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"content": "\u003cp>San Francisco’s popular \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, which attracts tens of thousands of fans to the Sunset district with weekly outdoor concerts every summer, is canceled this year. It’s the first time the festival, known for eclectic programming of indie rock, hip-hop and classical music alike, won’t take place in its 83-year history.\u003c/p>\n\u003cp>The 2020 lineup was to include headliners Animal Collective, Jimmy Cliff, Cuco, Billy Ray Cyrus, Macy Gray, Hanson, San Francisco Ballet, San Francisco Symphony and Tower of Power. Openers Emily Afton, Cindy Lee, North Mississippi Allstars, The Onyx, Megan Slankard and Ana Tijoux were also set to join them on the bill. Organizers say they plan to book some of the same acts for the 2021 edition.\u003c/p>\n\u003cp>The announcement comes as California continues its shelter-in-place orders. Gatherings of hundreds of people are unlikely to happen, Governor Gavin Newsom has said in press briefings, until there’s a coronavirus vaccine, which will likely be in 2021.\u003c/p>\n\u003cp>In the meantime, Stern Grove is launching a video series called \u003cem>Best of the Fest\u003c/em> that features footage of memorable concerts on the festival’s \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>, \u003ca href=\"https://www.youtube.com/user/sterngrovefestival\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a> and \u003ca href=\"https://www.facebook.com/sterngrovefestival\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>, including performances by Sheila E., Pink Martini, the Doobie Brothers, George Clinton and more. These will stream every Sunday June 14–August 16. Additionally, the festival will soon announce an arts education program for children that will include dance and music classes.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s popular \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, which attracts tens of thousands of fans to the Sunset district with weekly outdoor concerts every summer, is canceled this year. It’s the first time the festival, known for eclectic programming of indie rock, hip-hop and classical music alike, won’t take place in its 83-year history.\u003c/p>\n\u003cp>The 2020 lineup was to include headliners Animal Collective, Jimmy Cliff, Cuco, Billy Ray Cyrus, Macy Gray, Hanson, San Francisco Ballet, San Francisco Symphony and Tower of Power. Openers Emily Afton, Cindy Lee, North Mississippi Allstars, The Onyx, Megan Slankard and Ana Tijoux were also set to join them on the bill. Organizers say they plan to book some of the same acts for the 2021 edition.\u003c/p>\n\u003cp>The announcement comes as California continues its shelter-in-place orders. Gatherings of hundreds of people are unlikely to happen, Governor Gavin Newsom has said in press briefings, until there’s a coronavirus vaccine, which will likely be in 2021.\u003c/p>\n\u003cp>In the meantime, Stern Grove is launching a video series called \u003cem>Best of the Fest\u003c/em> that features footage of memorable concerts on the festival’s \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>, \u003ca href=\"https://www.youtube.com/user/sterngrovefestival\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a> and \u003ca href=\"https://www.facebook.com/sterngrovefestival\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>, including performances by Sheila E., Pink Martini, the Doobie Brothers, George Clinton and more. These will stream every Sunday June 14–August 16. Additionally, the festival will soon announce an arts education program for children that will include dance and music classes.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Northern California vineyards make bucolic settings for concerts, and B.R. Cohn Winery, just outside the Sonoma County town of Glen Ellen, is no exception. Its third annual \u003ca href=\"https://sonomaharvestmusicfestival.com/vendors/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonoma Harvest Music Festival\u003c/a> just announced its 2020 lineup.\u003c/p>\n\u003cp>Taking place September 12–13 and 19–20 and presented by BottleRock, the festival features a slate of indie pop and rock heavyweights. The first weekend’s lineup includes synthpop bands Empire of the Sun and The Naked and Famous, chillwave duo Best Coast, plus Young the Giant, Grouplove, The Struts, X Ambassadors, Betty Who, Smallpools and The Wrecks.\u003c/p>\n\u003cp>Unlike other festivals where the second weekend is basically a rerun of the first, weekend two of Sonoma Harvest features a different group of acts: emo icons Dashboard Confessional, art rockers Modest Mouse and folkies Edward Sharpe and The Magnetic Zeros, as well as Fitz and The Tantrums, Bishop Briggs, Saint Motel, Joywave, Magic Giant, Yoke Lore and Almost Monday.\u003c/p>\n\u003cp>Festival capacity is limited to 4,000 attendees for a more intimate viewing experience, and—because this is wine country—there’s a wide selection of local wines, beers and fare from fine dining establishments such as Black Pig Meat Co., The Farmer’s Wife, Mariposa Ice Cream, William Tell House, and Oenotri.\u003c/p>\n\u003cp>Weekend passes go on sale on March 10, and single-day passes and VIP packages will become available at a later date. \u003ca href=\"https://sonomaharvestmusicfestival.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/DHEOF_rcND8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Northern California vineyards make bucolic settings for concerts, and B.R. Cohn Winery, just outside the Sonoma County town of Glen Ellen, is no exception. Its third annual \u003ca href=\"https://sonomaharvestmusicfestival.com/vendors/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonoma Harvest Music Festival\u003c/a> just announced its 2020 lineup.\u003c/p>\n\u003cp>Taking place September 12–13 and 19–20 and presented by BottleRock, the festival features a slate of indie pop and rock heavyweights. The first weekend’s lineup includes synthpop bands Empire of the Sun and The Naked and Famous, chillwave duo Best Coast, plus Young the Giant, Grouplove, The Struts, X Ambassadors, Betty Who, Smallpools and The Wrecks.\u003c/p>\n\u003cp>Unlike other festivals where the second weekend is basically a rerun of the first, weekend two of Sonoma Harvest features a different group of acts: emo icons Dashboard Confessional, art rockers Modest Mouse and folkies Edward Sharpe and The Magnetic Zeros, as well as Fitz and The Tantrums, Bishop Briggs, Saint Motel, Joywave, Magic Giant, Yoke Lore and Almost Monday.\u003c/p>\n\u003cp>Festival capacity is limited to 4,000 attendees for a more intimate viewing experience, and—because this is wine country—there’s a wide selection of local wines, beers and fare from fine dining establishments such as Black Pig Meat Co., The Farmer’s Wife, Mariposa Ice Cream, William Tell House, and Oenotri.\u003c/p>\n\u003cp>Weekend passes go on sale on March 10, and single-day passes and VIP packages will become available at a later date. \u003ca href=\"https://sonomaharvestmusicfestival.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DHEOF_rcND8'\n title='//www.youtube.com/embed/DHEOF_rcND8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Is Coachella Next? Canceled Ultra Festival, SXSW Has Fans Worried About Coronavirus",
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"content": "\u003cp>\u003cem>\u003cstrong>UPDATE, March 9\u003c/strong>: \u003ca href=\"https://variety.com/2020/music/news/coachella-stagecoach-festival-postponed-coronavirus-1203526766/\" rel=\"noopener noreferrer\" target=\"_blank\">According to reports\u003c/a>, Coachella organizers will soon announce that the festival is rescheduled this year to October.\u003c/em>\u003c/p>\n\u003cp>Coachella fans worried about a canceled festival this year due to the coronavirus got a new reason to be nervous Friday.\u003c/p>\n\u003cp>Officials in Austin \u003ca href=\"https://www.sxsw.com/2020-event-update/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a> this year’s South by Southwest festival in Austin, Texas on Friday, just two days after organizers canceled \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article240878956.html\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s Ultra festival\u003c/a> in Miami.\u003c/p>\n\u003cp>Both festivals draw over 100,000 people, roughly the per-day attendance of Coachella. And with coronavirus fears on high alert, petitions have circulated both \u003ca href=\"https://www.change.org/p/coachella-2020-music-festival-cancellation-of-coachella-2020-music-festival-due-to-covid-19-outbreak/sign?original_footer_petition_id=18993157&algorithm=promoted&source_location=petition_footer&grid_position=2&pt=AVBldGl0aW9uAKitOgEAAAAAXl8rTDJKY0kzNjg1NWIxYw%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">for\u003c/a> and \u003ca href=\"https://www.change.org/p/goldenvoice-do-not-cancel-coachella?source_location=topic_page\" target=\"_blank\" rel=\"noopener noreferrer\">against\u003c/a> canceling Coachella.\u003c/p>\n\u003cp>But officials so far have given only standard statements about monitoring the situation. [aside postid=\"arts_13876108,science_1957469\"]\u003c/p>\n\u003cp>“It is still over five weeks before visitors will make their way to Indio to attend a series of concerts here,” reads a statement issued by Indio, the city where \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella\u003c/a> is held. “The City of Indio is actively monitoring input from local, state, and national health officials to assess the health risks of COVID-19 and update those risks to stakeholders.”\u003c/p>\n\u003cp>As if to quell fears, Goldenvoice, the organizers of Coachella, released set times for the country music \u003ca href=\"https://www.stagecoachfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach festival\u003c/a> on Thursday. Like Coachella, Stagecoach is also held at the polo fields in Indio.\u003c/p>\n\u003cp>Many of Coachella’s attendees drive from other regions of California and beyond. Meanwhile, those flying to Coachella have worried not only about festival ticket refunds but airfare refunds and transfers.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.vox.com/the-goods/2020/3/5/21166359/us-airlines-coronavirus-cancel-flights-waiving-fees\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> by Vox, several airlines are waiving some cancellation fees and change-of-travel fees. American, Alaska, Delta, JetBlue and United have all made adjustments for the coronavirus. However, as Vox notes, those waivers are subject to limited terms and conditions and the time of the tickets’ purchase, which may affect Coachella attendees.\u003c/p>\n\u003cp>As for the festival itself, which runs for two consecutive weekends in April? Time will have to tell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE, March 9\u003c/strong>: \u003ca href=\"https://variety.com/2020/music/news/coachella-stagecoach-festival-postponed-coronavirus-1203526766/\" rel=\"noopener noreferrer\" target=\"_blank\">According to reports\u003c/a>, Coachella organizers will soon announce that the festival is rescheduled this year to October.\u003c/em>\u003c/p>\n\u003cp>Coachella fans worried about a canceled festival this year due to the coronavirus got a new reason to be nervous Friday.\u003c/p>\n\u003cp>Officials in Austin \u003ca href=\"https://www.sxsw.com/2020-event-update/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a> this year’s South by Southwest festival in Austin, Texas on Friday, just two days after organizers canceled \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article240878956.html\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s Ultra festival\u003c/a> in Miami.\u003c/p>\n\u003cp>Both festivals draw over 100,000 people, roughly the per-day attendance of Coachella. And with coronavirus fears on high alert, petitions have circulated both \u003ca href=\"https://www.change.org/p/coachella-2020-music-festival-cancellation-of-coachella-2020-music-festival-due-to-covid-19-outbreak/sign?original_footer_petition_id=18993157&algorithm=promoted&source_location=petition_footer&grid_position=2&pt=AVBldGl0aW9uAKitOgEAAAAAXl8rTDJKY0kzNjg1NWIxYw%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">for\u003c/a> and \u003ca href=\"https://www.change.org/p/goldenvoice-do-not-cancel-coachella?source_location=topic_page\" target=\"_blank\" rel=\"noopener noreferrer\">against\u003c/a> canceling Coachella.\u003c/p>\n\u003cp>But officials so far have given only standard statements about monitoring the situation. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It is still over five weeks before visitors will make their way to Indio to attend a series of concerts here,” reads a statement issued by Indio, the city where \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella\u003c/a> is held. “The City of Indio is actively monitoring input from local, state, and national health officials to assess the health risks of COVID-19 and update those risks to stakeholders.”\u003c/p>\n\u003cp>As if to quell fears, Goldenvoice, the organizers of Coachella, released set times for the country music \u003ca href=\"https://www.stagecoachfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach festival\u003c/a> on Thursday. Like Coachella, Stagecoach is also held at the polo fields in Indio.\u003c/p>\n\u003cp>Many of Coachella’s attendees drive from other regions of California and beyond. Meanwhile, those flying to Coachella have worried not only about festival ticket refunds but airfare refunds and transfers.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.vox.com/the-goods/2020/3/5/21166359/us-airlines-coronavirus-cancel-flights-waiving-fees\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> by Vox, several airlines are waiving some cancellation fees and change-of-travel fees. American, Alaska, Delta, JetBlue and United have all made adjustments for the coronavirus. However, as Vox notes, those waivers are subject to limited terms and conditions and the time of the tickets’ purchase, which may affect Coachella attendees.\u003c/p>\n\u003cp>As for the festival itself, which runs for two consecutive weekends in April? Time will have to tell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike",
"headTitle": "PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike | KQED",
"content": "\u003cp>What started as a $5 indie rock gig in 1993 has since evolved into a week-long, diverse festival celebrating independent music.\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, which ran from Feb. 24 to March 1, included dozens of touring acts and more than 70 local artists. It stretched across big and small venues all over the Bay Area (including a new four-night series at SFJAZZ), and extended to Sacramento and Santa Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> put on a fiery hometown show on Feb. 28 at Oakland’s Fox Theater, and it was one of the festival’s biggest highlights. Playing guitar and piano, and sharing stories from his childhood in Oakland, Saadiq managed to make the sold-out concert feel like an intimate house show while delivering hit after hit.\u003c/p>\n\u003cp>Known for encouraging music discovery, Noise Pop continued its tradition of pairing artists in new, exciting ways. Emily Afton’s indie-rock ballads and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>’s hip-hop vocals were a fitting introduction on Feb. 27 for fans of The Seshen, a six-piece band that hybridizes the two styles, mixing in a little Latin flavor. On Feb. 26, the crowd at Great American Music Hall swooned over Angelica Garcia’s delicate yet soulful pop songs. Drawing from classical singing and opera, she transfixed the crowd before headliner Helado Negro hit the stage.\u003c/p>\n\u003cp>Post-punk quartet Mannequin Pussy put on a mosh pit-worthy performance at the Regency Ballroom on Feb. 29, which contrasted with \u003ca href=\"//6\">Best Coast\u003c/a>’s soft, heartfelt songs off of the band’s new album \u003cem>Always Tomorrow\u003c/em>, about finding positivity during dark times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See our photos with highlights from Noise Pop 2020 below.\u003c/p>\n\u003cfigure id=\"attachment_13875764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7488-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq headlines the Fox Theater in Oakland on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7661-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Fox Theater in Oakland during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8090-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Best Coast Headlines night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8131-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875782\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8004-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannequin Pussy play night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7415-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Seshen headline the Rickshaw Stop on night four of the Noise Pop Music and Art Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7238-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7096-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro backstage at the Great American Music Hall on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7150-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro plays a sold out show the Great American Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton backstage at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7259-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875794\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Negroni performs among festival attendees at the Starline Social Club on Tuesday, Feb. 25, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7840-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7685-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls backstage at Cafe du Nord during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7882-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes plays night six of the Noise Pop Music and Arts Festival at the Swedish American Hall on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The festival activated intimate clubs and big venues, bringing stars like Raphael Saadiq and Best Coast together with a variety of buzzworthy acts.",
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"title": "PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What started as a $5 indie rock gig in 1993 has since evolved into a week-long, diverse festival celebrating independent music.\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, which ran from Feb. 24 to March 1, included dozens of touring acts and more than 70 local artists. It stretched across big and small venues all over the Bay Area (including a new four-night series at SFJAZZ), and extended to Sacramento and Santa Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> put on a fiery hometown show on Feb. 28 at Oakland’s Fox Theater, and it was one of the festival’s biggest highlights. Playing guitar and piano, and sharing stories from his childhood in Oakland, Saadiq managed to make the sold-out concert feel like an intimate house show while delivering hit after hit.\u003c/p>\n\u003cp>Known for encouraging music discovery, Noise Pop continued its tradition of pairing artists in new, exciting ways. Emily Afton’s indie-rock ballads and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>’s hip-hop vocals were a fitting introduction on Feb. 27 for fans of The Seshen, a six-piece band that hybridizes the two styles, mixing in a little Latin flavor. On Feb. 26, the crowd at Great American Music Hall swooned over Angelica Garcia’s delicate yet soulful pop songs. Drawing from classical singing and opera, she transfixed the crowd before headliner Helado Negro hit the stage.\u003c/p>\n\u003cp>Post-punk quartet Mannequin Pussy put on a mosh pit-worthy performance at the Regency Ballroom on Feb. 29, which contrasted with \u003ca href=\"//6\">Best Coast\u003c/a>’s soft, heartfelt songs off of the band’s new album \u003cem>Always Tomorrow\u003c/em>, about finding positivity during dark times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See our photos with highlights from Noise Pop 2020 below.\u003c/p>\n\u003cfigure id=\"attachment_13875764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7488-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq headlines the Fox Theater in Oakland on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7661-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Fox Theater in Oakland during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8090-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Best Coast Headlines night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8131-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875782\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8004-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannequin Pussy play night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7415-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Seshen headline the Rickshaw Stop on night four of the Noise Pop Music and Art Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7238-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7096-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro backstage at the Great American Music Hall on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7150-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro plays a sold out show the Great American Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton backstage at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7259-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875794\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Negroni performs among festival attendees at the Starline Social Club on Tuesday, Feb. 25, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7840-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7685-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls backstage at Cafe du Nord during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7882-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes plays night six of the Noise Pop Music and Arts Festival at the Swedish American Hall on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Bay Area’s Russian-speaking community is small yet vibrant, with historic bakeries, \u003ca href=\"https://www.kqed.org/arts/13872976/san-franciscos-49-year-old-russian-bookstore-opens-a-progressive-new-chapter\" target=\"_blank\" rel=\"noopener noreferrer\">shops\u003c/a> and houses of worship serving a multi-generational, multi-ethnic group of immigrants from the former Soviet Union. Every year, one of its cultural hubs, the Russian Center of San Francisco, opens its doors to the broader public to showcase the ways Russian speakers in the Bay Area are keeping traditions alive.\u003c/p>\n\u003cp>\u003ca href=\"https://russiancentersf.com/events/russian-festival-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">The Russian Festival\u003c/a>, taking place Feb. 21–23, offers three days of folk music, dance, crafts and plenty of bliny, pirozhki and vodka infusions (with flavors like horseradish and pickle) spread out through the building’s three floors. The opening night on Friday features an accordion performance by Dina Gutkina, Armenian music by the Yeraz Quartet, ballet performances and a dance party that goes late. The rest of the weekend showcases choral works, ballroom dancing, the San Francisco Balalaika Ensemble, face painting and games for kids and more.\u003c/p>\n\u003cp>In addition to food and performances, exploring the Russian Center is part of the fun at the festival. The building’s top floor contains a museum, where event-goers can peruse folk costumes (like impressively intricate kokoshnik tiaras), artifacts and art from pre-revolutionary Russia, World War II memorabilia and other mementos that multiple generations of immigrants have brought from the old country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area’s Russian-speaking community is small yet vibrant, with historic bakeries, \u003ca href=\"https://www.kqed.org/arts/13872976/san-franciscos-49-year-old-russian-bookstore-opens-a-progressive-new-chapter\" target=\"_blank\" rel=\"noopener noreferrer\">shops\u003c/a> and houses of worship serving a multi-generational, multi-ethnic group of immigrants from the former Soviet Union. Every year, one of its cultural hubs, the Russian Center of San Francisco, opens its doors to the broader public to showcase the ways Russian speakers in the Bay Area are keeping traditions alive.\u003c/p>\n\u003cp>\u003ca href=\"https://russiancentersf.com/events/russian-festival-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">The Russian Festival\u003c/a>, taking place Feb. 21–23, offers three days of folk music, dance, crafts and plenty of bliny, pirozhki and vodka infusions (with flavors like horseradish and pickle) spread out through the building’s three floors. The opening night on Friday features an accordion performance by Dina Gutkina, Armenian music by the Yeraz Quartet, ballet performances and a dance party that goes late. The rest of the weekend showcases choral works, ballroom dancing, the San Francisco Balalaika Ensemble, face painting and games for kids and more.\u003c/p>\n\u003cp>In addition to food and performances, exploring the Russian Center is part of the fun at the festival. The building’s top floor contains a museum, where event-goers can peruse folk costumes (like impressively intricate kokoshnik tiaras), artifacts and art from pre-revolutionary Russia, World War II memorabilia and other mementos that multiple generations of immigrants have brought from the old country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Stevie Nicks, Red Hot Chili Peppers to Headline BottleRock 2020",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock Napa Valley\u003c/a>, wine country’s premier music and arts festival, returns on May 22–24 with a star-studded lineup of intergenerational acts, including Stevie Nicks, Red Hot Chili Peppers and Dave Matthews Band.\u003c/p>\n\u003cp>The slate of 80-plus performers also features breakout pop star Khalid, chart topper Miley Cyrus, punk icons Blondie, acclaimed hip-hop and neo-soul band Anderson .Paak & the Free Nationals, rising country star Brandi Carlile and more. In addition to its musical offerings, the upscale festival includes a culinary stage and an array of local wine, beer and craft cocktails—plus fine dining options.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bottlerocknapavalley.com/tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets\u003c/a> go on sale on Jan. 7 at 10am. See the rest of the BottleRock lineup \u003ca href=\"https://www.bottlerocknapavalley.com/2020artists/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Do List: Listen to Our Event Picks for Sept. 13–19",
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"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Lights On Festival:\u003c/strong> On Sept. 14 at Concord Pavilion, there’s a chance to check out a new generation of R&B talent. Lights On Festival is an all-day extravaganza curated by rising artist H.E.R., a Grammy-winning singer from Vallejo. She’ll be joined by Ari Lennox, whose \u003c/span>\u003cspan style=\"font-weight: 400\">personal storytelling and rich voice shine on her recent album, \u003cem>Shea Butter Baby\u003c/em>. Jhene Aiko and Daniel Caesar are also on the bill, along with local artists Rayana Jay and Marc E. Bassy. Big festivals can be a bit overwhelming, so Lights On offers an antidote with a tightly curated lineup geared towards a specific music taste. \u003ca href=\"http://lightsonfest.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Fringe Festival: \u003cspan style=\"font-weight: 400\">One of the Bay Area’s most beloved theater events is happening at Exit Theatre through Sept. 14. If you’ve only ever been to giant touring musicals, the Fringe Festival is a way to experience the quirkier, more underground side of the theater spectrum. There are 19 short, boundary-pushing plays on tap—with titles like\u003cem> Why My Unicorn Left Me\u003c/em> and \u003cem>You’re Good for Nothing, I’ll Milk the Cow Myself\u003c/em>. It’s a thrilling example of what theater can be. And often, what theater audiences can be, as you become part of the show, or at least part of the bustle between shows. \u003ca href=\"https://www.sftourismtips.com/san-francisco-fringe-festival.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Jay Som:\u003c/strong> Jay Som, a.k.a. Melina Duterte, is one of the most exciting indie rock acts to come out of the Bay Area in recent years. She’s from the Contra Costa County suburb of Brentwood, and her low-key, relatable lo-fi pop has earned her a following far beyond the East Bay. Just a couple years ago, she was opening for Mitski at Starline Social Club in Oakland. Now \u003c/span>\u003cspan style=\"font-weight: 400\">she’s on a national headlining tour that stops at the legendary Fillmore in San Francisco on Sept. 14, promoting her sophomore album, \u003ci>Anak Ko. \u003c/i>\u003ca href=\"https://thefillmore.com/event/jay-som-with-boy-scouts-affectionately/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>\u003cem>Expressions of Divinity\u003c/em>:\u003c/strong> At the Triton Museum in Santa Clara, there’s something you don’t see every day: an exhibition of art from the Sikh faith, over five centuries old. \u003cem>Expressions of Divinity\u003c/em> contains work from several collections around the Bay Area, focused on the founder of the Sikh faith, Guru Nanak. If you had any doubt of the vast Indian population in the South Bay, consider that on opening day, the museum counted 500 visitors. The show is up through Nov. 3, and there’s an artist reception on Sept. 13. \u003ca href=\"http://www.tritonmuseum.org/exhibitions_expressions2019.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>\u003cstrong>FURY\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong> Remember the movie \u003cem>Mad Max: Fury Road\u003c/em>? You know, about the band of rogue adventurers fleeing from an evil cult leader in an apocalyptic desert? Well, there’s a ballet inspired by it called \u003cem>FURY\u003c/em> coming to the Tortona Big Top in downtown Oakland on Sept. 13 and 14. Choreographer Danielle Rowe adapted the action-packed, darkly funny film into a thrilling dance performance with original music by the North Bay indie pop band Yassou and composer Kristina Dutton. \u003ca href=\"https://www.furyshow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Blackalicious:\u003c/strong> In 1999, if you were anywhere in the Bay Area, you heard Blackalicious’ \u003cem>Nia\u003c/em> playing out of cars, at bars or restaurants, and especially around a scene that coalesced at the Justice League, a smoky club on Divisadero. On \u003cem>Nia\u003c/em>, Chief Xcel’s production is a combination of dusty and futuristic, and MC Gift of Gab is in top form. Blackalicious is excellent live, and they celebrate the album’s 20th anniversary in a show on Sept. 19 at Slim’s in San Francisco. \u003ca href=\"https://www.slimspresents.com/e/blackalicious-61971332925/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\n",
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"excerpt": "Our weekend agenda includes an R&B festival, oddball theater, a Sikh art show and more. ",
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"title": "The Do List: Listen to Our Event Picks for Sept. 13–19 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Lights On Festival:\u003c/strong> On Sept. 14 at Concord Pavilion, there’s a chance to check out a new generation of R&B talent. Lights On Festival is an all-day extravaganza curated by rising artist H.E.R., a Grammy-winning singer from Vallejo. She’ll be joined by Ari Lennox, whose \u003c/span>\u003cspan style=\"font-weight: 400\">personal storytelling and rich voice shine on her recent album, \u003cem>Shea Butter Baby\u003c/em>. Jhene Aiko and Daniel Caesar are also on the bill, along with local artists Rayana Jay and Marc E. Bassy. Big festivals can be a bit overwhelming, so Lights On offers an antidote with a tightly curated lineup geared towards a specific music taste. \u003ca href=\"http://lightsonfest.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Fringe Festival: \u003cspan style=\"font-weight: 400\">One of the Bay Area’s most beloved theater events is happening at Exit Theatre through Sept. 14. If you’ve only ever been to giant touring musicals, the Fringe Festival is a way to experience the quirkier, more underground side of the theater spectrum. There are 19 short, boundary-pushing plays on tap—with titles like\u003cem> Why My Unicorn Left Me\u003c/em> and \u003cem>You’re Good for Nothing, I’ll Milk the Cow Myself\u003c/em>. It’s a thrilling example of what theater can be. And often, what theater audiences can be, as you become part of the show, or at least part of the bustle between shows. \u003ca href=\"https://www.sftourismtips.com/san-francisco-fringe-festival.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Jay Som:\u003c/strong> Jay Som, a.k.a. Melina Duterte, is one of the most exciting indie rock acts to come out of the Bay Area in recent years. She’s from the Contra Costa County suburb of Brentwood, and her low-key, relatable lo-fi pop has earned her a following far beyond the East Bay. Just a couple years ago, she was opening for Mitski at Starline Social Club in Oakland. Now \u003c/span>\u003cspan style=\"font-weight: 400\">she’s on a national headlining tour that stops at the legendary Fillmore in San Francisco on Sept. 14, promoting her sophomore album, \u003ci>Anak Ko. \u003c/i>\u003ca href=\"https://thefillmore.com/event/jay-som-with-boy-scouts-affectionately/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>\u003cem>Expressions of Divinity\u003c/em>:\u003c/strong> At the Triton Museum in Santa Clara, there’s something you don’t see every day: an exhibition of art from the Sikh faith, over five centuries old. \u003cem>Expressions of Divinity\u003c/em> contains work from several collections around the Bay Area, focused on the founder of the Sikh faith, Guru Nanak. If you had any doubt of the vast Indian population in the South Bay, consider that on opening day, the museum counted 500 visitors. The show is up through Nov. 3, and there’s an artist reception on Sept. 13. \u003ca href=\"http://www.tritonmuseum.org/exhibitions_expressions2019.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>\u003cstrong>FURY\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong> Remember the movie \u003cem>Mad Max: Fury Road\u003c/em>? You know, about the band of rogue adventurers fleeing from an evil cult leader in an apocalyptic desert? Well, there’s a ballet inspired by it called \u003cem>FURY\u003c/em> coming to the Tortona Big Top in downtown Oakland on Sept. 13 and 14. Choreographer Danielle Rowe adapted the action-packed, darkly funny film into a thrilling dance performance with original music by the North Bay indie pop band Yassou and composer Kristina Dutton. \u003ca href=\"https://www.furyshow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Blackalicious:\u003c/strong> In 1999, if you were anywhere in the Bay Area, you heard Blackalicious’ \u003cem>Nia\u003c/em> playing out of cars, at bars or restaurants, and especially around a scene that coalesced at the Justice League, a smoky club on Divisadero. On \u003cem>Nia\u003c/em>, Chief Xcel’s production is a combination of dusty and futuristic, and MC Gift of Gab is in top form. Blackalicious is excellent live, and they celebrate the album’s 20th anniversary in a show on Sept. 19 at Slim’s in San Francisco. \u003ca href=\"https://www.slimspresents.com/e/blackalicious-61971332925/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Sonido Clash Music Fest Became a Hub for Forward-Thinking Latinx Sounds",
"headTitle": "How Sonido Clash Music Fest Became a Hub for Forward-Thinking Latinx Sounds | KQED",
"content": "\u003cp>\u003cstrong>By Azucena Rasilla\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before Chicanx singer-songwriter Cuco had international buzz, he was handpicked to perform at \u003c/span>\u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash Music Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a small but influential upstart out of East San Jose, in the heart of Silicon Valley. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past ten years, the \u003c/span>\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> crew has created a platform for emerging, out-there Latinx sounds, curating events with an eclectic mix of genres such as punk, cumbia, alternativo, oldies and hip-hop. The collective (comprised of \u003c/span>\u003ca href=\"http://instagram.com/mextape\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Angel “Mextape” Luna\u003c/span>\u003c/a>; \u003ca href=\"https://www.instagram.com/turbosonidero/?hl=en\">\u003cspan style=\"font-weight: 400\">Roman Zepeda, a.k.a. Turbo Sonidero\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/thereal_chalebrown\">\u003cspan style=\"font-weight: 400\">Thomas Ramon Aguilar, a.k.a. Chale Brown\u003c/span>\u003c/a>;\u003ca href=\"http://instagram.com/sonido_ozzy\">\u003cspan style=\"font-weight: 400\"> Osvaldo Chavez, a.k.a. Sonido Ozzy\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/quynhlatifah\">\u003cspan style=\"font-weight: 400\">Quynh-Mai Nguyen\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"http://instagram.com/tlacoyo\">\u003cspan style=\"font-weight: 400\">Fernando J. Pérez Fiesco, a.k.a. Tlacoyo\u003c/span>\u003c/a>)\u003cspan style=\"font-weight: 400\"> reflects the Bay Area’s melting pot, and is committed to representing Eastside San Jose’s Latinx community amid ongoing gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With DJs and culture workers among their ranks, the members of Sonido Clash have a knack for booking buzzworthy acts before they blow up, and for introducing important international artists to the Bay Area music scene. For the festival’s fourth installation on Sept. 1, expect to hear music from Argentine-Spanish perreo artist Ms Nina, cumbia DJ G-Flux from Mexico City and headliners Nina Sky, the Puerto Rican twin duo known for 2000s pop hits like “Move Ya Body.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg\" alt=\"Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez.\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sonido Clash’s events represent a multicultural viewpoint familiar to many Latinx folks in the United States, where cumbia and ranchera sounds might be the norm in some households, while soul, hip-hop and oldies are in rotation in others. Previous editions of Sonido Clash Music Fest have featured new and old-school acts alike, such as Mexican dembow producer Chico Sonido, garage-pop band Los Blenders, electronic “cholo goth” duo Prayers and electro-funk pioneer Egyptian Lover. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keeping it hella San Jose, the festival takes place at the School of Arts and Culture at the Mexican Heritage Plaza. Since 1999, the Mexican Heritage Plaza has been a hub for Chicanx culture in the South Bay, hosting concerts by Mexican bands like Kinky when rock en Español\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">reigned supreme. For the past four summers, Sonido Clash Music Fest has transformed the campus into a vibrant celebration of Latinx youth culture.\u003c/span>\u003cspan style=\"font-weight: 400\"> [aside postid='arts_13864931']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Every year at Sonido Clash Music Fest, local vendors’ and visual artists’ booths line the pathways of the Mexican Heritage Plaza. In addition to two music stages, there’s one devoted to spoken-word poetry. This year, the Poets of Color podcast crew and San Jose undocu-artist, poet and author Yosimar Reyes are slated to perform.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While in recent years, reggaeton and Latinx trap have become fixtures on the radio, and collaborations among artists from different genres are no longer uncommon, this was far from the norm when the Sonido Clash crew got their start back in 2009. “Everyone was [musically] segregated,” says Luna, adding that those into rock en Español, cumbia or pop did not mingle with one another. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The crew put their ideas and resources together and got to work. Their first events took place at Silicon Valley De-Bug (where Pérez works), an organization rooted in social-justice organizing through multimedia storytelling. For one of their first events, titled Cultura en Tu Idioma (or Culture in Your Language), they booked Cuban artists DJ Leidis and Las Krudas, as well as Mexican rapper and poet Bocafloja. “We had punk bands with cumbia bands all together,” Zepeda adds. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865322\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg\" alt=\"Sonido Clash's eclectic booking has made the collective a force in the South Bay music scene and beyond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash’s eclectic booking has made the collective a force in the South Bay music scene and beyond. \u003ccite>(Franz Berrato )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was through Aguilar’s reputation as a hip-hop DJ that Sonido Clash was able to break into clubs that typically played hip-hop and Top 40, though the crew encountered some resistance from club owners at first. “It was difficult,” Luna says. “[There was] ignorance about the music we were playing, and what we were doing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After years of making a name for themselves with monthly parties, the crew’s inaugural Sonido Clash fest in 2016 was well received, with over 600 people in attendance, exceeding the 250 that the collective had anticipated. That year, artists like bilingual hip-hop duo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Los Rakas\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> hip-hop and funk band \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/bang-data-joins-the-resistance/Content?oid=9423362\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bang Data\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, East Los Angeles disco-pop artist Tropa Magica and DJ collective Chulita Vinyl Club were on the lineup. By 2018, the number of attendees grew to 1,700. [aside postid='arts_13861579']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last decade, the members of Sonido Clash have seen their influence grow. This year, they curated a stage at the renowned San Jose Jazz Summer Fest. And former Sonido Clash member \u003c/span>\u003ca href=\"https://www.instagram.com/eazyuno/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Eazy Uno\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> recently set up a similar event in Los Angeles, El Meneaito at La Cita Bar. “He was the best DJ in our collective,” Zepeda says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Following in Sonido Clash’s footsteps, new Bay Area party crews specializing in eclectic Latinx sounds have sprung up in recent years, including Chulita Vinyl Club (whose \u003c/span>\u003ca href=\"https://www.instagram.com/mare.e.fresh/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Mare E. Fresh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> joined Sonido Clash as a resident DJ) and the Central American DJ collective \u003c/span>\u003ca href=\"https://www.instagram.com/amordigital415/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Amor Digital\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, comprised of Juanny Depp, Namaste Shawty and 99 Percent Lean.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the members of Sonido Clash celebrate their 10th anniversary as a crew, they have a clear vision of the work they want to continue in the years to come. As they get older and start families, they want to inspire the next generation to take risks and continue building space for communities of color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Luna put it, “We’re not afraid to be who we are and preserve history.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Azucena Rasilla\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before Chicanx singer-songwriter Cuco had international buzz, he was handpicked to perform at \u003c/span>\u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash Music Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a small but influential upstart out of East San Jose, in the heart of Silicon Valley. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past ten years, the \u003c/span>\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> crew has created a platform for emerging, out-there Latinx sounds, curating events with an eclectic mix of genres such as punk, cumbia, alternativo, oldies and hip-hop. The collective (comprised of \u003c/span>\u003ca href=\"http://instagram.com/mextape\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Angel “Mextape” Luna\u003c/span>\u003c/a>; \u003ca href=\"https://www.instagram.com/turbosonidero/?hl=en\">\u003cspan style=\"font-weight: 400\">Roman Zepeda, a.k.a. Turbo Sonidero\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/thereal_chalebrown\">\u003cspan style=\"font-weight: 400\">Thomas Ramon Aguilar, a.k.a. Chale Brown\u003c/span>\u003c/a>;\u003ca href=\"http://instagram.com/sonido_ozzy\">\u003cspan style=\"font-weight: 400\"> Osvaldo Chavez, a.k.a. Sonido Ozzy\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/quynhlatifah\">\u003cspan style=\"font-weight: 400\">Quynh-Mai Nguyen\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"http://instagram.com/tlacoyo\">\u003cspan style=\"font-weight: 400\">Fernando J. Pérez Fiesco, a.k.a. Tlacoyo\u003c/span>\u003c/a>)\u003cspan style=\"font-weight: 400\"> reflects the Bay Area’s melting pot, and is committed to representing Eastside San Jose’s Latinx community amid ongoing gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With DJs and culture workers among their ranks, the members of Sonido Clash have a knack for booking buzzworthy acts before they blow up, and for introducing important international artists to the Bay Area music scene. For the festival’s fourth installation on Sept. 1, expect to hear music from Argentine-Spanish perreo artist Ms Nina, cumbia DJ G-Flux from Mexico City and headliners Nina Sky, the Puerto Rican twin duo known for 2000s pop hits like “Move Ya Body.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg\" alt=\"Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez.\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sonido Clash’s events represent a multicultural viewpoint familiar to many Latinx folks in the United States, where cumbia and ranchera sounds might be the norm in some households, while soul, hip-hop and oldies are in rotation in others. Previous editions of Sonido Clash Music Fest have featured new and old-school acts alike, such as Mexican dembow producer Chico Sonido, garage-pop band Los Blenders, electronic “cholo goth” duo Prayers and electro-funk pioneer Egyptian Lover. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keeping it hella San Jose, the festival takes place at the School of Arts and Culture at the Mexican Heritage Plaza. Since 1999, the Mexican Heritage Plaza has been a hub for Chicanx culture in the South Bay, hosting concerts by Mexican bands like Kinky when rock en Español\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">reigned supreme. For the past four summers, Sonido Clash Music Fest has transformed the campus into a vibrant celebration of Latinx youth culture.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Every year at Sonido Clash Music Fest, local vendors’ and visual artists’ booths line the pathways of the Mexican Heritage Plaza. In addition to two music stages, there’s one devoted to spoken-word poetry. This year, the Poets of Color podcast crew and San Jose undocu-artist, poet and author Yosimar Reyes are slated to perform.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While in recent years, reggaeton and Latinx trap have become fixtures on the radio, and collaborations among artists from different genres are no longer uncommon, this was far from the norm when the Sonido Clash crew got their start back in 2009. “Everyone was [musically] segregated,” says Luna, adding that those into rock en Español, cumbia or pop did not mingle with one another. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The crew put their ideas and resources together and got to work. Their first events took place at Silicon Valley De-Bug (where Pérez works), an organization rooted in social-justice organizing through multimedia storytelling. For one of their first events, titled Cultura en Tu Idioma (or Culture in Your Language), they booked Cuban artists DJ Leidis and Las Krudas, as well as Mexican rapper and poet Bocafloja. “We had punk bands with cumbia bands all together,” Zepeda adds. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865322\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg\" alt=\"Sonido Clash's eclectic booking has made the collective a force in the South Bay music scene and beyond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash’s eclectic booking has made the collective a force in the South Bay music scene and beyond. \u003ccite>(Franz Berrato )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was through Aguilar’s reputation as a hip-hop DJ that Sonido Clash was able to break into clubs that typically played hip-hop and Top 40, though the crew encountered some resistance from club owners at first. “It was difficult,” Luna says. “[There was] ignorance about the music we were playing, and what we were doing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After years of making a name for themselves with monthly parties, the crew’s inaugural Sonido Clash fest in 2016 was well received, with over 600 people in attendance, exceeding the 250 that the collective had anticipated. That year, artists like bilingual hip-hop duo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Los Rakas\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> hip-hop and funk band \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/bang-data-joins-the-resistance/Content?oid=9423362\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bang Data\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, East Los Angeles disco-pop artist Tropa Magica and DJ collective Chulita Vinyl Club were on the lineup. By 2018, the number of attendees grew to 1,700. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last decade, the members of Sonido Clash have seen their influence grow. This year, they curated a stage at the renowned San Jose Jazz Summer Fest. And former Sonido Clash member \u003c/span>\u003ca href=\"https://www.instagram.com/eazyuno/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Eazy Uno\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> recently set up a similar event in Los Angeles, El Meneaito at La Cita Bar. “He was the best DJ in our collective,” Zepeda says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Following in Sonido Clash’s footsteps, new Bay Area party crews specializing in eclectic Latinx sounds have sprung up in recent years, including Chulita Vinyl Club (whose \u003c/span>\u003ca href=\"https://www.instagram.com/mare.e.fresh/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Mare E. Fresh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> joined Sonido Clash as a resident DJ) and the Central American DJ collective \u003c/span>\u003ca href=\"https://www.instagram.com/amordigital415/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Amor Digital\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, comprised of Juanny Depp, Namaste Shawty and 99 Percent Lean.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the members of Sonido Clash celebrate their 10th anniversary as a crew, they have a clear vision of the work they want to continue in the years to come. As they get older and start families, they want to inspire the next generation to take risks and continue building space for communities of color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Luna put it, “We’re not afraid to be who we are and preserve history.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area",
"headTitle": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area | KQED",
"content": "\u003cp>As summer festival season comes to a close, this fall welcomes highly anticipated pop tours at the newly opened Chase Center, local music showcases, outdoor festivals and the last chance to watch Michael Tilson Thomas conduct the San Francisco Symphony before he retires from his post as music director.\u003c/p>\n\u003cp>To help you plan your calendar, we’ve rounded up 10 must-see shows in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13865172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg\" alt=\"KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \u003ccite>(Nicholas Hunt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KRS-One\u003c/strong>\u003cbr>\n\u003cem>Sept. 8, Oct. 12–13\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland; Cornerstone, Berkeley; Mystic Theater, Petaluma\u003c/em>\u003cbr>\n\u003cem>Details \u003ca href=\"https://www.yoshis.com/e/krsone-66619178757/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.cornerstoneberkeley.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-67054252073/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.eventbrite.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-tickets-68016141109?aff=odwdwdspacecraft\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>KRS-One is a name synonymous with the origins of hip-hop. Not only did the Bronx MC perfect the style of rocking the mic in the late ’80s, but his politically outspoken lyrics continue to influence rappers across multiple generations. This September he performs in Oakland at the jazz club Yoshi’s, with additional dates in October at Berkeley’s Cornerstone, a former pool hall-turned-spacious concert venue, and Petaluma’s Mystic Theater, a renovated vaudeville theater from 1911.\u003c/p>\n\u003cfigure id=\"attachment_13809716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg\" alt=\"Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of 'Symphonie Fantastique' by Berlioz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565.jpg 1753w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of ‘Symphonie Fantastique’ by Berlioz. \u003ccite>(Stefan Cohen/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco Symphony: MTT & Mahler 6\u003c/strong>\u003cbr>\n\u003cem>Sept. 12–15\u003c/em>\u003cbr>\n\u003cem>Davis Symphony Hall, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/MTT-Mahler-Mahler-6\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fans of the San Francisco Symphony know that Michael Tilson Thomas’ most beloved composer is the modernist Gustav Mahler. Starting in 2001, MTT made Mahler a key focus of the Symphony’s repertoire, and their graceful, dynamic recordings of his works have earned them seven Grammy awards over the years. As MTT prepares to retire from SFS after a 25-year tenure, he conducts the orchestra for Mahler’s Symphony No. 6, an emotional rollercoaster that zig-zags through peril, tragedy, triumph and joy.\u003c/p>\n\u003cfigure id=\"attachment_13850489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg\" alt=\"H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for The Recording Academy))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lights On Festival\u003c/strong>\u003cbr>\n\u003cem>Sept. 14\u003c/em>\u003cbr>\n\u003cem>Concord Pavillion, Concord\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.concordamp.com/events/lights-on-festival/#.XWRNaJNKit8\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The antidote to ginormous music festivals that attempt to cater to every taste? Smaller, artist-curated affairs like Lights On, an R&B extravaganza with a lineup handpicked by headliner H.E.R. Known for emotionally intelligent lyricism and an old-school R&B sensibility, the Grammy-winning, Vallejo-raised singer tops the bill, which also includes Dreamville Records breakout star Ari Lennox, pop underdog Jhene Aiko and soulful singer-guitarist Daniel Ceasar. Bay Area up-and-comers Rayana Jay and Marc E. Bassey round out the bill.\u003c/p>\n\u003cfigure id=\"attachment_13832804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg\" alt=\"Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Janet Jackson\u003c/strong>\u003cbr>\n\u003cem>Sept. 21\u003c/em>\u003cbr>\n\u003cem>Chase Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.chasecenter.com/events/3S94zQi6ySxQOtFFnwmRfl\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>As those who saw her \u003ca href=\"https://www.kqed.org/arts/13838820/jackson-monae-feminist-pop-sunday-outside-lands\" target=\"_blank\" rel=\"noopener\">headlining Outside Lands set\u003c/a> in 2018 can attest, Janet Jackson puts on one hell of a show. With hits spanning four decades, athletic choreography and a vulnerable stage presence, Jackson’s live set tells a story of self-empowerment. She’s made progressive pop speaking out against racism and misogyny since the ’80s, and with her recent induction into the Rock & Roll Hall of Fame and accolades like the Billboard Icon Award, the world is finally realizing how ahead of her time she’s been all these years.\u003c/p>\n\u003cfigure id=\"attachment_13865173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg\" alt=\"Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bobby McFerrin\u003c/strong>\u003cbr>\n\u003cem>Sept. 19-22\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2019&series=25206\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Those who only know Bobby McFerrin as the one-hit wonder behind “Don’t Worry Be Happy” may not realize that he’s a virtuoso vocal composer who’s just as comfortable beat-boxing as he is singing jazz and even opera. The 10-time Grammy winner comes to SFJAZZ for a series of concerts in September, and will return in April 2020 for the \u003ca href=\"https://www.kqed.org/arts/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts Jazz Masters Fellowship\u003c/a> tribute concert, of which he is an honoree along with saxophone great Roscoe Mitchell.\u003c/p>\n\u003cfigure id=\"attachment_13865169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg\" alt=\"J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1200x780.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey. \u003ccite>(Ferhat Zupcevic/Getty Images for Guess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>J Balvin\u003c/strong>\u003cbr>\n\u003cem>Oct. 17\u003c/em>\u003cbr>\n\u003cem>SAP Center, San Jose\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.sapcenter.com/events/detail/jbalvin\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>A leader of the new generation of Latin American pop acts reigning the U.S. charts, Colombia’s J Balvin is set to turn San Jose’s SAP Center into one big dance party when he comes to town for his Arcoiris tour. With reggaeton and dancehall rhythms backing sleek pop production, his hip-winding tracks and collaborations with Cardi B, Sean Paul and Bad Bunny have earned him a devoted international audience.\u003c/p>\n\u003cfigure id=\"attachment_13840860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0240-800x533.jpg\" alt=\"P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>P-Lo\u003c/strong>\u003cbr>\n\u003cem>Oct. 31\u003c/em>\u003cbr>\n\u003cem>Fox Theatre, Oakland\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://thefoxoakland.com/events/p-lo\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>At the illustrious Fox Theater, where all-time greats and Grammy winners hold court, P-Lo’s first headlining show is a triumph for the East Bay. Local fans have watched the Pinole artist put in years of work, first as a member of local rap crew HBK Gang, then as a producer for the likes of Yo Gotti and Wiz Khalifa, and later as a rapper in his own right. Celebrating his new, self-released album \u003cem>Shine\u003c/em>, P-Lo brings his post-hyphy slaps on tour to the Fox’s ornate art deco halls.\u003c/p>\n\u003cfigure id=\"attachment_13865174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg\" alt='Terra Lopez speaks onstage at the \"Emerging Artists: We See You\" panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terra Lopez speaks onstage at the “Emerging Artists: We See You” panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. \u003ccite>(Andrew Toth/Getty Images for Billboard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rituals of Mine, The Seshen\u003c/strong>\u003cbr>\nOct. 13\u003cbr>\nThe New Parish, Oakland\u003cbr>\n\u003ca href=\"https://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Since leaving Oakland for the next phase of her music career in Los Angeles, Rituals of Mine’s Terra Lopez founded Bitchwave Records, which spotlights LGBTQ+ people of color, and made headlines with a touring audio art installation that put men on the receiving end of catcalls. With music partner Adam Pierce, she returns to the New Parish for a headlining set of dark, downtempo electronic pop. Local favorite the Seshen opens with a set of kaleidoscopic neo-soul. Both bands have been on the forefront of the Bay Area’s indie pop scene for years, and the show is bound to feel like a warm reunion of old friends.\u003c/p>\n\u003cfigure id=\"attachment_13865170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865170\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg\" alt=\"Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California. \u003ccite>(Timothy Norris/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>\u003cbr>\nNov. 5–6, Nov. 23\u003cbr>\nThe Fillmore, San Francisco and Gundlach Bundschu Winery, Sonoma\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/built-to-spill-gundlach-bundschu-winery-sonoma-november-23-2019-tickets-58804904051?aff=ebdshpsearchautocomplete\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Pioneering indie rockers Built to Spill emerged from the Northwest’s DIY scene in the early ’90s and quickly rose to major label success. Combining a slackerish charm with serious guitar chops, the band builds pop songs out into elaborate jam sessions; it’s no wonder many consider founding member Doug Martsch a modern-day guitar hero. Built to Spill returns to San Francisco to headline the Fillmore for two nights. If you’d rather see them in a more idyllic, outdoor setting, they play the Gundlach Bundschu Winery in Sonoma in November.\u003c/p>\n\u003cfigure id=\"attachment_13865171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg\" alt=\"Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \u003ccite>(Mike Flokis/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Joanna Newsom\u003c/strong>\u003cbr>\nNov. 25–26\u003cbr>\nHerbst Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2595\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Joanna Newsom came up during the freak-folk wave of the mid 2000s, and her stellar musicianship and enigmatic, elfin voice quickly elevated her to some of the world’s most prestigious concert halls. Within the marble walls of the Herbst Theatre, which typically hosts classical performances, Newsom offers a highly anticipated performance that will be stripped down to three key elements: harp, piano and voice.\u003c/p>\n\n",
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"excerpt": "Pop stars, local music showcases, outdoor hip-hop festivals and more fill the Bay Area concert calendar this fall.",
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"title": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As summer festival season comes to a close, this fall welcomes highly anticipated pop tours at the newly opened Chase Center, local music showcases, outdoor festivals and the last chance to watch Michael Tilson Thomas conduct the San Francisco Symphony before he retires from his post as music director.\u003c/p>\n\u003cp>To help you plan your calendar, we’ve rounded up 10 must-see shows in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13865172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg\" alt=\"KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \u003ccite>(Nicholas Hunt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KRS-One\u003c/strong>\u003cbr>\n\u003cem>Sept. 8, Oct. 12–13\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland; Cornerstone, Berkeley; Mystic Theater, Petaluma\u003c/em>\u003cbr>\n\u003cem>Details \u003ca href=\"https://www.yoshis.com/e/krsone-66619178757/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.cornerstoneberkeley.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-67054252073/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.eventbrite.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-tickets-68016141109?aff=odwdwdspacecraft\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>KRS-One is a name synonymous with the origins of hip-hop. Not only did the Bronx MC perfect the style of rocking the mic in the late ’80s, but his politically outspoken lyrics continue to influence rappers across multiple generations. This September he performs in Oakland at the jazz club Yoshi’s, with additional dates in October at Berkeley’s Cornerstone, a former pool hall-turned-spacious concert venue, and Petaluma’s Mystic Theater, a renovated vaudeville theater from 1911.\u003c/p>\n\u003cfigure id=\"attachment_13809716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg\" alt=\"Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of 'Symphonie Fantastique' by Berlioz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565.jpg 1753w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of ‘Symphonie Fantastique’ by Berlioz. \u003ccite>(Stefan Cohen/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco Symphony: MTT & Mahler 6\u003c/strong>\u003cbr>\n\u003cem>Sept. 12–15\u003c/em>\u003cbr>\n\u003cem>Davis Symphony Hall, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/MTT-Mahler-Mahler-6\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans of the San Francisco Symphony know that Michael Tilson Thomas’ most beloved composer is the modernist Gustav Mahler. Starting in 2001, MTT made Mahler a key focus of the Symphony’s repertoire, and their graceful, dynamic recordings of his works have earned them seven Grammy awards over the years. As MTT prepares to retire from SFS after a 25-year tenure, he conducts the orchestra for Mahler’s Symphony No. 6, an emotional rollercoaster that zig-zags through peril, tragedy, triumph and joy.\u003c/p>\n\u003cfigure id=\"attachment_13850489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg\" alt=\"H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for The Recording Academy))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lights On Festival\u003c/strong>\u003cbr>\n\u003cem>Sept. 14\u003c/em>\u003cbr>\n\u003cem>Concord Pavillion, Concord\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.concordamp.com/events/lights-on-festival/#.XWRNaJNKit8\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The antidote to ginormous music festivals that attempt to cater to every taste? Smaller, artist-curated affairs like Lights On, an R&B extravaganza with a lineup handpicked by headliner H.E.R. Known for emotionally intelligent lyricism and an old-school R&B sensibility, the Grammy-winning, Vallejo-raised singer tops the bill, which also includes Dreamville Records breakout star Ari Lennox, pop underdog Jhene Aiko and soulful singer-guitarist Daniel Ceasar. Bay Area up-and-comers Rayana Jay and Marc E. Bassey round out the bill.\u003c/p>\n\u003cfigure id=\"attachment_13832804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg\" alt=\"Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Janet Jackson\u003c/strong>\u003cbr>\n\u003cem>Sept. 21\u003c/em>\u003cbr>\n\u003cem>Chase Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.chasecenter.com/events/3S94zQi6ySxQOtFFnwmRfl\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>As those who saw her \u003ca href=\"https://www.kqed.org/arts/13838820/jackson-monae-feminist-pop-sunday-outside-lands\" target=\"_blank\" rel=\"noopener\">headlining Outside Lands set\u003c/a> in 2018 can attest, Janet Jackson puts on one hell of a show. With hits spanning four decades, athletic choreography and a vulnerable stage presence, Jackson’s live set tells a story of self-empowerment. She’s made progressive pop speaking out against racism and misogyny since the ’80s, and with her recent induction into the Rock & Roll Hall of Fame and accolades like the Billboard Icon Award, the world is finally realizing how ahead of her time she’s been all these years.\u003c/p>\n\u003cfigure id=\"attachment_13865173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg\" alt=\"Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bobby McFerrin\u003c/strong>\u003cbr>\n\u003cem>Sept. 19-22\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2019&series=25206\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Those who only know Bobby McFerrin as the one-hit wonder behind “Don’t Worry Be Happy” may not realize that he’s a virtuoso vocal composer who’s just as comfortable beat-boxing as he is singing jazz and even opera. The 10-time Grammy winner comes to SFJAZZ for a series of concerts in September, and will return in April 2020 for the \u003ca href=\"https://www.kqed.org/arts/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts Jazz Masters Fellowship\u003c/a> tribute concert, of which he is an honoree along with saxophone great Roscoe Mitchell.\u003c/p>\n\u003cfigure id=\"attachment_13865169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg\" alt=\"J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1200x780.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey. \u003ccite>(Ferhat Zupcevic/Getty Images for Guess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>J Balvin\u003c/strong>\u003cbr>\n\u003cem>Oct. 17\u003c/em>\u003cbr>\n\u003cem>SAP Center, San Jose\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.sapcenter.com/events/detail/jbalvin\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>A leader of the new generation of Latin American pop acts reigning the U.S. charts, Colombia’s J Balvin is set to turn San Jose’s SAP Center into one big dance party when he comes to town for his Arcoiris tour. With reggaeton and dancehall rhythms backing sleek pop production, his hip-winding tracks and collaborations with Cardi B, Sean Paul and Bad Bunny have earned him a devoted international audience.\u003c/p>\n\u003cfigure id=\"attachment_13840860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0240-800x533.jpg\" alt=\"P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>P-Lo\u003c/strong>\u003cbr>\n\u003cem>Oct. 31\u003c/em>\u003cbr>\n\u003cem>Fox Theatre, Oakland\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://thefoxoakland.com/events/p-lo\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>At the illustrious Fox Theater, where all-time greats and Grammy winners hold court, P-Lo’s first headlining show is a triumph for the East Bay. Local fans have watched the Pinole artist put in years of work, first as a member of local rap crew HBK Gang, then as a producer for the likes of Yo Gotti and Wiz Khalifa, and later as a rapper in his own right. Celebrating his new, self-released album \u003cem>Shine\u003c/em>, P-Lo brings his post-hyphy slaps on tour to the Fox’s ornate art deco halls.\u003c/p>\n\u003cfigure id=\"attachment_13865174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg\" alt='Terra Lopez speaks onstage at the \"Emerging Artists: We See You\" panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terra Lopez speaks onstage at the “Emerging Artists: We See You” panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. \u003ccite>(Andrew Toth/Getty Images for Billboard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rituals of Mine, The Seshen\u003c/strong>\u003cbr>\nOct. 13\u003cbr>\nThe New Parish, Oakland\u003cbr>\n\u003ca href=\"https://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Since leaving Oakland for the next phase of her music career in Los Angeles, Rituals of Mine’s Terra Lopez founded Bitchwave Records, which spotlights LGBTQ+ people of color, and made headlines with a touring audio art installation that put men on the receiving end of catcalls. With music partner Adam Pierce, she returns to the New Parish for a headlining set of dark, downtempo electronic pop. Local favorite the Seshen opens with a set of kaleidoscopic neo-soul. Both bands have been on the forefront of the Bay Area’s indie pop scene for years, and the show is bound to feel like a warm reunion of old friends.\u003c/p>\n\u003cfigure id=\"attachment_13865170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865170\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg\" alt=\"Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California. \u003ccite>(Timothy Norris/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>\u003cbr>\nNov. 5–6, Nov. 23\u003cbr>\nThe Fillmore, San Francisco and Gundlach Bundschu Winery, Sonoma\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/built-to-spill-gundlach-bundschu-winery-sonoma-november-23-2019-tickets-58804904051?aff=ebdshpsearchautocomplete\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Pioneering indie rockers Built to Spill emerged from the Northwest’s DIY scene in the early ’90s and quickly rose to major label success. Combining a slackerish charm with serious guitar chops, the band builds pop songs out into elaborate jam sessions; it’s no wonder many consider founding member Doug Martsch a modern-day guitar hero. Built to Spill returns to San Francisco to headline the Fillmore for two nights. If you’d rather see them in a more idyllic, outdoor setting, they play the Gundlach Bundschu Winery in Sonoma in November.\u003c/p>\n\u003cfigure id=\"attachment_13865171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg\" alt=\"Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \u003ccite>(Mike Flokis/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Joanna Newsom\u003c/strong>\u003cbr>\nNov. 25–26\u003cbr>\nHerbst Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2595\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joanna Newsom came up during the freak-folk wave of the mid 2000s, and her stellar musicianship and enigmatic, elfin voice quickly elevated her to some of the world’s most prestigious concert halls. Within the marble walls of the Herbst Theatre, which typically hosts classical performances, Newsom offers a highly anticipated performance that will be stripped down to three key elements: harp, piano and voice.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wally Schnalle, a professional jazz drummer and director of the \u003ca href=\"https://sanjosejazz.org/summer-jazz-camp/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Camp\u003c/a>, stands in a sunny practice room at Valley Christian High School in San Jose.\u003c/p>\n\u003cp>It’s a hot Sunday morning and he’s watching seven students from the Summer Jazz Camp rehearse “Lingus” by \u003ca href=\"https://snarkypuppy.com\" target=\"_blank\" rel=\"noopener\">Snarky Puppy\u003c/a> for the 30th annual San Jose Jazz Summer Fest.\u003c/p>\n\u003cp>“That’s a challenging tune,” Schnalle said. “It’s an odd meter. Everybody gets solos and different sorts of rhythmic environments.”\u003c/p>\n\u003cp>Schnalle has long white hair pulled into a pony tail and a white goatee to match. His silver peace sign earrings swing back and forth as he bobs his head to the music.\u003c/p>\n\u003cp>The song ends abruptly, and Schnalle tells the students, “Yeah, that was better, and you even quoted the groove you wanted to end up on. ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Jose Jazz is more than the annual festival. The organization also support music education locally through three different programs. \u003c/span>One, called \u003ca href=\"https://sanjosejazz.org/education/progressions/\" target=\"_blank\" rel=\"noopener\">Progressions\u003c/a>, connects at-risk youth with music in San Jose’s Franklin-McKinley School District. The \u003ca href=\"https://sanjosejazz.org/high-school-all-stars/\" target=\"_blank\" rel=\"noopener\">High School All Stars\u003c/a> is a regional band that’s exactly what it sounds like. They also run the \u003ca href=\"https://sanjosejazz.org/summer-jazz-camp/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Camp\u003c/a>.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=pwSXNlTn89A]”It really is a conduit,” said San Jose Jazz Executive Director Brendan Rawson. “We’ve been excited to have a range of folks over the years that have come through our own education programs that come back in other ensemble formats as as artists that we’re presenting. I think it ties into the long term direction of the organization of supporting the music and supporting artists coming from the area. ”\u003c/p>\n\u003cp>[aside postID='arts_13863049,arts_13804037,arts_10885260' label='More San Jose Jazz']Schnalle says, unlike a lot of other professional musicians who teach to help pay the bills, he really likes it.\u003c/p>\n\u003cp>“It’s really heartening,” Schnalle said. “Not only to see them trading things that they learned in the classes. I see them helping each other once they learn something or they get it quicker than the other students will help.”\u003c/p>\n\u003cp>Schnalle’s teaching often goes beyond notes and tempo. He works with a lot of talented kids, and some of them want to know: should they pursue music professionally like Schnalle? Are the financial insecurity and the late nights worth it?\u003c/p>\n\u003cp>“I couldn’t imagine doing me doing anything else,” Schnalle said, “and if that’s the way you feel about it, then please do go for it, right? Because then you’ll be rewarded many times. But if you think ‘oh that’ll be a cool thing to do,’ then yeah that’s gonna be an uphill battle.”\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003cstrong> Summer Jazz Camp\u003c/strong> performs as part of the \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> on August 10, 2019 on the SJMA Next Gen Stage. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/san-jose-jazz-summer-jazz-camp-combo-2\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wally Schnalle, a professional jazz drummer and director of the \u003ca href=\"https://sanjosejazz.org/summer-jazz-camp/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Camp\u003c/a>, stands in a sunny practice room at Valley Christian High School in San Jose.\u003c/p>\n\u003cp>It’s a hot Sunday morning and he’s watching seven students from the Summer Jazz Camp rehearse “Lingus” by \u003ca href=\"https://snarkypuppy.com\" target=\"_blank\" rel=\"noopener\">Snarky Puppy\u003c/a> for the 30th annual San Jose Jazz Summer Fest.\u003c/p>\n\u003cp>“That’s a challenging tune,” Schnalle said. “It’s an odd meter. Everybody gets solos and different sorts of rhythmic environments.”\u003c/p>\n\u003cp>Schnalle has long white hair pulled into a pony tail and a white goatee to match. His silver peace sign earrings swing back and forth as he bobs his head to the music.\u003c/p>\n\u003cp>The song ends abruptly, and Schnalle tells the students, “Yeah, that was better, and you even quoted the groove you wanted to end up on. ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Schnalle says, unlike a lot of other professional musicians who teach to help pay the bills, he really likes it.\u003c/p>\n\u003cp>“It’s really heartening,” Schnalle said. “Not only to see them trading things that they learned in the classes. I see them helping each other once they learn something or they get it quicker than the other students will help.”\u003c/p>\n\u003cp>Schnalle’s teaching often goes beyond notes and tempo. He works with a lot of talented kids, and some of them want to know: should they pursue music professionally like Schnalle? Are the financial insecurity and the late nights worth it?\u003c/p>\n\u003cp>“I couldn’t imagine doing me doing anything else,” Schnalle said, “and if that’s the way you feel about it, then please do go for it, right? Because then you’ll be rewarded many times. But if you think ‘oh that’ll be a cool thing to do,’ then yeah that’s gonna be an uphill battle.”\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003cstrong> Summer Jazz Camp\u003c/strong> performs as part of the \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> on August 10, 2019 on the SJMA Next Gen Stage. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/san-jose-jazz-summer-jazz-camp-combo-2\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"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",
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