Echoes app\u003c/a> as they walk through various landscapes. Lalin St. Juste, lead singer of the band the Seshen, created a piece for the Sutro Baths in San Francisco that questions the colonial-era artifact collections of figures like Adolph Sutro, a former San Francisco mayor. Travis “Queen” Roland takes participants into the National AIDS Memorial Grove in Golden Gate Park, where they’ll listen to a soundtrack that pays homage to queer nightlife, punk rock, cruising and drag from the ’70s to now, and then takes us into the future. The other artists are Rumi Koshino, Fereshteh Toosi, Dylan Marx, LeAnn Perry, John Patrick Moore, Akaina Ghosh, Tyler Holmes and Dario Slavazza.\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/XWSVHYBo_7I'\n title='//www.youtube.com/embed/XWSVHYBo_7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Nef-The-Pharaoh/433315?afflky=CornerstoneBerkeley\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Cornerstone, Berkeley\u003cbr>\nOct. 23\u003cbr>\nMasks required\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A Bay Area treasure, Nef the Pharaoh is carrying the torch of E-40 and Mac Dre with rhymes that are streetwise, politically aware, raunchy and occasionally psychedelic. The Vallejo native raps with the momentum of a bouncy ball, moving quickly between ideas and sometimes going in unpredictable directions. His breakout hit “Big Tymin” put him on the map in 2015, and since then he hasn’t slowed down with releases that have earned him a cult following—most recently, 2021’s \u003cem>SINsational\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Daughter Grieves Her Mom, And Finds Herself, In 'Crying In H Mart'",
"headTitle": "A Daughter Grieves Her Mom, And Finds Herself, In ‘Crying In H Mart’ | KQED",
"content": "\u003cfigure id=\"attachment_13896051\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1020x1502.jpg\" alt=\"Crying in H Mart book cover\" width=\"640\" height=\"942\" class=\"size-large wp-image-13896051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1020x1502.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-800x1178.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-768x1131.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1043x1536.jpg 1043w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1391x2048.jpg 1391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761.jpg 1718w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Crying in H Mart’ is a memoir by Michelle Zauner, who performs as Japanese Breakfast.\u003c/figcaption>\u003c/figure>\n\u003cp>By the time I came to know Michelle Zauner as a writer, when \u003cem>The New Yorker \u003c/em>published her personal essay “Crying in H Mart” in August 2018, I had been following her as a musician for five years.\u003c/p>\n\u003cp>I first saw her perform in Philadelphia as the frontwoman of emo band Little Big League in 2013; when she emerged with her poppy shoegaze solo project Japanese Breakfast\u003cem> \u003c/em>in 2016, I recognized Zauner only in her soaring, searching voice.\u003c/p>\n\u003cp>\u003cem>Psychopomp, \u003c/em>the first record Zauner released as Japanese Breakfast,\u003cem> \u003c/em>hinted at where she had been in between: escorting her mother from the world of the living to that of the dead. The first track “In Heaven” tells some of the story of the aftermath of her mother’s death of cancer in 2014: “The dog’s confused / She just paces around all day / sniffing at your empty room / I’m trying to believe / When I sleep it’s really you / Visiting my dreams / like they say that angels do.” Those lyrics break me a little each time I hear them, reminding me of my own grief, of my own sweet childhood dog who looked for my mother and father after they both died of cancer when I was a teenager.\u003c/p>\n\u003cp>But where \u003cem>Psychopomp \u003c/em>and her 2017 record \u003cem>Soft Sounds from Another Planet \u003c/em>explore death and grief in sparse lyrics over upbeat synths, in “Crying in H Mart” Zauner digs much deeper. The essay meditates on how shopping at the Korean American supermarket H Mart brought her mother back to her but still made her loss sting. At H Mart, Zauner writes, “you’ll likely find me crying by the \u003cem>banchan\u003c/em> refrigerators, remembering the taste of my mom’s soy-sauce eggs.”\u003c/p>\n\u003cp>“Crying in H Mart,” stood out to me as a representation of grief that I could relate to — one that doesn’t reach for silver linings, but illuminates the unending nature of loss: “Every time I remember that my mother is dead, it feels like I’m colliding into a wall that won’t give…a reminder of the immutable reality that I will never see her again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That essay became the first chapter of Zauner’s new memoir, also titled \u003cem>Crying in H Mart, \u003c/em>which powerfully maps a complicated mother-daughter relationship cut much too short. Stories of Korean food serve as the backbone of the book, as Zauner plumbs the connections between food and identity. That search takes on new urgency after her mother’s death — in losing her mother, she also lost her strongest tether to Korean culture.\u003c/p>\n\u003cp>Zauner was born in Seoul, the daughter of Chongmi, a native of the city, and Joel, a white American. When she was a year old, the family relocated to Eugene, Oregon, where her mother ruled with an exacting nature. Chongmi was a woman in pursuit of perfection in everything, and of course this prodding extended to her only child. At a young age, Zauner realized that one way she could get her mother’s approval was demonstrating an adventurous appetite. On trips to Seoul, they bonded over midnight snacks on jet-lagged nights, when they “ate \u003cem>ganjang gejang\u003c/em>…sucking salty, rich, custardy raw crab from its shell.”\u003c/p>\n\u003cp>Zauner’s food descriptions transport us to the table alongside her. On a college break, when her mother prepares \u003cem>galbi ssam\u003c/em>, the relief of being cared for with a meal attuned to one’s tastes radiates off the page: “Blissfully I laid my palm flat, blanketed it with a piece of lettuce, and dressed it just the way I liked — a piece of glistening short rib, a spoonful of warm rice, a dredge of \u003cem>ssamjang\u003c/em>, and a thin slice of raw garlic…I closed my eyes and savored the first few chews, my taste buds and stomach having been deprived of a home-cooked meal.”\u003c/p>\n\u003cp>It is this kind of care that Zauner attempts to repay for her mother when she is diagnosed with stage IV squamous-cell carcinoma in her stomach at age 56. After her mother’s diagnosis in May 2014, Zauner, then 25, moves home, ready to bolster Chongmi through chemotherapy with Korean cooking.\u003c/p>\n\u003cp>But chemo wrecks the appetite — I recall my mother being plagued with everything tasting as though it were laced with metal. During the first round of chemo, her mother can’t keep food down; during the second round, she develops mouth sores that make eating painful. When the chemo fails to shrink her tumor, Chongmi decides to forgo further treatment, having learned a lesson from her younger sister Eunmi, who died of colon cancer following 24 chemo treatments. In this, \u003cem>Crying in H Mart\u003c/em> is a rare acknowledgement of the ravages of cancer in a culture obsessed with seeing it as an enemy that can be battled with hope and strength.\u003c/p>\n\u003cp>Zauner carries the same clear-eyed frankness to writing about her mother’s death five months after her diagnosis. One chapter recounts her mother’s last days, unconscious at home, her breathing “a horrible sucking like the last sputtering of a coffeepot.” It is rare to read about a slow death in such detail, an odd gift in that it forces us to sit with mortality rather than turn away from it.\u003c/p>\n\u003cp>Also notable is that Chongmi’s death does not fall at the end of the book. It comes just past halfway through, allowing Zauner ample space to grapple with the immensity of her loss. One balm that emerges is reconnecting with her Korean identity through finally learning to cook the dishes she longed to make for her mother.\u003c/p>\n\u003cp>As a teen, Zauner drifted away from her Koreanness, effacing that side of her heritage for fear of being seen as other. In those same years, she shrunk from her mother’s need for control and constant wheedling. Just as they established their adult relationship — just as Zauner begun to embrace her mother’s culture — her mother died: “What would have been the most fruitful years of understanding were cut violently short, and I was left alone to decipher the secrets of inheritance without its key.”\u003c/p>\n\u003cp>Cooking becomes the key. Her teacher is Maangchi, described by \u003cem>The New York Times \u003c/em>as “YouTube’s Korean Julia Child.” In cooking, Zauner conjures ghosts: her aunt Eunmi munching on Korean fried chicken, her mother ordering more kimchi to go with knife-cut noodle soup in Seoul, her grandmother slurping black-bean noodles.\u003c/p>\n\u003cp>Near the end of the book, Zauner meditates on the process of fermenting kimchi, and how it allows cabbage to “enjoy a new life altogether.” She realizes that she needs to tend to her memories and heritage in the same way: “The culture that we shared was active, effervescent in my gut and in my genes, and I had to seize it, foster it so it did not die in me…If I could not be with my mother, I would be her.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>What \u003cem>Crying in H Mart \u003c/em>reveals, though, is that in losing her mother and cooking to bring her back to life, Zauner became herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Daughter+Grieves+Her+Mom%2C+And+Finds+Herself%2C+In+%27Crying+In+H+Mart%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13896051\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1020x1502.jpg\" alt=\"Crying in H Mart book cover\" width=\"640\" height=\"942\" class=\"size-large wp-image-13896051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1020x1502.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-800x1178.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-768x1131.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1043x1536.jpg 1043w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1391x2048.jpg 1391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761.jpg 1718w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Crying in H Mart’ is a memoir by Michelle Zauner, who performs as Japanese Breakfast.\u003c/figcaption>\u003c/figure>\n\u003cp>By the time I came to know Michelle Zauner as a writer, when \u003cem>The New Yorker \u003c/em>published her personal essay “Crying in H Mart” in August 2018, I had been following her as a musician for five years.\u003c/p>\n\u003cp>I first saw her perform in Philadelphia as the frontwoman of emo band Little Big League in 2013; when she emerged with her poppy shoegaze solo project Japanese Breakfast\u003cem> \u003c/em>in 2016, I recognized Zauner only in her soaring, searching voice.\u003c/p>\n\u003cp>\u003cem>Psychopomp, \u003c/em>the first record Zauner released as Japanese Breakfast,\u003cem> \u003c/em>hinted at where she had been in between: escorting her mother from the world of the living to that of the dead. The first track “In Heaven” tells some of the story of the aftermath of her mother’s death of cancer in 2014: “The dog’s confused / She just paces around all day / sniffing at your empty room / I’m trying to believe / When I sleep it’s really you / Visiting my dreams / like they say that angels do.” Those lyrics break me a little each time I hear them, reminding me of my own grief, of my own sweet childhood dog who looked for my mother and father after they both died of cancer when I was a teenager.\u003c/p>\n\u003cp>But where \u003cem>Psychopomp \u003c/em>and her 2017 record \u003cem>Soft Sounds from Another Planet \u003c/em>explore death and grief in sparse lyrics over upbeat synths, in “Crying in H Mart” Zauner digs much deeper. The essay meditates on how shopping at the Korean American supermarket H Mart brought her mother back to her but still made her loss sting. At H Mart, Zauner writes, “you’ll likely find me crying by the \u003cem>banchan\u003c/em> refrigerators, remembering the taste of my mom’s soy-sauce eggs.”\u003c/p>\n\u003cp>“Crying in H Mart,” stood out to me as a representation of grief that I could relate to — one that doesn’t reach for silver linings, but illuminates the unending nature of loss: “Every time I remember that my mother is dead, it feels like I’m colliding into a wall that won’t give…a reminder of the immutable reality that I will never see her again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That essay became the first chapter of Zauner’s new memoir, also titled \u003cem>Crying in H Mart, \u003c/em>which powerfully maps a complicated mother-daughter relationship cut much too short. Stories of Korean food serve as the backbone of the book, as Zauner plumbs the connections between food and identity. That search takes on new urgency after her mother’s death — in losing her mother, she also lost her strongest tether to Korean culture.\u003c/p>\n\u003cp>Zauner was born in Seoul, the daughter of Chongmi, a native of the city, and Joel, a white American. When she was a year old, the family relocated to Eugene, Oregon, where her mother ruled with an exacting nature. Chongmi was a woman in pursuit of perfection in everything, and of course this prodding extended to her only child. At a young age, Zauner realized that one way she could get her mother’s approval was demonstrating an adventurous appetite. On trips to Seoul, they bonded over midnight snacks on jet-lagged nights, when they “ate \u003cem>ganjang gejang\u003c/em>…sucking salty, rich, custardy raw crab from its shell.”\u003c/p>\n\u003cp>Zauner’s food descriptions transport us to the table alongside her. On a college break, when her mother prepares \u003cem>galbi ssam\u003c/em>, the relief of being cared for with a meal attuned to one’s tastes radiates off the page: “Blissfully I laid my palm flat, blanketed it with a piece of lettuce, and dressed it just the way I liked — a piece of glistening short rib, a spoonful of warm rice, a dredge of \u003cem>ssamjang\u003c/em>, and a thin slice of raw garlic…I closed my eyes and savored the first few chews, my taste buds and stomach having been deprived of a home-cooked meal.”\u003c/p>\n\u003cp>It is this kind of care that Zauner attempts to repay for her mother when she is diagnosed with stage IV squamous-cell carcinoma in her stomach at age 56. After her mother’s diagnosis in May 2014, Zauner, then 25, moves home, ready to bolster Chongmi through chemotherapy with Korean cooking.\u003c/p>\n\u003cp>But chemo wrecks the appetite — I recall my mother being plagued with everything tasting as though it were laced with metal. During the first round of chemo, her mother can’t keep food down; during the second round, she develops mouth sores that make eating painful. When the chemo fails to shrink her tumor, Chongmi decides to forgo further treatment, having learned a lesson from her younger sister Eunmi, who died of colon cancer following 24 chemo treatments. In this, \u003cem>Crying in H Mart\u003c/em> is a rare acknowledgement of the ravages of cancer in a culture obsessed with seeing it as an enemy that can be battled with hope and strength.\u003c/p>\n\u003cp>Zauner carries the same clear-eyed frankness to writing about her mother’s death five months after her diagnosis. One chapter recounts her mother’s last days, unconscious at home, her breathing “a horrible sucking like the last sputtering of a coffeepot.” It is rare to read about a slow death in such detail, an odd gift in that it forces us to sit with mortality rather than turn away from it.\u003c/p>\n\u003cp>Also notable is that Chongmi’s death does not fall at the end of the book. It comes just past halfway through, allowing Zauner ample space to grapple with the immensity of her loss. One balm that emerges is reconnecting with her Korean identity through finally learning to cook the dishes she longed to make for her mother.\u003c/p>\n\u003cp>As a teen, Zauner drifted away from her Koreanness, effacing that side of her heritage for fear of being seen as other. In those same years, she shrunk from her mother’s need for control and constant wheedling. Just as they established their adult relationship — just as Zauner begun to embrace her mother’s culture — her mother died: “What would have been the most fruitful years of understanding were cut violently short, and I was left alone to decipher the secrets of inheritance without its key.”\u003c/p>\n\u003cp>Cooking becomes the key. Her teacher is Maangchi, described by \u003cem>The New York Times \u003c/em>as “YouTube’s Korean Julia Child.” In cooking, Zauner conjures ghosts: her aunt Eunmi munching on Korean fried chicken, her mother ordering more kimchi to go with knife-cut noodle soup in Seoul, her grandmother slurping black-bean noodles.\u003c/p>\n\u003cp>Near the end of the book, Zauner meditates on the process of fermenting kimchi, and how it allows cabbage to “enjoy a new life altogether.” She realizes that she needs to tend to her memories and heritage in the same way: “The culture that we shared was active, effervescent in my gut and in my genes, and I had to seize it, foster it so it did not die in me…If I could not be with my mother, I would be her.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What \u003cem>Crying in H Mart \u003c/em>reveals, though, is that in losing her mother and cooking to bring her back to life, Zauner became herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Daughter+Grieves+Her+Mom%2C+And+Finds+Herself%2C+In+%27Crying+In+H+Mart%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking back at the early days of her career, \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> remembers times she didn’t feel whole. Navigating a mostly white indie rock scene since the late 2000s caused her to downplay aspects of her Vietnamese-ness in the face of covert and overt racism. And she wasn’t out as queer to everyone in her life, which made it impossible to share her full self with some of the people close to her.\u003c/p>\n\u003cp>After years of searching and processing, she’s arrived in a secure place where she lives proudly in her truth.\u003c/p>\n\u003cp>“With all this time off, I’ve had a lot of opportunity to think about what it was like to come up at the time that I did,” says the San Francisco musician, who leads indie rock outfit Thao and the Get Down Stay Down. “Even though 2007, 2008 doesn’t sound that far away, it was drastically different. The tolerance for racism was a lot higher. And there was a lot less that you could do about it—or that I could do about it—that I feel like I can do now.”\u003c/p>\n\u003cp>Her imperfect self-discovery process became the topic of 2020’s \u003cem>Temple\u003c/em>, her most personal and poignant album with the Get Down Stay Down, named one of \u003ca href=\"https://www.kqed.org/arts/13890048/the-10-best-bay-area-albums-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s top albums of that year\u003c/a>. The project’s driving, post-rock title track captures the feeling of coming home to oneself after denying a long-held pain. Nguyen wrote the song from the perspective of her parents fleeing the Vietnam war as refugees, contextualizing her own life journey in their stories; instead of blaming her parents for their shortcomings, she creates a visceral depiction of earth-shattering loss and survival that set the stage for her upbringing in Virginia. On the songs that follow, Nguyen sounds palpably fed up with diminishing herself to fit other people’s expectations. The instrumentation is at times raw and jagged, as if evolving in real time, and her lyrics express a yearning to be seen and appreciated.\u003c/p>\n\u003cfigure id=\"attachment_13893849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-800x436.jpeg\" alt=\"\" width=\"800\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-800x436.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-1020x556.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-160x87.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-768x418.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-1536x837.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thao Nguyen’s 2020 album ‘Temple’ saw her open up about her imperfect journey to embrace her identity. In her new newsletter, she’s sharing the creative process of her next album and deepening her Asian American advocacy work. \u003ccite>(Eric Einwiller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cem>Temple\u003c/em> was as much about being Vietnamese as much as it was being proudly queer,” says Nguyen. “And that aspect, especially now given the incredibly harrowing and disturbing rise in violence towards Asian people due to all that rhetoric and racist fear mongering—I think the next album will have a lot more to do with my Asian American identity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This vulnerable new stage in her songwriting led Nguyen to her latest project: earlier this week, she launched a Substack newsletter called \u003ca href=\"https://www.thaofortherecord.community/p/coming-soon\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>For the Record\u003c/em>\u003c/a>. With weekly free content and additional dispatches for paid subscribers, Nguyen is opening up her creative process for the tight-knit community of fans as she embarks on her next album. [aside postid='arts_13892437']\u003c/p>\n\u003cp>“It’s almost like me being able to have an independent media company entity, and I can maintain my autonomy in a lot of ways,” Nguyen says.\u003c/p>\n\u003cp>\u003cem>For the Record\u003c/em> will include essays, poems, new tracks, performance videos, Q&As with fans and other behind-the-scenes content. Like many independent artists, Nguyen has had to step into new creative roles to continue to connect with fans online in lieu of live performance, which she previously relied on to make a living. [aside postid='arts_13891311']\u003c/p>\n\u003cp>Nguyen released \u003cem>Temple\u003c/em> in May 2020, when the realization set in that the COVID-19 lockdown would last much longer than a couple of months. In the past year, the concert industry independent artists relied on has been decimated, exposing just how devalued recorded music had become. (To earn the equivalent of full-time work at $15 an hour, an artist needs to get 657,895 Spotify streams a month, according to \u003ca href=\"https://www.npr.org/2020/08/19/903547253/a-tale-of-two-ecosystems-on-bandcamp-spotify-and-the-wide-open-future\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s calculations\u003c/a>.) Artists at Nguyen’s level, who have devoted followings but aren’t chart toppers, have had to get creative about harnessing monetary support from their fan bases. [aside postid='arts_13890093']\u003c/p>\n\u003cp>“I’ve been cranky about it in the past, but at a certain point, you figure out how nimble you wanna be and how you wanna adapt, what you’re willing to do and what you’re not willing to do to adjust to the realities of the way music is disseminated,” she says. “I’m so grateful to be able to rely on the relationships I’ve built with fans over the last 15 years. So Substack, a platform where you can directly rely and foster and continue to enrich that relationship with people who support you, is something I’m really interested in.”\u003c/p>\n\u003cp>Despite its challenges, the last year provided opportunities for Nguyen to align further with her purpose. She performed an NPR Tiny Desk Concert from her San Francisco home with her neighbors on cello, where she addressed the Vietnamese American community about building solidarity with the Black Lives Matter movement. She began working with the \u003ca href=\"https://www.pivotnetwork.org/mission\" target=\"_blank\" rel=\"noopener noreferrer\">Progressive Vietnamese American Organization\u003c/a>, and volunteered and fundraised for numerous get-out-the-vote campaigns.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2ooC7TOr5m0\u003c/p>\n\u003cp>“I was really grateful to receive messages from people … thanking me for being a proud member of the Vietnamese American community or being queer and Vietnamese,” Nguyen says. “There were so many points of real candor and connection.”\u003c/p>\n\u003cp>Indeed, Nguyen’s straightforwardness is refreshing. While media is full of stories of barrier-busting girl bosses—or on the flip side, depictions of people of color that focus exclusively on trauma—Nguyen takes a more nuanced approach in the way she opens up about her process of becoming.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wanted to be specific and present the realities of all the different complexities and conflicts within trying to negotiate a lot of different things, and to acknowledge the challenges I’ve had in my own family and my own community,” she says. “I had gone a long time without acknowledging any of it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back at the early days of her career, \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> remembers times she didn’t feel whole. Navigating a mostly white indie rock scene since the late 2000s caused her to downplay aspects of her Vietnamese-ness in the face of covert and overt racism. And she wasn’t out as queer to everyone in her life, which made it impossible to share her full self with some of the people close to her.\u003c/p>\n\u003cp>After years of searching and processing, she’s arrived in a secure place where she lives proudly in her truth.\u003c/p>\n\u003cp>“With all this time off, I’ve had a lot of opportunity to think about what it was like to come up at the time that I did,” says the San Francisco musician, who leads indie rock outfit Thao and the Get Down Stay Down. “Even though 2007, 2008 doesn’t sound that far away, it was drastically different. The tolerance for racism was a lot higher. And there was a lot less that you could do about it—or that I could do about it—that I feel like I can do now.”\u003c/p>\n\u003cp>Her imperfect self-discovery process became the topic of 2020’s \u003cem>Temple\u003c/em>, her most personal and poignant album with the Get Down Stay Down, named one of \u003ca href=\"https://www.kqed.org/arts/13890048/the-10-best-bay-area-albums-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s top albums of that year\u003c/a>. The project’s driving, post-rock title track captures the feeling of coming home to oneself after denying a long-held pain. Nguyen wrote the song from the perspective of her parents fleeing the Vietnam war as refugees, contextualizing her own life journey in their stories; instead of blaming her parents for their shortcomings, she creates a visceral depiction of earth-shattering loss and survival that set the stage for her upbringing in Virginia. On the songs that follow, Nguyen sounds palpably fed up with diminishing herself to fit other people’s expectations. The instrumentation is at times raw and jagged, as if evolving in real time, and her lyrics express a yearning to be seen and appreciated.\u003c/p>\n\u003cfigure id=\"attachment_13893849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-800x436.jpeg\" alt=\"\" width=\"800\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-800x436.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-1020x556.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-160x87.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-768x418.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-1536x837.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thao Nguyen’s 2020 album ‘Temple’ saw her open up about her imperfect journey to embrace her identity. In her new newsletter, she’s sharing the creative process of her next album and deepening her Asian American advocacy work. \u003ccite>(Eric Einwiller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cem>Temple\u003c/em> was as much about being Vietnamese as much as it was being proudly queer,” says Nguyen. “And that aspect, especially now given the incredibly harrowing and disturbing rise in violence towards Asian people due to all that rhetoric and racist fear mongering—I think the next album will have a lot more to do with my Asian American identity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This vulnerable new stage in her songwriting led Nguyen to her latest project: earlier this week, she launched a Substack newsletter called \u003ca href=\"https://www.thaofortherecord.community/p/coming-soon\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>For the Record\u003c/em>\u003c/a>. With weekly free content and additional dispatches for paid subscribers, Nguyen is opening up her creative process for the tight-knit community of fans as she embarks on her next album. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s almost like me being able to have an independent media company entity, and I can maintain my autonomy in a lot of ways,” Nguyen says.\u003c/p>\n\u003cp>\u003cem>For the Record\u003c/em> will include essays, poems, new tracks, performance videos, Q&As with fans and other behind-the-scenes content. Like many independent artists, Nguyen has had to step into new creative roles to continue to connect with fans online in lieu of live performance, which she previously relied on to make a living. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nguyen released \u003cem>Temple\u003c/em> in May 2020, when the realization set in that the COVID-19 lockdown would last much longer than a couple of months. In the past year, the concert industry independent artists relied on has been decimated, exposing just how devalued recorded music had become. (To earn the equivalent of full-time work at $15 an hour, an artist needs to get 657,895 Spotify streams a month, according to \u003ca href=\"https://www.npr.org/2020/08/19/903547253/a-tale-of-two-ecosystems-on-bandcamp-spotify-and-the-wide-open-future\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s calculations\u003c/a>.) Artists at Nguyen’s level, who have devoted followings but aren’t chart toppers, have had to get creative about harnessing monetary support from their fan bases. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve been cranky about it in the past, but at a certain point, you figure out how nimble you wanna be and how you wanna adapt, what you’re willing to do and what you’re not willing to do to adjust to the realities of the way music is disseminated,” she says. “I’m so grateful to be able to rely on the relationships I’ve built with fans over the last 15 years. So Substack, a platform where you can directly rely and foster and continue to enrich that relationship with people who support you, is something I’m really interested in.”\u003c/p>\n\u003cp>Despite its challenges, the last year provided opportunities for Nguyen to align further with her purpose. She performed an NPR Tiny Desk Concert from her San Francisco home with her neighbors on cello, where she addressed the Vietnamese American community about building solidarity with the Black Lives Matter movement. She began working with the \u003ca href=\"https://www.pivotnetwork.org/mission\" target=\"_blank\" rel=\"noopener noreferrer\">Progressive Vietnamese American Organization\u003c/a>, and volunteered and fundraised for numerous get-out-the-vote campaigns.\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/2ooC7TOr5m0'\n title='//www.youtube.com/embed/2ooC7TOr5m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I was really grateful to receive messages from people … thanking me for being a proud member of the Vietnamese American community or being queer and Vietnamese,” Nguyen says. “There were so many points of real candor and connection.”\u003c/p>\n\u003cp>Indeed, Nguyen’s straightforwardness is refreshing. While media is full of stories of barrier-busting girl bosses—or on the flip side, depictions of people of color that focus exclusively on trauma—Nguyen takes a more nuanced approach in the way she opens up about her process of becoming.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wanted to be specific and present the realities of all the different complexities and conflicts within trying to negotiate a lot of different things, and to acknowledge the challenges I’ve had in my own family and my own community,” she says. “I had gone a long time without acknowledging any of it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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.",
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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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"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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"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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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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