Looking for the Bay Area’s Most Exciting Music Scene? Try DIY Internet Radio
Artists Hit by Rains and Flooding Look to Emergency Relief Funds
On ‘Mahal,’ Toro y Moi Shows Love to the Bay Area and His Filipino Community
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"content": "\u003cp>Waiting on the corner of 16th and Mission between a boombox and a banana stand, you’d never know what’s inside the hollowed-out California Savings Bank. When Luis Castillo guides me up the stairs, the sounds of the street morph into a wild rhythm of drum and bass. In a drab green hallway, a black door scrawled with the name “\u003ca href=\"https://hydefm.com/\">HYDE FM\u003c/a>” barely contains the music and pink lights within. \u003c/p>\n\u003cp>Inside, Clearcast is playing high BPM techno and electronic music with a group of friends; the hour before, another DJ was spinning lo-fi hip-hop and downtempo leftfield pop. The next scheduled block has Brazilian jazz and funk records lined up – all under the HydeFM banner. \u003c/p>\n\u003cp>This vibrant DIY internet radio station was founded in 2019 by Castillo and his longtime friend Denis Makhlin. Inspired by the college radio scene and other arts and radio collectives in Los Angeles, they decided to do something similar in San Francisco, Makhlin’s hometown.[aside postID='arts_13916408'] \u003c/p>\n\u003cp>In doing so, they joined a thriving Bay Area internet radio scene that has created countless opportunities for the musical communities it nurtures. During the pandemic, with clubs closed and live events canceled, even more DJs turned to streaming their mixes over the internet. Stations like HydeFM and Oakland’s \u003ca href=\"https://www.lowergrandradio.com/\">Lower Grand Radio\u003c/a> grew exponentially as people sought connection and comfort through music. Now, with venues reopened, these stations are pulling their digital communities into physical space. \u003c/p>\n\u003ch2>You too can DJ\u003c/h2>\n\u003cp>HydeFM’s first set-ups were a far cry from their current Mission digs: Castillo’s art school dorm room; Makhlin’s mom’s house; a shared apartment in Daly City. From the start, their goal was to build a collaborative and intersectional community that didn’t cater to a single musical audience. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Techno DJs mixing fast-paced rave music, hip-hop heads and jazz cats waving dusty 45s — at Hyde, artists of all stripes are invited to represent the diverse sounds of San Francisco’s many music scenes. Word began to spread, and by the time the pandemic hit, people were contacting the station en masse to volunteer their time and talents. That’s when they upgraded to their current Mission District studio.\u003c/p>\n\u003cp>Hyde now hosts over 30 residents and dozens more guest DJs per week. “I don’t think that would happen in any other city,” Makhlin says of the excitement around the station. “San Francisco is so special that people here are actually about uplifting a scene, and they’re about helping each other.”\u003c/p>\n\u003cfigure id=\"attachment_13926334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web.jpg\" alt=\"Writing on red-lit wall reads "Don't be afraid to use the mic!! People wanna hear your voice"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13926334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An encouraging note at HydeFM. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was one of the DJs who joined both Hyde and Lower Grand later in the pandemic, after hearing whispers of them at my college station in Davis. I knew my music well, but I had almost no experience with mixing or using standard DJ equipment beyond turntables. Internet radio became my training field, and as an organic cross section of Bay Area culture, it also turned me onto local music.\u003c/p>\n\u003cp>The collaborative nature of these communities helped me and other emerging DJs improve our skills. Most crucially, they have attracted those who would never have attempted to DJ otherwise. \u003c/p>\n\u003cp>“That’s something that we pride ourselves on is that if people are going to take this step into DJing or whatever they want to do in the music scene in general,” Makhlin says, “we would love to be that facilitator and be the first step into that field.”\u003c/p>\n\u003ch2>DIY radio, but legal\u003c/h2>\n\u003cp>The appeal of internet radio is clear. It is significantly cheaper and easier to build an online radio station than it is to acquire an FM signal. Operating a terrestrial broadcast requires compliance with the Federal Communications Commission (FCC), which means restricted programming, fees and licensing (which can cost thousands of dollars), and an array of complex rules. \u003c/p>\n\u003cp>Before internet radio came on the scene, pirate radio stations stuck lead pipes through rooftops to circumvent these laws. Aside from being highly illegal, these setups required knowledge of radio engineering and logistics, all under the threat of a hefty FCC fine or a raid. \u003c/p>\n\u003cp>[aside postID='arts_13839714']Today, streaming on the internet requires only an internet connection, and the Bay Area has a rich history of both DIY and pirate radio stations. San Francisco’s \u003ca href=\"https://bff.fm/\">BFF.fm\u003c/a> was founded in 2013, Lower Grand Radio started in 2015, and \u003ca href=\"https://faultradio.com/\">Fault Radio\u003c/a> launched in 2018. \u003c/p>\n\u003cp>The accessible and unrestricted nature of internet radio attracts creatives from niche and marginalized communities, people of color, and members of the queer community. And in many instances, these communities are the ones supporting the stations directly, donating funds and volunteering their labor.\u003c/p>\n\u003cfigure id=\"attachment_13926333\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web.jpg\" alt=\"White person in jacket smiles over shoulder in front of turntables\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13926333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Clearcast at HydeFM in San Francisco on Feb. 7, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Franky Kohn, aka Clearcast, joined HydeFM in 2020. A guitarist and bassist who grew up in Los Angeles, they started making electronic music as a teenager and expanded into DJing when they moved to the Bay Area in 2019. Kohn discovered DIY radio while attending underground raves put on by Hyde and other stations. \u003c/p>\n\u003cp>Hyde provided them with their first opportunity to DJ anywhere outside of their bedroom; now they have a \u003ca href=\"https://soundcloud.com/clear_cast/sets/cloudcontrol-on-hydefm\">monthly show\u003c/a> at the station. “They lifted me so much,” Kohn says of the station. “I basically had very little to no experience on performing as a DJ. Without a radio station that lets people come on and perform, I probably wouldn’t have the confidence to reach out for things that I reached out for that end up leading to other opportunities.”\u003c/p>\n\u003cp>Now Kohn has been consistently headlining raves and events at San Francisco venues, bringing their eclectic collection of electronic music to dancing crowds. In early March they even booked a set at \u003ca href=\"https://www.thelotradio.com/\">The Lot Radio\u003c/a>, New York City’s well-known internet radio kiosk. Kohn says they feel lucky to be part of a movement of like-minded music lovers eager to collaborate.\u003c/p>\n\u003cfigure id=\"attachment_13926339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web.jpg\" alt=\"Asian man in hoodie sits in front of pegboard covered with cables and headphones, mic in foreground\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13926339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Shen, founder and manager of the online radio station Lower Grand Radio, in the station’s studio near Oakland’s Temescal neighborhood on Feb. 3, 2023. \u003ccite>(Kori Suzuki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A big community effort’\u003c/h2>\n\u003cp>HydeFM works closely with Oakland’s Lower Grand Radio, which, over the course of eight years, has become the biggest local internet station. Alex Shen started Lower Grand in 2015, and shares space with artist Jeffrey Cheung’s \u003ca href=\"https://www.unityzines.com/\">Unity Press\u003c/a> in a Broadway Avenue storefront. The two childhood friends grew up in the East Bay and played in bands together before developing their projects in tandem.\u003c/p>\n\u003cp>They first broadcast out of a shipping container at the MacArthur BART station before moving to the loft in a downtown bookstore, streaming music over the busy shelves. Shen says that visibility helped attract more participants, including DJs, artists, computer programmers and engineers.\u003c/p>\n\u003cp>“If you have the space for things to do, that’s like a public park,” Shen explains. “If you do meet each other, you’re going to connect with people and do something cool. And that’s the beauty of it, we don’t have like a set genre that we stick to or, you know, the FCC rules don’t necessarily apply here. So it’s almost like whatever goes.”\u003c/p>\n\u003cp>In 2019, Lower Grand moved yet again, this time into the former Oakland Surf Club on 41st and Broadway. With help from friends and station members, they built a DJ booth in the back and cleared space for Unity’s press and skateshop in the front.\u003c/p>\n\u003cfigure id=\"attachment_13926344\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web.jpg\" alt=\"Two men stand in front of wall of skateboards with front door open to right\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13926344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Shen, right, and Lower Grand program director Tal Robinson at the station’s shared front door with Unity Press on Feb. 3, 2023. \u003ccite>(Kori Suzuki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s just a big community effort,” Shen says, echoing Makhlin’s sentiments about Hyde. “I think since we’ve come here, more people are connecting and doing parties together, practicing, doing their DJ skills and stuff. And it’s cool that internet radio can kind of be that facilitator.”\u003c/p>\n\u003cp>The lockdown surge in DJing touched Lower Grand too. Pre-pandemic, they had around two dozen residents and guest shows; they now boast over \u003ca href=\"https://www.lowergrandradio.com/residents\">100 monthly shows and 60 resident DJs.\u003c/a> Streams at primetime hours attract around 1,000 local and international listeners.\u003c/p>\n\u003cp>One of those resident DJs is college radio alum and dancer Ari Boostani, aka \u003ca href=\"https://www.mixcloud.com/Dj_ariB/\">DJ Ari B\u003c/a>, who joined Lower Grand in 2021. They found out about the station from other DJs at DIY raves, specifically at one centered on Middle Eastern and South Asian music. \u003c/p>\n\u003cp>At Lower Grand, Boostani found something they’d been looking for. “I like just having total freedom of what kind of event you can put on in a space that’s safe,” they say. “Especially as a queer person, I think having these spaces that are aimed towards being queer, femme, trans, artists — I think that’s what was missing before.”\u003c/p>\n\u003ch2>See you on the dance floor\u003c/h2>\n\u003cp>Internet radio stations like HydeFM and Lower Grand have become fixtures in a thriving local music ecosystem. Some venues, such as San Francisco’s natural wine spot \u003ca href=\"https://barparttime.com/\">Bar Part Time\u003c/a>, make a point to book underrepresented and local DJs. The bar hosted a residency with Hyde, and now several station DJs play there on a regular basis. Bar Part Time’s co-founder and music director Jeremy Castillo (who is also a DJ) says their mission in starting the bar was similar to the stations’ intentions. \u003c/p>\n\u003cp>“I think when we first opened, I just wanted it to be for all the creative people who are left in San Francisco,” Castillo says. “And you know, we sell natural wine, the whole movement is extremely democratic and inclusive … I think that’s the space that we really strive to be, is a place for everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13926340\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web.jpg\" alt=\"A woman stands at a turntable while a man laughs in the background\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13926340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Shen, left, places a record on the turntable as Rayshell Mederos, aka DJ Rayreck, performs a quick set at Lower Grand on Feb. 3, 2023. \u003ccite>(Kori Suzuki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On any given night, Bar Part Time fills with the sounds of what Castillo calls “wine music.” As the vino flows, mid-tempo grooves and disco get the crowd packed into the intimate dance floor, many bending over the DJ table to get a look at what vinyl is spinning. \u003c/p>\n\u003cp>“We have really good talent here. It’s like, why do we need to bring in a DJ from Berlin to get people into the door?” Castillo says. “I think it’s easy to really overlook what’s around you.” \u003c/p>\n\u003cp>On Feb. 23, Bar Part Time hosted resident DJs from Lower Grand as part of the station’s eighth anniversary celebrations, which stretched across three nights on both sides of the Bay. You’d never know it from the festive atmosphere, but the night before the party, Lower Grand had been burglarized, losing almost all its DJ equipment. \u003c/p>\n\u003cp>In the true spirit of a DIY, any sense of defeat was quickly snuffed by action. The GoFundMe Shen put together to buy new gear hit its goal of $11,500 after only five hours. By the third night of the anniversary parties, toasts were being made to the love and generosity of everyone who donated.\u003c/p>\n\u003cp>It is this kind of persistent community ethos that Makhlin says is his motivation to continue HydeFM, and the reason it has grown so much here in San Francisco. The scene does not thrive in spite of the Bay Area – it is the Bay Area. \u003c/p>\n\u003cp>As Makhlin says, “People always say San Francisco used to be like that. No, I think San Francisco \u003ci>right now\u003c/i> is like that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Waiting on the corner of 16th and Mission between a boombox and a banana stand, you’d never know what’s inside the hollowed-out California Savings Bank. When Luis Castillo guides me up the stairs, the sounds of the street morph into a wild rhythm of drum and bass. In a drab green hallway, a black door scrawled with the name “\u003ca href=\"https://hydefm.com/\">HYDE FM\u003c/a>” barely contains the music and pink lights within. \u003c/p>\n\u003cp>Inside, Clearcast is playing high BPM techno and electronic music with a group of friends; the hour before, another DJ was spinning lo-fi hip-hop and downtempo leftfield pop. The next scheduled block has Brazilian jazz and funk records lined up – all under the HydeFM banner. \u003c/p>\n\u003cp>This vibrant DIY internet radio station was founded in 2019 by Castillo and his longtime friend Denis Makhlin. Inspired by the college radio scene and other arts and radio collectives in Los Angeles, they decided to do something similar in San Francisco, Makhlin’s hometown.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>In doing so, they joined a thriving Bay Area internet radio scene that has created countless opportunities for the musical communities it nurtures. During the pandemic, with clubs closed and live events canceled, even more DJs turned to streaming their mixes over the internet. Stations like HydeFM and Oakland’s \u003ca href=\"https://www.lowergrandradio.com/\">Lower Grand Radio\u003c/a> grew exponentially as people sought connection and comfort through music. Now, with venues reopened, these stations are pulling their digital communities into physical space. \u003c/p>\n\u003ch2>You too can DJ\u003c/h2>\n\u003cp>HydeFM’s first set-ups were a far cry from their current Mission digs: Castillo’s art school dorm room; Makhlin’s mom’s house; a shared apartment in Daly City. From the start, their goal was to build a collaborative and intersectional community that didn’t cater to a single musical audience. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Techno DJs mixing fast-paced rave music, hip-hop heads and jazz cats waving dusty 45s — at Hyde, artists of all stripes are invited to represent the diverse sounds of San Francisco’s many music scenes. Word began to spread, and by the time the pandemic hit, people were contacting the station en masse to volunteer their time and talents. That’s when they upgraded to their current Mission District studio.\u003c/p>\n\u003cp>Hyde now hosts over 30 residents and dozens more guest DJs per week. “I don’t think that would happen in any other city,” Makhlin says of the excitement around the station. “San Francisco is so special that people here are actually about uplifting a scene, and they’re about helping each other.”\u003c/p>\n\u003cfigure id=\"attachment_13926334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web.jpg\" alt=\"Writing on red-lit wall reads "Don't be afraid to use the mic!! People wanna hear your voice"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13926334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62806_016_KQEDArts_HydeFMRadio_02072023_web-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An encouraging note at HydeFM. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was one of the DJs who joined both Hyde and Lower Grand later in the pandemic, after hearing whispers of them at my college station in Davis. I knew my music well, but I had almost no experience with mixing or using standard DJ equipment beyond turntables. Internet radio became my training field, and as an organic cross section of Bay Area culture, it also turned me onto local music.\u003c/p>\n\u003cp>The collaborative nature of these communities helped me and other emerging DJs improve our skills. Most crucially, they have attracted those who would never have attempted to DJ otherwise. \u003c/p>\n\u003cp>“That’s something that we pride ourselves on is that if people are going to take this step into DJing or whatever they want to do in the music scene in general,” Makhlin says, “we would love to be that facilitator and be the first step into that field.”\u003c/p>\n\u003ch2>DIY radio, but legal\u003c/h2>\n\u003cp>The appeal of internet radio is clear. It is significantly cheaper and easier to build an online radio station than it is to acquire an FM signal. Operating a terrestrial broadcast requires compliance with the Federal Communications Commission (FCC), which means restricted programming, fees and licensing (which can cost thousands of dollars), and an array of complex rules. \u003c/p>\n\u003cp>Before internet radio came on the scene, pirate radio stations stuck lead pipes through rooftops to circumvent these laws. Aside from being highly illegal, these setups required knowledge of radio engineering and logistics, all under the threat of a hefty FCC fine or a raid. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Today, streaming on the internet requires only an internet connection, and the Bay Area has a rich history of both DIY and pirate radio stations. San Francisco’s \u003ca href=\"https://bff.fm/\">BFF.fm\u003c/a> was founded in 2013, Lower Grand Radio started in 2015, and \u003ca href=\"https://faultradio.com/\">Fault Radio\u003c/a> launched in 2018. \u003c/p>\n\u003cp>The accessible and unrestricted nature of internet radio attracts creatives from niche and marginalized communities, people of color, and members of the queer community. And in many instances, these communities are the ones supporting the stations directly, donating funds and volunteering their labor.\u003c/p>\n\u003cfigure id=\"attachment_13926333\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web.jpg\" alt=\"White person in jacket smiles over shoulder in front of turntables\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13926333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62796_005_KQEDArts_HydeFMRadio_02072023_web-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Clearcast at HydeFM in San Francisco on Feb. 7, 2023. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Franky Kohn, aka Clearcast, joined HydeFM in 2020. A guitarist and bassist who grew up in Los Angeles, they started making electronic music as a teenager and expanded into DJing when they moved to the Bay Area in 2019. Kohn discovered DIY radio while attending underground raves put on by Hyde and other stations. \u003c/p>\n\u003cp>Hyde provided them with their first opportunity to DJ anywhere outside of their bedroom; now they have a \u003ca href=\"https://soundcloud.com/clear_cast/sets/cloudcontrol-on-hydefm\">monthly show\u003c/a> at the station. “They lifted me so much,” Kohn says of the station. “I basically had very little to no experience on performing as a DJ. Without a radio station that lets people come on and perform, I probably wouldn’t have the confidence to reach out for things that I reached out for that end up leading to other opportunities.”\u003c/p>\n\u003cp>Now Kohn has been consistently headlining raves and events at San Francisco venues, bringing their eclectic collection of electronic music to dancing crowds. In early March they even booked a set at \u003ca href=\"https://www.thelotradio.com/\">The Lot Radio\u003c/a>, New York City’s well-known internet radio kiosk. Kohn says they feel lucky to be part of a movement of like-minded music lovers eager to collaborate.\u003c/p>\n\u003cfigure id=\"attachment_13926339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web.jpg\" alt=\"Asian man in hoodie sits in front of pegboard covered with cables and headphones, mic in foreground\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13926339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62576_02032023_lowergrandradio-220_web-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Shen, founder and manager of the online radio station Lower Grand Radio, in the station’s studio near Oakland’s Temescal neighborhood on Feb. 3, 2023. \u003ccite>(Kori Suzuki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A big community effort’\u003c/h2>\n\u003cp>HydeFM works closely with Oakland’s Lower Grand Radio, which, over the course of eight years, has become the biggest local internet station. Alex Shen started Lower Grand in 2015, and shares space with artist Jeffrey Cheung’s \u003ca href=\"https://www.unityzines.com/\">Unity Press\u003c/a> in a Broadway Avenue storefront. The two childhood friends grew up in the East Bay and played in bands together before developing their projects in tandem.\u003c/p>\n\u003cp>They first broadcast out of a shipping container at the MacArthur BART station before moving to the loft in a downtown bookstore, streaming music over the busy shelves. Shen says that visibility helped attract more participants, including DJs, artists, computer programmers and engineers.\u003c/p>\n\u003cp>“If you have the space for things to do, that’s like a public park,” Shen explains. “If you do meet each other, you’re going to connect with people and do something cool. And that’s the beauty of it, we don’t have like a set genre that we stick to or, you know, the FCC rules don’t necessarily apply here. So it’s almost like whatever goes.”\u003c/p>\n\u003cp>In 2019, Lower Grand moved yet again, this time into the former Oakland Surf Club on 41st and Broadway. With help from friends and station members, they built a DJ booth in the back and cleared space for Unity’s press and skateshop in the front.\u003c/p>\n\u003cfigure id=\"attachment_13926344\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web.jpg\" alt=\"Two men stand in front of wall of skateboards with front door open to right\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13926344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62603_02032023_lowergrandradio-466_web-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Shen, right, and Lower Grand program director Tal Robinson at the station’s shared front door with Unity Press on Feb. 3, 2023. \u003ccite>(Kori Suzuki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s just a big community effort,” Shen says, echoing Makhlin’s sentiments about Hyde. “I think since we’ve come here, more people are connecting and doing parties together, practicing, doing their DJ skills and stuff. And it’s cool that internet radio can kind of be that facilitator.”\u003c/p>\n\u003cp>The lockdown surge in DJing touched Lower Grand too. Pre-pandemic, they had around two dozen residents and guest shows; they now boast over \u003ca href=\"https://www.lowergrandradio.com/residents\">100 monthly shows and 60 resident DJs.\u003c/a> Streams at primetime hours attract around 1,000 local and international listeners.\u003c/p>\n\u003cp>One of those resident DJs is college radio alum and dancer Ari Boostani, aka \u003ca href=\"https://www.mixcloud.com/Dj_ariB/\">DJ Ari B\u003c/a>, who joined Lower Grand in 2021. They found out about the station from other DJs at DIY raves, specifically at one centered on Middle Eastern and South Asian music. \u003c/p>\n\u003cp>At Lower Grand, Boostani found something they’d been looking for. “I like just having total freedom of what kind of event you can put on in a space that’s safe,” they say. “Especially as a queer person, I think having these spaces that are aimed towards being queer, femme, trans, artists — I think that’s what was missing before.”\u003c/p>\n\u003ch2>See you on the dance floor\u003c/h2>\n\u003cp>Internet radio stations like HydeFM and Lower Grand have become fixtures in a thriving local music ecosystem. Some venues, such as San Francisco’s natural wine spot \u003ca href=\"https://barparttime.com/\">Bar Part Time\u003c/a>, make a point to book underrepresented and local DJs. The bar hosted a residency with Hyde, and now several station DJs play there on a regular basis. Bar Part Time’s co-founder and music director Jeremy Castillo (who is also a DJ) says their mission in starting the bar was similar to the stations’ intentions. \u003c/p>\n\u003cp>“I think when we first opened, I just wanted it to be for all the creative people who are left in San Francisco,” Castillo says. “And you know, we sell natural wine, the whole movement is extremely democratic and inclusive … I think that’s the space that we really strive to be, is a place for everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13926340\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web.jpg\" alt=\"A woman stands at a turntable while a man laughs in the background\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13926340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS62592_02032023_lowergrandradio-403_web-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Shen, left, places a record on the turntable as Rayshell Mederos, aka DJ Rayreck, performs a quick set at Lower Grand on Feb. 3, 2023. \u003ccite>(Kori Suzuki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On any given night, Bar Part Time fills with the sounds of what Castillo calls “wine music.” As the vino flows, mid-tempo grooves and disco get the crowd packed into the intimate dance floor, many bending over the DJ table to get a look at what vinyl is spinning. \u003c/p>\n\u003cp>“We have really good talent here. It’s like, why do we need to bring in a DJ from Berlin to get people into the door?” Castillo says. “I think it’s easy to really overlook what’s around you.” \u003c/p>\n\u003cp>On Feb. 23, Bar Part Time hosted resident DJs from Lower Grand as part of the station’s eighth anniversary celebrations, which stretched across three nights on both sides of the Bay. You’d never know it from the festive atmosphere, but the night before the party, Lower Grand had been burglarized, losing almost all its DJ equipment. \u003c/p>\n\u003cp>In the true spirit of a DIY, any sense of defeat was quickly snuffed by action. The GoFundMe Shen put together to buy new gear hit its goal of $11,500 after only five hours. By the third night of the anniversary parties, toasts were being made to the love and generosity of everyone who donated.\u003c/p>\n\u003cp>It is this kind of persistent community ethos that Makhlin says is his motivation to continue HydeFM, and the reason it has grown so much here in San Francisco. The scene does not thrive in spite of the Bay Area – it is the Bay Area. \u003c/p>\n\u003cp>As Makhlin says, “People always say San Francisco used to be like that. No, I think San Francisco \u003ci>right now\u003c/i> is like that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artists Hit by Rains and Flooding Look to Emergency Relief Funds",
"headTitle": "Artists Hit by Rains and Flooding Look to Emergency Relief Funds | KQED",
"content": "\u003cp>\u003cstrong>Jump to: \u003ca href=\"#emergencyfunds\">A list of emergency relief funds for artists and venues\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>When the first wave of storms hit the Bay Area on Dec. 31, Avi Ehrlich, owner of the indie comics shop \u003ca href=\"https://www.silversprocket.net/\">Silver Sprocket\u003c/a>, believed a minor ceiling leak was the worst of it.\u003c/p>\n\u003cp>“We thought that was a big problem and we took like two hours to deal with that,” says Ehrlich. “And then we went downstairs into the basement and we’re like ‘Oh, holy shit.’”\u003c/p>\n\u003cp>Silver Sprocket’s entire Valencia Street basement was flooded, ruining some of the shop’s inventory and putting the rest of it at risk. In a video Ehrlich posted to Twitter Dec. 31, water freely pours down a basement wall. Neighbors and friends rallied to help move boxes of books to higher ground, but Ehrlich says even now there is still water coming into the basement; permanent fixes won’t be possible until it stops raining.\u003c/p>\n\u003cp>https://twitter.com/ssbcpunk/status/1609323186201718786?s=20&t=f6g79UntH-tAUyQcFKVi6w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, mold is forming where the murky rainwater once pooled. “We definitely lost a significant amount of inventory,” says Ehrlich, who threw their back out in the scramble. And sales are less than half of what they would normally be, but the shop is hesitant to do any marketing because half its space has been given over to storage; finding items is a struggle.\u003c/p>\n\u003cp>“We don’t want to leave our customers waiting for weeks to get the comics that they ordered,” Ehrlich says. “Our customers are extremely kind and patient, but there’s limits to it.”\u003c/p>\n\u003cp>Silver Sprocket is hardly the only arts venue affected by leaks and flooding — though the full extent of damaged artwork and spaces may only come to light when the storms die down, as forecasted, after Jan. 19. Artists in the Islais Creek Studios lost work on Dec. 31, as reported by the \u003ci>\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-francisco-artists-space-floods-during-winter-storms-with-losses-ill-never-get-back\">San Francisco Chronicle\u003c/a>\u003c/i>, and spaces like New Conservatory Theater, Z Below and Oakland’s Lower Grand Radio are all \u003ca href=\"https://datebook.sfchronicle.com/theater/there-was-a-moat-underground-s-f-venues-bail-out-from-one-flood-prepare-for-next\">dealing with the aftermath of invasive waters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923645\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9.jpg\" alt=\"Two people in rain gear with sticks stand in ankle-deep water on city street corner\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Two Mission District residents work to open a clogged drain on Mission and 21st Streets in San Francisco on Jan. 10, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the storms continue to wreak havoc across the Bay Area, only one local arts funder has emerged to offer dedicated grants to affected artists. On Jan. 6, the Minnesota Street Project Foundation (the nonprofit arm of the gallery, studio and art storage complex) launched \u003ca href=\"https://minnesotastreetproject.org/artistreliefgrants\">an emergency relief grant\u003c/a> to provide immediate assistance to visual artists impacted by the rains and flooding.\u003c/p>\n\u003cp>“We went basically from idea stage to launch within about 72 hours,” says Rachel Sample, director of the foundation. “Then applications opened and within 24 hours we had over 30 applications.” Seeded with an initial amount of $20,000, the relief fund is offering grants of up to $1,000 to cover expenses related to restoration, storage and temporary studio space.\u003c/p>\n\u003cp>The fund has already contacted its first round of grantees, and hoped to distribute funds starting Jan. 11. Sample says they welcome more applications (they’ve received about 70 already), but they are also seeking additional funding. “We’re trying our very best to roll with the immediacy, but are also hoping that we will have some folks join us,” she says. “The more that we have, the more of these applications we can service.”\u003c/p>\n\u003cp>One of those initial applicants was Alex Shen, \u003ca href=\"https://www.lowergrandradio.com/\">Lower Grand Radio\u003c/a>’s founder and station manager, whose studio partner, Jeff Chung of \u003ca href=\"https://www.unityzines.com/\">Unity Press\u003c/a>, discovered the flooding at their storefront on Dec. 31. “Jeff called me while I was at work like twice in a row and I was like, ‘Uh oh, something’s up,’” Shen remembers. When Chung arrived at 4124 Broadway Ave., Shen says, water came out the front doors “like a lake.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@lowergrandradio/video/7184197149981314350\" data-video-id=\"7184197149981314350\">\n\u003csection>\u003ca title=\"@lowergrandradio\" href=\"https://www.tiktok.com/@lowergrandradio?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@lowergrandradio\u003c/a> Nature rules all !! \u003ca title=\"rajn\" href=\"https://www.tiktok.com/tag/rajn?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#rajn\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"gonnabeok\" href=\"https://www.tiktok.com/tag/gonnabeok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#gonnabeok\u003c/a> \u003ca title=\"♬ Digital Bath - Deftones\" href=\"https://www.tiktok.com/music/Digital-Bath-6903936808690649090?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ Digital Bath – Deftones\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>“It had basically just been free flowing from a clogged drain in the backyard,” Shen says. “Luckily, nothing majorly structurally was damaged other than a lot of printing paper and some outlets and extension cords in our radio studio.” He estimates between Unity and the station, they suffered around $500–$1,000 worth of damage.\u003c/p>\n\u003cp>“If it had happened for another hour or something, it could have been a lot worse,” he says. Friends and fans posted Lower Grand’s Venmo accounts on videos of the flooding, eliciting mutual aid that helped Shen deal with immediate damage control.\u003c/p>\n\u003cp>For businesses like Silver Sprocket, the long term financial effects of the storms are still unknown. Right now, it’s frustrating to be unable to move forward. “Our crew is amazing,” Ehrlich says, “but morale is definitely taking a hit of us just feeling like we’re not able to do our jobs.”\u003c/p>\n\u003cp>As the Bay Area looks forward to drying out and taking stock, the storms have clearly disrupted an already fragile ecosystem. Sample says about a third of the people who’ve applied for emergency grants have upcoming exhibitions. “There are businesses that have been interrupted,” she says. “The galleries that [artists] are showing with have been interrupted. The museums that they’re showing with have been interrupted. And so the ripple of the investment in this relief fund could be quite large.”\u003c/p>\n\u003cp>After all, she emphasizes, “The point of this fund is to empty it.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>\u003ca id=\"emergencyfunds\">\u003c/a>If you’re a Bay Area artist or venue that has experienced losses due to the storms, KQED has put together a list of emergency relief funds below. We will continue to add to this as opportunities emerge. \u003c/i>\u003c/p>\n\u003cp>\u003ci>Nastia Voynovskaya contributed to this reporting.\u003c/i>\u003c/p>\n\u003ch2>Discipline Non-Specific\u003c/h2>\n\u003cp>\u003ca href=\"https://www.thehavenfdn.org/application/\">The Haven Foundation \u003c/a>\u003cbr>\nThis emergency grant for freelancers (founded by Stephen King!) seeks to aid “persons connected with the artistic or entertainment industries,” including authors, actors, singers, dancers, directors, producers, choreographers, musicians, artists and screenwriters. The current application window closes March 24, 2023.\u003c/p>\n\u003ch2>For Visual Artists\u003c/h2>\n\u003cp>\u003ca href=\"https://minnesotastreetproject.org/artistreliefgrants\">Minnesota Street Project Foundation Artist Emergency Relief Grants\u003c/a>\u003cbr>\nThis emergency fund will provide grants of up to $1,000 to visual artists who suffered losses due to the Bay Area’s record-breaking rainfall and floods. Applications are being accepted on a rolling basis.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gottliebfoundation.org/emergency-grant\">The Adolph and Esther Gottlieb Emergency Grant \u003c/a>\u003cbr>\nThis grant provides financial assistance to painters, printmakers and sculptors (with a minimum of 10 years of “mature” artmaking) who have experienced “an unforeseen, catastrophic incident” and do not have the resources to deal with the situation. Flooding is a specific emergency mentioned in the grant guidelines. The maximum amount that can be awarded is $15,000; a typical award is $5,000.\u003c/p>\n\u003cp>\u003ca href=\"https://pkf.org/our-grants/#pollock-krasner-foundation-grant\">The Pollock-Krasner Foundation \u003c/a>\u003cbr>\nWhile this is not an emergency grant, per se, the foundation looks at both artistic merit and financial need when making decisions. The awards are limited to painters, sculptors and artists who work on paper (including printmakers). Grant amounts can range up to $30,000.\u003c/p>\n\u003cp>\u003ca href=\"https://cerfplus.org/get-relief/apply-for-help/craft-emergency-relief-fund/\">CERF+ Emergency Assistance \u003c/a>\u003cbr>\nCERF+ provides emergency grants of $3,000 to artists working in a craft discipline (including clay, glass, textiles, wood and metal) and folk/traditional artists who have experienced a “recent, career-threatening emergency,” which includes a natural disaster.\u003c/p>\n\u003cp>\u003ca href=\"https://www.foundationforcontemporaryarts.org/grants/emergency-grants/\">Foundation for Contemporary Arts\u003c/a>\u003cbr>\nIf you’re a visual or performing artist whose progress on an upcoming project was suddenly derailed by a natural disaster, this emergency grant distributed in amounts from $500 to $3,000 can help bring the work to completion.\u003c/p>\n\u003ch2>For Writers and Authors\u003c/h2>\n\u003cp>\u003ca href=\"https://www.carnegiefundforauthors.org/\">Carnegie Fund for Authors\u003c/a>\u003cbr>\nAmerican authors with at least one full-length work of fiction or nonfiction can apply for emergency grants with documentation of demonstrated need. Fires, floods and hurricanes are all expressly mentioned. In 2020, awards ranged from $500 to $3,000.\u003c/p>\n\u003cp>\u003ca href=\"https://pen.org/us-writers-aid-initiative/\">PEN America U.S. Writers’ Aid Initiative\u003c/a>\u003cbr>\nThis grant for fiction and nonfiction authors, poets, playwrights, screenwriters, translators and journalists facing a short-term emergency situation. The initiative gives out awards of $1,000–$3,500. The next deadline is April 1, 2023.\u003c/p>\n\u003cp>\u003ca href=\"https://www.asja.org/what-we-do/weaf/\">ASJA’s Writers Emergency Assistance Fund\u003c/a>\u003cbr>\nThis fund provides grants to professional nonfiction freelance writers who are unable to work “because of illness, disability, natural disaster or extraordinary professional crisis.” The fund distributes grants of up to $3,500.\u003c/p>\n\u003ch2>For Musicians and Performers\u003c/h2>\n\u003cp>\u003ca href=\"https://www.musicares.org/get-help\">MusiCares Emergency Financial Assistance\u003c/a>\u003cbr>\nMusicians and music industry professionals experiencing unexpected financial hardships can apply to the Recording Academy’s MusiCares program. To be eligible, you must have a documented history as an industry professional for at least five years, or have contributed to six commercially released recordings or videos. MusiCares can fund basic living expenses like rent, utilities, car payments and insurance premiums.\u003c/p>\n\u003cp>\u003ca href=\"https://entertainmentcommunity.org/am-i-eligible-help\">Entertainment Assistance Program\u003c/a>\u003cbr>\nEntertainment professionals with documented financial need and a track record of specific performing arts and entertainment earnings can apply for this grant to cover immediate basic living expenses such as housing, food, utility bills or health care.\u003c/p>\n\u003ch2>For Venues\u003c/h2>\n\u003cp>\u003ca href=\"https://performingartsreadiness.org/\">Performing Arts Readiness\u003c/a>\u003cbr>\nThe pandemic (and the recent flooding of local underground venues) has made it clear that performing arts venues are especially vulnerable during hard times. This site gathers a rich collection of disaster preparedness documents, case studies and loss calculators to help venues withstand emergencies and recover more quickly.\u003c/p>\n\u003cp>\u003ca href=\"https://www.dplan.org/\">dPlan|ArtsReady\u003c/a>\u003cbr>\nThis online emergency preparedness and response tool helps arts and cultural organizations of any size minimize the risks of disaster and their own losses.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.ncaper.org/_files/ugd/4d06be_fc5a673509d54465af09440b487b0e2b.pdf\">The NCAPER Field Guide\u003c/a>\u003cbr>\nThis guide, published by the National Coalition for Arts’ Preparedness and Emergency Response, was created to “help demystify” the labyrinthine systems of federal disaster relief for the arts and culture sector.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Jump to: \u003ca href=\"#emergencyfunds\">A list of emergency relief funds for artists and venues\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>When the first wave of storms hit the Bay Area on Dec. 31, Avi Ehrlich, owner of the indie comics shop \u003ca href=\"https://www.silversprocket.net/\">Silver Sprocket\u003c/a>, believed a minor ceiling leak was the worst of it.\u003c/p>\n\u003cp>“We thought that was a big problem and we took like two hours to deal with that,” says Ehrlich. “And then we went downstairs into the basement and we’re like ‘Oh, holy shit.’”\u003c/p>\n\u003cp>Silver Sprocket’s entire Valencia Street basement was flooded, ruining some of the shop’s inventory and putting the rest of it at risk. In a video Ehrlich posted to Twitter Dec. 31, water freely pours down a basement wall. Neighbors and friends rallied to help move boxes of books to higher ground, but Ehrlich says even now there is still water coming into the basement; permanent fixes won’t be possible until it stops raining.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, mold is forming where the murky rainwater once pooled. “We definitely lost a significant amount of inventory,” says Ehrlich, who threw their back out in the scramble. And sales are less than half of what they would normally be, but the shop is hesitant to do any marketing because half its space has been given over to storage; finding items is a struggle.\u003c/p>\n\u003cp>“We don’t want to leave our customers waiting for weeks to get the comics that they ordered,” Ehrlich says. “Our customers are extremely kind and patient, but there’s limits to it.”\u003c/p>\n\u003cp>Silver Sprocket is hardly the only arts venue affected by leaks and flooding — though the full extent of damaged artwork and spaces may only come to light when the storms die down, as forecasted, after Jan. 19. Artists in the Islais Creek Studios lost work on Dec. 31, as reported by the \u003ci>\u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-francisco-artists-space-floods-during-winter-storms-with-losses-ill-never-get-back\">San Francisco Chronicle\u003c/a>\u003c/i>, and spaces like New Conservatory Theater, Z Below and Oakland’s Lower Grand Radio are all \u003ca href=\"https://datebook.sfchronicle.com/theater/there-was-a-moat-underground-s-f-venues-bail-out-from-one-flood-prepare-for-next\">dealing with the aftermath of invasive waters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923645\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9.jpg\" alt=\"Two people in rain gear with sticks stand in ankle-deep water on city street corner\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/D33F726A-B2FF-46DC-A9DF-E92AD28A9EA9-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Two Mission District residents work to open a clogged drain on Mission and 21st Streets in San Francisco on Jan. 10, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the storms continue to wreak havoc across the Bay Area, only one local arts funder has emerged to offer dedicated grants to affected artists. On Jan. 6, the Minnesota Street Project Foundation (the nonprofit arm of the gallery, studio and art storage complex) launched \u003ca href=\"https://minnesotastreetproject.org/artistreliefgrants\">an emergency relief grant\u003c/a> to provide immediate assistance to visual artists impacted by the rains and flooding.\u003c/p>\n\u003cp>“We went basically from idea stage to launch within about 72 hours,” says Rachel Sample, director of the foundation. “Then applications opened and within 24 hours we had over 30 applications.” Seeded with an initial amount of $20,000, the relief fund is offering grants of up to $1,000 to cover expenses related to restoration, storage and temporary studio space.\u003c/p>\n\u003cp>The fund has already contacted its first round of grantees, and hoped to distribute funds starting Jan. 11. Sample says they welcome more applications (they’ve received about 70 already), but they are also seeking additional funding. “We’re trying our very best to roll with the immediacy, but are also hoping that we will have some folks join us,” she says. “The more that we have, the more of these applications we can service.”\u003c/p>\n\u003cp>One of those initial applicants was Alex Shen, \u003ca href=\"https://www.lowergrandradio.com/\">Lower Grand Radio\u003c/a>’s founder and station manager, whose studio partner, Jeff Chung of \u003ca href=\"https://www.unityzines.com/\">Unity Press\u003c/a>, discovered the flooding at their storefront on Dec. 31. “Jeff called me while I was at work like twice in a row and I was like, ‘Uh oh, something’s up,’” Shen remembers. When Chung arrived at 4124 Broadway Ave., Shen says, water came out the front doors “like a lake.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@lowergrandradio/video/7184197149981314350\" data-video-id=\"7184197149981314350\">\n\u003csection>\u003ca title=\"@lowergrandradio\" href=\"https://www.tiktok.com/@lowergrandradio?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@lowergrandradio\u003c/a> Nature rules all !! \u003ca title=\"rajn\" href=\"https://www.tiktok.com/tag/rajn?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#rajn\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"gonnabeok\" href=\"https://www.tiktok.com/tag/gonnabeok?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#gonnabeok\u003c/a> \u003ca title=\"♬ Digital Bath - Deftones\" href=\"https://www.tiktok.com/music/Digital-Bath-6903936808690649090?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ Digital Bath – Deftones\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It had basically just been free flowing from a clogged drain in the backyard,” Shen says. “Luckily, nothing majorly structurally was damaged other than a lot of printing paper and some outlets and extension cords in our radio studio.” He estimates between Unity and the station, they suffered around $500–$1,000 worth of damage.\u003c/p>\n\u003cp>“If it had happened for another hour or something, it could have been a lot worse,” he says. Friends and fans posted Lower Grand’s Venmo accounts on videos of the flooding, eliciting mutual aid that helped Shen deal with immediate damage control.\u003c/p>\n\u003cp>For businesses like Silver Sprocket, the long term financial effects of the storms are still unknown. Right now, it’s frustrating to be unable to move forward. “Our crew is amazing,” Ehrlich says, “but morale is definitely taking a hit of us just feeling like we’re not able to do our jobs.”\u003c/p>\n\u003cp>As the Bay Area looks forward to drying out and taking stock, the storms have clearly disrupted an already fragile ecosystem. Sample says about a third of the people who’ve applied for emergency grants have upcoming exhibitions. “There are businesses that have been interrupted,” she says. “The galleries that [artists] are showing with have been interrupted. The museums that they’re showing with have been interrupted. And so the ripple of the investment in this relief fund could be quite large.”\u003c/p>\n\u003cp>After all, she emphasizes, “The point of this fund is to empty it.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>\u003ca id=\"emergencyfunds\">\u003c/a>If you’re a Bay Area artist or venue that has experienced losses due to the storms, KQED has put together a list of emergency relief funds below. We will continue to add to this as opportunities emerge. \u003c/i>\u003c/p>\n\u003cp>\u003ci>Nastia Voynovskaya contributed to this reporting.\u003c/i>\u003c/p>\n\u003ch2>Discipline Non-Specific\u003c/h2>\n\u003cp>\u003ca href=\"https://www.thehavenfdn.org/application/\">The Haven Foundation \u003c/a>\u003cbr>\nThis emergency grant for freelancers (founded by Stephen King!) seeks to aid “persons connected with the artistic or entertainment industries,” including authors, actors, singers, dancers, directors, producers, choreographers, musicians, artists and screenwriters. The current application window closes March 24, 2023.\u003c/p>\n\u003ch2>For Visual Artists\u003c/h2>\n\u003cp>\u003ca href=\"https://minnesotastreetproject.org/artistreliefgrants\">Minnesota Street Project Foundation Artist Emergency Relief Grants\u003c/a>\u003cbr>\nThis emergency fund will provide grants of up to $1,000 to visual artists who suffered losses due to the Bay Area’s record-breaking rainfall and floods. Applications are being accepted on a rolling basis.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gottliebfoundation.org/emergency-grant\">The Adolph and Esther Gottlieb Emergency Grant \u003c/a>\u003cbr>\nThis grant provides financial assistance to painters, printmakers and sculptors (with a minimum of 10 years of “mature” artmaking) who have experienced “an unforeseen, catastrophic incident” and do not have the resources to deal with the situation. Flooding is a specific emergency mentioned in the grant guidelines. The maximum amount that can be awarded is $15,000; a typical award is $5,000.\u003c/p>\n\u003cp>\u003ca href=\"https://pkf.org/our-grants/#pollock-krasner-foundation-grant\">The Pollock-Krasner Foundation \u003c/a>\u003cbr>\nWhile this is not an emergency grant, per se, the foundation looks at both artistic merit and financial need when making decisions. The awards are limited to painters, sculptors and artists who work on paper (including printmakers). Grant amounts can range up to $30,000.\u003c/p>\n\u003cp>\u003ca href=\"https://cerfplus.org/get-relief/apply-for-help/craft-emergency-relief-fund/\">CERF+ Emergency Assistance \u003c/a>\u003cbr>\nCERF+ provides emergency grants of $3,000 to artists working in a craft discipline (including clay, glass, textiles, wood and metal) and folk/traditional artists who have experienced a “recent, career-threatening emergency,” which includes a natural disaster.\u003c/p>\n\u003cp>\u003ca href=\"https://www.foundationforcontemporaryarts.org/grants/emergency-grants/\">Foundation for Contemporary Arts\u003c/a>\u003cbr>\nIf you’re a visual or performing artist whose progress on an upcoming project was suddenly derailed by a natural disaster, this emergency grant distributed in amounts from $500 to $3,000 can help bring the work to completion.\u003c/p>\n\u003ch2>For Writers and Authors\u003c/h2>\n\u003cp>\u003ca href=\"https://www.carnegiefundforauthors.org/\">Carnegie Fund for Authors\u003c/a>\u003cbr>\nAmerican authors with at least one full-length work of fiction or nonfiction can apply for emergency grants with documentation of demonstrated need. Fires, floods and hurricanes are all expressly mentioned. In 2020, awards ranged from $500 to $3,000.\u003c/p>\n\u003cp>\u003ca href=\"https://pen.org/us-writers-aid-initiative/\">PEN America U.S. Writers’ Aid Initiative\u003c/a>\u003cbr>\nThis grant for fiction and nonfiction authors, poets, playwrights, screenwriters, translators and journalists facing a short-term emergency situation. The initiative gives out awards of $1,000–$3,500. The next deadline is April 1, 2023.\u003c/p>\n\u003cp>\u003ca href=\"https://www.asja.org/what-we-do/weaf/\">ASJA’s Writers Emergency Assistance Fund\u003c/a>\u003cbr>\nThis fund provides grants to professional nonfiction freelance writers who are unable to work “because of illness, disability, natural disaster or extraordinary professional crisis.” The fund distributes grants of up to $3,500.\u003c/p>\n\u003ch2>For Musicians and Performers\u003c/h2>\n\u003cp>\u003ca href=\"https://www.musicares.org/get-help\">MusiCares Emergency Financial Assistance\u003c/a>\u003cbr>\nMusicians and music industry professionals experiencing unexpected financial hardships can apply to the Recording Academy’s MusiCares program. To be eligible, you must have a documented history as an industry professional for at least five years, or have contributed to six commercially released recordings or videos. MusiCares can fund basic living expenses like rent, utilities, car payments and insurance premiums.\u003c/p>\n\u003cp>\u003ca href=\"https://entertainmentcommunity.org/am-i-eligible-help\">Entertainment Assistance Program\u003c/a>\u003cbr>\nEntertainment professionals with documented financial need and a track record of specific performing arts and entertainment earnings can apply for this grant to cover immediate basic living expenses such as housing, food, utility bills or health care.\u003c/p>\n\u003ch2>For Venues\u003c/h2>\n\u003cp>\u003ca href=\"https://performingartsreadiness.org/\">Performing Arts Readiness\u003c/a>\u003cbr>\nThe pandemic (and the recent flooding of local underground venues) has made it clear that performing arts venues are especially vulnerable during hard times. This site gathers a rich collection of disaster preparedness documents, case studies and loss calculators to help venues withstand emergencies and recover more quickly.\u003c/p>\n\u003cp>\u003ca href=\"https://www.dplan.org/\">dPlan|ArtsReady\u003c/a>\u003cbr>\nThis online emergency preparedness and response tool helps arts and cultural organizations of any size minimize the risks of disaster and their own losses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On ‘Mahal,’ Toro y Moi Shows Love to the Bay Area and His Filipino Community",
"headTitle": "On ‘Mahal,’ Toro y Moi Shows Love to the Bay Area and His Filipino Community | KQED",
"content": "\u003cp>[dropcap]W[/dropcap]hat do you do when the internet no longer feels like a realm of play and possibility, but more like an exhausting, 24/7 fire hydrant of hype, depressing news and misinformation?\u003c/p>\n\u003cp>If you’re \u003ca href=\"https://toroymoi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro y Moi\u003c/a>, you log on to eBay, buy a Filipino Jeepney, load it up with your friends and cruise around the Bay Area, from North Oakland to the Golden Gate Bridge. For one, a customized, multicolored bus—brought to the islands by American soldiers during World War II and \u003ca href=\"https://www.caranddriver.com/news/a15344340/the-history-of-the-jeepney-the-philippines-mass-transit-solution/\" target=\"_blank\" rel=\"noopener noreferrer\">adapted into public transit\u003c/a>—makes eye-catching content for music videos.\u003c/p>\n\u003cp>But for Oakland singer-songwriter and producer Toro y Moi—real name Chaz Bear—the bus has also become a place to connect one-on-one with other artists, listeners and the local community at large.\u003c/p>\n\u003cp>Over the past couple of weeks, he’s been driving it to local businesses like \u003ca href=\"https://www.lowergrandradio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lower Grand Radio\u003c/a> and \u003ca href=\"https://www.fobkitchen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FOB Kitchen\u003c/a>, meeting fans and playing songs from his new album, \u003ci>Mahal\u003c/i> (out April 29 via \u003ca href=\"https://deadoceans.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dead Oceans\u003c/a>), an oozing psych-rock project that pays homage to his Filipino roots and diasporic fanbase.\u003c/p>\n\u003cp>https://youtu.be/xI0alDWn2tM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For [the Jeepney] to have this story of this American machine going to the Philippines, being taken apart, remade, brought back to the States, and then shipped to the Bay and purchased by another Filipino-American—I feel like I see myself in it in some ways, being essentially like this multicultural thing,” says Bear, sipping a decaf iced coffee on a sunny, spring morning.\u003c/p>\n\u003cp>We’re listening to birds chirp under a canopy of leaves in the front yard of \u003ca href=\"https://companyrecordlabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Company Record Label and Art Studio\u003c/a>, his headquarters in an Oakland neighborhood filled with industrial warehouses. His powder blue Jeepney, decked out with miniature horse sculptures, horns and other ornamental tchotchkes, is parked outside.\u003c/p>\n\u003cp>“Now that I’ve literally found a vehicle to communicate my appreciation, it feels really good,” he says, chuckling at the accidental pun. “And it’s brought me closer to my Filipino community in the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13912455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-800x560.jpg\" alt=\"\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31-1536x1074.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi hosts a popup at FOB Kitchen in Oakland on April 15. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]hose personal connections have been creative fuel for Bear lately, after two years of pandemic isolation and too much scrolling. The internet was where Bear first found his tribe. But now, he says, he needs a physical community.\u003c/p>\n\u003cp>“I made the shift to focus on local communities around 2016, when I started working on this record,” he says. “It’s mainly because it’s been a nightmare since Trump was president, and I think I just found the importance of reaching out to my POC community and subcultural community. [I’m] trying to just sort of find the language, find how to say it and how to speak it.”\u003c/p>\n\u003cfigure id=\"attachment_13912452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220415_Toro_FinalSelects-20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans showed up to hang out with Toro y Moi at FOB Kitchen, a Filipino restaurant in Oakland, on April 15. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before streaming and social media giants were the cultural forces they are now, Bear got his start in the late Aughts era of taste-making music blogs. He left his native South Carolina for Berkeley, and over the years—after collaborations with influential artists like \u003ca href=\"https://www.youtube.com/watch?v=b11EobcNdhw\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=OdXNvCOAs0w\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Scott\u003c/a>—he became a big name capable of commanding crowds of thousands at music festivals like Outside Lands, Afropunk and Coachella (where he just made a guest appearance April 23 during Flume’s set).\u003c/p>\n\u003cp>But although Bear could easily relocate to Los Angeles or New York for higher-profile opportunities, he’s happy to stay in Oakland, where he operates comfortably outside of the mainstream music industry. The Bay Area’s multiculturalism, alternative subcultures and activism—where artists of color can experiment and be weird—were big draws for him when he arrived here a decade ago and noticed the first two rows at his first show were packed with Filipino teens.\u003c/p>\n\u003cp>\u003ci>Mahal\u003c/i>, a title that means “love” in Tagalog, invites listeners to get lost in its jammy, \u003ci>wah\u003c/i>–pedal-laden sound that departs from the tightly produced, perfectionist approach of years past. His visuals for \u003ci>Mahal\u003c/i> reflect the change too. The cover of his 2019 album \u003ca href=\"https://www.kqed.org/arts/13848868/tory-y-moi-is-the-most-regular-famous-person-youll-ever-meet\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Outer Peace\u003c/i>\u003c/a> showed Bear sitting on a yoga ball, diligently working away at his laptop (its lead single, “\u003ca href=\"https://www.youtube.com/watch?v=Jm6hDWBZXc4\" target=\"_blank\" rel=\"noopener noreferrer\">Freelance\u003c/a>,” is a digital nomad anthem). But after spending the first year of the pandemic mostly interacting from behind a screen, the mood on \u003ci>Mahal\u003c/i>, whose cover shows the Jeepney parked in front of the Golden Gate Bridge, is all about getting out and cutting loose. [aside postid='arts_13905208']\u003c/p>\n\u003cp>“It’s a nice antithesis to the internet and the digital age,” Bear says. The album’s Summer of Love-meets-\u003ci>Summer of Soul\u003c/i> sound and aesthetic is on full display in his single “\u003ca href=\"https://www.youtube.com/watch?v=CvcoxunP7KU\" target=\"_blank\" rel=\"noopener noreferrer\">The Loop\u003c/a>,” a laid-back funk track where distorted, sprawling guitar solos accompany footage of Bear and friends cruising along the Pacific coast and goofing around.\u003c/p>\n\u003cp>https://youtu.be/CvcoxunP7KU\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=qSKlCWGaaao\" target=\"_blank\" rel=\"noopener noreferrer\">Magazine\u003c/a>,” another single from \u003ci>Mahal\u003c/i> that references environmental destruction and frustration with the modern world, features a duet with \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>, the uncategorizable Bay Area artist (signed to Flying Lotus’ Brainfeeder label) whose idiosyncratic jazz pop tells sci-fi sagas. “My lyrics are always just going to be a little bit more on the melancholy side, just because that’s what’s interesting to me,” Bear says. “How that feeling never leaves, but every other feeling does.”\u003c/p>\n\u003cp>The breezy, happy-go-lucky “Millennium” is a collaboration with The Mattson 2, a Los Angeles jazz duo comprised of twin guitarist brothers whose music Bear has released through Company Records.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qSKlCWGaaao\u003c/p>\n\u003cp>“We’re used to everything being so polished, and as music consumers we’re so quick to be like, ‘Oh no, that’s off’ because we’re so used to hearing Auto-Tune,” Bear says of his approach, noting that he first experimented with a grittier rock sound on 2015’s \u003ci>What For\u003c/i>. “I just try to almost challenge the listener.”\u003c/p>\n\u003cp>So was the process fun or nerve-wracking for such a meticulous producer? “It’s both. It’s definitely like, ‘OK, this might be a mistake,’ but also, I need to do this.”\u003c/p>\n\u003cp>[dropcap]B[/dropcap]ear is gearing up for a tour that kicks off in Ohio on April 29 with kindred spirits \u003ca href=\"http://www.khruangbin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Khruangbin\u003c/a>, the Texas trio whose soothing psychedelia has been on repeat for many during the stressful past two years. And \u003ci>Mahal\u003c/i> is his first release on the label Dead Oceans, where he’s in good company with Khruangbin, Japanese Breakfast, Mitski and Phoebe Bridgers.\u003c/p>\n\u003cp>“I feel like there’s been a response to the big EDM boom and the whole wave of mainstream rap and electronic [music],” he says. “I do feel like bands are making a comeback, and guitar-based music is alive and well.”\u003c/p>\n\u003cfigure id=\"attachment_13912454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/toro-y-moi-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi shows one of his paintings at Company Studio in Oakland. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear shows me around his workspace inside of Company, which he shares with a few other artists, including business partner Brendan Nakahara. His senior dog, Michael, trails us as he pulls out a few of his abstract paintings of colorful, floral designs. Much like his music, the aesthetic is streamlined yet embraces quirks and subtle imperfections.\u003c/p>\n\u003cp>It’s no secret that streaming doesn’t earn much these days. Even if you’re an artist like Bear, who boasts over three million monthly listeners on Spotify, you have to find other sources of income. He’s decided not to focus on merch, like a lot of musicians do: “We found ourselves packing T-shirts for two or three weeks and we were like, ‘Man, is this what we want to do?’” he says, adding, “It quickly reminds you of the capitalist game that we’re all a part of.”\u003c/p>\n\u003cfigure id=\"attachment_13912464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/toro-y-moi-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/toro-y-moi-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi’s dog, Michael. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bear and Nakahara operate Company as a client-facing creative studio. They’ve worked on campaigns for big brands like Nike and Vans, but lately they’ve turned their focus to local establishments like \u003ca href=\"https://www.googleadservices.com/pagead/aclk?sa=L&ai=DChcSEwjHrcqenbD3AhV5DK0GHVTlAogYABAAGgJwdg&ae=2&ohost=www.google.com&cid=CAESauD2mLq40UmTU5dv3xTYBSKYpExvkUmD6I5IAaTdgsXjHPdK2Fw2aEZfVfGofqK-kiQtK0n59lm8-MrGN0l5wXm1QwRcrMxDsy4fjpJbOXwA7FvxCPAg0ZmPeftBh1ccNhrEtXNnE8fv6yw&sig=AOD64_1oqColadj1Hxc834nQkh4_jH2ydw&q&adurl&ved=2ahUKEwjEpcCenbD3AhWwHjQIHUyaA3UQ0Qx6BAgEEAE\" target=\"_blank\" rel=\"noopener noreferrer\">Red Bay Coffee\u003c/a>, the Black-owned Oakland roaster getting picked up by major retailers.\u003c/p>\n\u003cp>Over the last few years, Bear has thought a lot about his definition of success. And for him, it’s more about cultivating deeper relationships and using his resources to help grow the local scene rather than constantly chasing bigger-faster-more.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I want to work with companies in the Bay Area to raise the general interest in the Bay. There is so much to offer here outside of tech,” he says. “It feels good to be here, so I’m going to try to stay.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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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},
"closealltabs": {
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"source": "NPR"
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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