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"content": "\u003cfigure id=\"attachment_13971707\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The stage and dance floor at Ceremony, a new 1,000-capacity music hall in downtown Oakland, as seen from the venue’s mezzanine. \u003ccite>(Courtesy of Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new live music venue is opening next month in downtown Oakland near the corner of Broadway and 13th Street.\u003c/p>\n\u003cp>The 1,000-capacity hall, called Ceremony, will host touring acts of diverse genres — rap, R&B, punk, Latin, comedy, queer pop — alongside local acts and DJ nights.\u003c/p>\n\u003cp>The venue is owned and operated by the team behind \u003ca href=\"https://www.kqed.org/arts/13910010/crybaby-nightclub-oakland-opening-uptown\">Crybaby\u003c/a>, a smaller nightclub located several blocks away.[aside postID='arts_13971466']\u003c/p>\n\u003cp>While San Francisco has similarly sized music venues like the Regency Ballroom, August Hall and the Fillmore, Ceremony will be the only music hall of its size in Oakland.\u003c/p>\n\u003cp>That’s an asset owners Jesse Tittsworth and Dominic Green are banking on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As far as the booking landscape goes, “There’s a giant queue for a small handful of 1,000-capacity venues in the city. There’s nothing in the East Bay,” Tittsworth says in a recent interview about the opening.\u003c/p>\n\u003cp>Additionally, certain types of shows, Tittsworth adds, just make more sense in Oakland, where there’s a more diverse audience for Latin acts, rap artists and queer dance nights.\u003c/p>\n\u003cp>The venue’s initial lineup in March has yet to be announced. But Tittsworth says that “there’s rave stuff on there, there’s a well-known comedian on there, there’s well-known DJs on there. There’s an extremely well-known rapper in there. All this stuff is confirming as we speak.”\u003c/p>\n\u003cfigure id=\"attachment_13971713\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg\" alt=\"\" width=\"2000\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1920x643.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jesse Tittsworth and Dominic Green, owners of Ceremony, established themselves in Oakland in 2022 with the nightclub Crybaby. \u003ccite>(Courtesy Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An injection of nightlife downtown\u003c/h3>\n\u003cp>Green has deep local roots — his grandfather was a mayor of Berkeley, and his father is a longtime jazz promoter. Tittsworth was a co-founder of Washington D.C.’s U Street Music Hall, an acclaimed smaller venue.\u003c/p>\n\u003cp>The pair opened the 400-capacity Crybaby in 2022 as a no-frills, no-bottle-service, no-VIP-area nightclub, a format quickly embraced by the Oakland music scene. The club has been profitable, Green and Tittsworth say.\u003c/p>\n\u003cp>[aside postID='arts_13953497']But Ceremony was, in fact, the duo’s initial plan. The two first signed a lease at 1220 Broadway six years ago, in 2019, just before the pandemic halted their plans. The building’s ownership has changed hands multiple times since.\u003c/p>\n\u003cp>After extensive renovations, including sound installation, stage construction and other build-outs, the venue is poised to bring an injection of nightlife to the downtown core.\u003c/p>\n\u003cp>With a 6,013-square-foot ground floor overlooked by a second-floor wrap-around mezzanine, the venue boasts a state-of-the-art D&B Audiotechnik sound system. Two bars on either side of the dance floor and a kitchen handle food and drinks.\u003c/p>\n\u003cp>Key to the location, Tittsworth points out, is Ceremony’s immediate proximity to the 12th Street BART station. The venue may also pursue block parties on 13th Street between Broadway and Franklin, which could accommodate between 2,500 to 6,000 people.\u003c/p>\n\u003cfigure id=\"attachment_13971685\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg\" alt=\"\" width=\"812\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-768x1185.jpg 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">An newspaper advertisement from the Oakland Post Enquirer for the grand opening of the Lux Theater, July 17, 1948.\u003c/figcaption>\u003c/figure>\n\u003ch3>A historic building\u003c/h3>\n\u003cp>The building at 1220 Broadway has a storied past. Those of a certain age will remember it as the Lux Theater, which showed movies from its glistening grand opening in 1948 to its seedier demise in 1978. More recently, from 1988 to 2019, the former theater served as a Goodwill.\u003c/p>\n\u003cp>When the Oakland City Council approved the opening of Goodwill in 1988, it required the charity organization to remove the Lux Theater’s majestic, protruding marquee from the building.\u003c/p>\n\u003cp>Green finds a certain irony in this. When he met with the city’s historic preservation department recently, he was encouraged to add a marquee, similar to the Lux Theater’s, to the building’s facade.\u003c/p>\n\u003cp>[aside postID='arts_13968285']Renovations of the building have uncovered the usual oddities, especially in the basement. An old steam boiler. A door leading to nothing but bricks. A hollowed-out section of a wall where someone once lived.\u003c/p>\n\u003cp>“Dim light, you know, the dripping pipe. It’s really like \u003cem>Saw V\u003c/em> … it can be a little spooky down there,” says Green.\u003c/p>\n\u003cp>Tittsworth, rolling with the idea, jokes that the basement could host the world’s creepiest mini-rave.\u003c/p>\n\u003cp>Another point of clarification: the two did not name the venue after the Joy Division song “Ceremony,” nor the punk band Ceremony that came roaring out of the Bay Area suburb of Rohnert Park in the early 2000s, but the literal definition of a ceremony, and what it entails.\u003c/p>\n\u003cp>“It just hits on like every culture, right? Every culture has a ceremony, of any sort,” says Green. “For us, wanting to be a place that’s welcoming to all with diverse programming, it felt like a word that encompasses every division of culture.”\u003c/p>\n\u003ch3>Filling a need\u003c/h3>\n\u003cp>One thing that’s been elusive, as a potential driver of downtown revitalization, is bankable support from the cash-strapped city of Oakland.\u003c/p>\n\u003cp>In meetings with various departments, “I hear a lot of support in these rooms, all the way from D.O.T. to OPD to fellow business owners,” says Tittsworth. “It’s just the budgets don’t match the verbal support.”\u003c/p>\n\u003cp>[aside postID='arts_13910010']Oakland has radically reviewed its operating budget in the past year, and “arts and culture has really been slashed,” adds Green. “So we’re pretty much on our own out here.”\u003c/p>\n\u003cp>However, for Ceremony’s unique size, format and location, the two have found support from what’s technically their competitors.\u003c/p>\n\u003cp>Green and Tittsworth have talked with larger live music promoters like Goldenvoice, Another Planet Entertainment and Live Nation. To hear them tell it, they see Ceremony as complementing their Bay Area bookings instead of competing.\u003c/p>\n\u003cp>“It’s really this idea of like, how do we work together to put Oakland on the map?” Tittsworth says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For updates on Ceremony’s grand opening and concert schedule, \u003ca href=\"https://www.instagram.com/ceremony.oakland/\">visit the venue’s Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13971707\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The stage and dance floor at Ceremony, a new 1,000-capacity music hall in downtown Oakland, as seen from the venue’s mezzanine. \u003ccite>(Courtesy of Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new live music venue is opening next month in downtown Oakland near the corner of Broadway and 13th Street.\u003c/p>\n\u003cp>The 1,000-capacity hall, called Ceremony, will host touring acts of diverse genres — rap, R&B, punk, Latin, comedy, queer pop — alongside local acts and DJ nights.\u003c/p>\n\u003cp>The venue is owned and operated by the team behind \u003ca href=\"https://www.kqed.org/arts/13910010/crybaby-nightclub-oakland-opening-uptown\">Crybaby\u003c/a>, a smaller nightclub located several blocks away.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While San Francisco has similarly sized music venues like the Regency Ballroom, August Hall and the Fillmore, Ceremony will be the only music hall of its size in Oakland.\u003c/p>\n\u003cp>That’s an asset owners Jesse Tittsworth and Dominic Green are banking on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As far as the booking landscape goes, “There’s a giant queue for a small handful of 1,000-capacity venues in the city. There’s nothing in the East Bay,” Tittsworth says in a recent interview about the opening.\u003c/p>\n\u003cp>Additionally, certain types of shows, Tittsworth adds, just make more sense in Oakland, where there’s a more diverse audience for Latin acts, rap artists and queer dance nights.\u003c/p>\n\u003cp>The venue’s initial lineup in March has yet to be announced. But Tittsworth says that “there’s rave stuff on there, there’s a well-known comedian on there, there’s well-known DJs on there. There’s an extremely well-known rapper in there. All this stuff is confirming as we speak.”\u003c/p>\n\u003cfigure id=\"attachment_13971713\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg\" alt=\"\" width=\"2000\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1920x643.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jesse Tittsworth and Dominic Green, owners of Ceremony, established themselves in Oakland in 2022 with the nightclub Crybaby. \u003ccite>(Courtesy Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An injection of nightlife downtown\u003c/h3>\n\u003cp>Green has deep local roots — his grandfather was a mayor of Berkeley, and his father is a longtime jazz promoter. Tittsworth was a co-founder of Washington D.C.’s U Street Music Hall, an acclaimed smaller venue.\u003c/p>\n\u003cp>The pair opened the 400-capacity Crybaby in 2022 as a no-frills, no-bottle-service, no-VIP-area nightclub, a format quickly embraced by the Oakland music scene. The club has been profitable, Green and Tittsworth say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Ceremony was, in fact, the duo’s initial plan. The two first signed a lease at 1220 Broadway six years ago, in 2019, just before the pandemic halted their plans. The building’s ownership has changed hands multiple times since.\u003c/p>\n\u003cp>After extensive renovations, including sound installation, stage construction and other build-outs, the venue is poised to bring an injection of nightlife to the downtown core.\u003c/p>\n\u003cp>With a 6,013-square-foot ground floor overlooked by a second-floor wrap-around mezzanine, the venue boasts a state-of-the-art D&B Audiotechnik sound system. Two bars on either side of the dance floor and a kitchen handle food and drinks.\u003c/p>\n\u003cp>Key to the location, Tittsworth points out, is Ceremony’s immediate proximity to the 12th Street BART station. The venue may also pursue block parties on 13th Street between Broadway and Franklin, which could accommodate between 2,500 to 6,000 people.\u003c/p>\n\u003cfigure id=\"attachment_13971685\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg\" alt=\"\" width=\"812\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-768x1185.jpg 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">An newspaper advertisement from the Oakland Post Enquirer for the grand opening of the Lux Theater, July 17, 1948.\u003c/figcaption>\u003c/figure>\n\u003ch3>A historic building\u003c/h3>\n\u003cp>The building at 1220 Broadway has a storied past. Those of a certain age will remember it as the Lux Theater, which showed movies from its glistening grand opening in 1948 to its seedier demise in 1978. More recently, from 1988 to 2019, the former theater served as a Goodwill.\u003c/p>\n\u003cp>When the Oakland City Council approved the opening of Goodwill in 1988, it required the charity organization to remove the Lux Theater’s majestic, protruding marquee from the building.\u003c/p>\n\u003cp>Green finds a certain irony in this. When he met with the city’s historic preservation department recently, he was encouraged to add a marquee, similar to the Lux Theater’s, to the building’s facade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Renovations of the building have uncovered the usual oddities, especially in the basement. An old steam boiler. A door leading to nothing but bricks. A hollowed-out section of a wall where someone once lived.\u003c/p>\n\u003cp>“Dim light, you know, the dripping pipe. It’s really like \u003cem>Saw V\u003c/em> … it can be a little spooky down there,” says Green.\u003c/p>\n\u003cp>Tittsworth, rolling with the idea, jokes that the basement could host the world’s creepiest mini-rave.\u003c/p>\n\u003cp>Another point of clarification: the two did not name the venue after the Joy Division song “Ceremony,” nor the punk band Ceremony that came roaring out of the Bay Area suburb of Rohnert Park in the early 2000s, but the literal definition of a ceremony, and what it entails.\u003c/p>\n\u003cp>“It just hits on like every culture, right? Every culture has a ceremony, of any sort,” says Green. “For us, wanting to be a place that’s welcoming to all with diverse programming, it felt like a word that encompasses every division of culture.”\u003c/p>\n\u003ch3>Filling a need\u003c/h3>\n\u003cp>One thing that’s been elusive, as a potential driver of downtown revitalization, is bankable support from the cash-strapped city of Oakland.\u003c/p>\n\u003cp>In meetings with various departments, “I hear a lot of support in these rooms, all the way from D.O.T. to OPD to fellow business owners,” says Tittsworth. “It’s just the budgets don’t match the verbal support.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oakland has radically reviewed its operating budget in the past year, and “arts and culture has really been slashed,” adds Green. “So we’re pretty much on our own out here.”\u003c/p>\n\u003cp>However, for Ceremony’s unique size, format and location, the two have found support from what’s technically their competitors.\u003c/p>\n\u003cp>Green and Tittsworth have talked with larger live music promoters like Goldenvoice, Another Planet Entertainment and Live Nation. To hear them tell it, they see Ceremony as complementing their Bay Area bookings instead of competing.\u003c/p>\n\u003cp>“It’s really this idea of like, how do we work together to put Oakland on the map?” Tittsworth says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For updates on Ceremony’s grand opening and concert schedule, \u003ca href=\"https://www.instagram.com/ceremony.oakland/\">visit the venue’s Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rickshaw Stop Has Rocked for 20 Years By Taking Risks on Up-And-Comers",
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"content": "\u003cp>Rickshaw Stop, the beloved live music venue in San Francisco that’s hosted everyone from a nascent Sam Smith and Billie Eilish to your roommate’s garage band, feels a little bit enchanted.\u003c/p>\n\u003cp>Enter through a mural of a tentacled beast on an otherwise dull block of Fell Street, and you’ll find yourself in a lively spill of odds and ends: A worse-for-wear piano sags under a “No Diving Allowed” sign to stage left. Marble-topped counters, scavenged from the demolition site of a Catholic rectory, serve as the bar. There are dramatic, crushed-velvet curtains on each side of the stage, a bike suspended from the ceiling and, of course, the titular rickshaw in the corner.\u003c/p>\n\u003cp>But even though it can make you feel like you’ve slipped into some ramshackle fairytale realm, the venue actually exists for a pretty mundane reason: zoning.\u003c/p>\n\u003cp>“This block is a really wild block,” says Christopher White, the venue’s owner. Rickshaw Stop’s section of the street has housed restaurants, repair shops, hotels and offices over the years. When White and co-founder Waldo Williams approached it in 2003, it was a disused soundstage where companies shot commercials in the 1960s.\u003c/p>\n\u003cp>“Waldo and I were like ‘Ooh, we could build something here,’” White says. They knew, since the block also housed food establishments, they could apply for a liquor license. “So that’s why we ended up getting the place.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Twenty years later, Rickshaw Stop hosts concerts most nights of the week with a slate of up-and-coming indie bands and artists, many from right here in the Bay Area. This month, they’ll celebrate their 20th anniversary with \u003ca href=\"https://www.kqed.org/arts/13935783/rickshaw-stop-20th-anniversary-celebration\">a series of shows that kicks off Jan. 5\u003c/a> and runs throughout the month into February. The lineup is full of independent musicians, particularly local ones, who have played there over the years, including San Francisco punks Pardoner and Oakland garage-rock stylists \u003ca href=\"https://www.kqed.org/arts/13928718/fake-fruit-is-the-best-emerging-band-in-the-bay-is-the-universe-conspiring-against-them\">Fake Fruit\u003c/a>, as well as those who have since graduated to wider acclaim, like K. Flay and Shannon Shaw.\u003c/p>\n\u003cfigure id=\"attachment_13939952\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg\" alt=\"a young woman with dark hair and a dark dress plays a white guitar on stage in purple lighting\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hannah D’Amato of Oakland’s Fake Fruit, seen here performing at Pitchfork Music Festival London in 2022, will play a Rickshaw Stop anniversary show Jan. 18, 2024. \u003ccite>(Burak Cingi/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite its current reputation as a rock venue, the dream of Rickshaw Stop started as the dream of a \u003cem>club\u003c/em> club — the kind with pulsating beats, sweaty dance floors and going-out dresses. White and Williams liked dance parties and were looking for a space to hold their own, which led them to the former TV studio. After meeting through a mutual friend, White recruited Dan Strachota — then the DJ and founder of French-pop dance party Bardot a Go Go — to play their first event: a party for Halloween 2003. (There’s debate about how Strachota was dressed that night; he says Santa, White maintains he was a traffic cone with their mutual friend as a traffic cop.) Two decades later, Dan Strachota serves as the club’s longtime talent buyer.\u003c/p>\n\u003cp>But Williams’ wife suggested their idea of a club wasn’t, well, all that cool. “Fran was like ‘Nightclubs are dumb. But bands are cool.’” As White says, it’s always a good idea to listen to Fran. So they put out feelers for live musicians. Their first live act, in 2004, was Willie Wisely, a singer-songwriter from Los Angeles. “It was actually a totally delightful night,” says White. So they started to balance the dance parties with live acts.\u003c/p>\n\u003cp>The dance parties remain on the calendar to this day — even Bardot a Go Go, still going strong after 25 years, takes place there. “[The dance parties] made our bones and also got us noticed, and I think probably got some money in the coffers to get better equipment,” says Strachota.\u003c/p>\n\u003cp>In due time, White realized that Fran was right — while the dance parties were popular, the live music was drawing a crowd, too. He summarizes Rickshaw Stop’s philosophy this way: “The right band, in the right room, at the right time.”\u003c/p>\n\u003cfigure id=\"attachment_13939951\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-scaled.jpeg\" alt=\"three white men in ballcaps stand for a photo smiling outside a music venue on a city street\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-1920x1440.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harp Casey, Dan Strachota and Christopher White at Rickshaw Stop’s 2023 staff holiday party. \u003ccite>(John Karr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That mantra has led Rickshaw Stop to occupy a unique place in the local live music landscape: the 400-person capacity makes it the perfect fit for bands that aren’t total newbies, but are just about to start gathering industry buzz. “We always say we wanna catch people on the way up,” says Strachota.\u003c/p>\n\u003cp>Strachota, who has worked as a DJ, music director and music journalist in addition to booking, has honed a precise ear for rising talent. That’s resulted in some major “I knew them when”s – including artists with indie clout, like Mac DeMarco and Vampire Weekend, as well as superstars Sam Smith and Billie Eilish, all of whom played Rickshaw Stop early in their careers.\u003c/p>\n\u003cp>That in-between size combined with an avowed commitment to supporting independent artists has built them an abundance of goodwill amongst both Bay Area musicians and music fans, many of whom are coming back for the anniversary series in January.\u003c/p>\n\u003cp>A number of the bands playing the series include Rickshaw Stop employees as well — another testament to how deeply woven into the local music community they have become. Barback Michael Cruz has worked at the venue since early 2023. His band, Combo, is supporting Cheekface — who aren’t local, but recently tweeted their gratitude for Strachota inviting them to play Rickshaw Stop in 2019.\u003c/p>\n\u003cp>https://twitter.com/cheekfaceREAL/status/1710521710611693951\u003c/p>\n\u003cp>“I appreciate that the space is being used for live music and entertainment instead of something soulless or corporate,” Cruz says. “It’s great to work with like-minded musicians and music lovers.”\u003c/p>\n\u003cp>Cheekface guitarist Greg Katz believes Strachota’s taking a chance on them was a crucial step on their way to wider acclaim (and helped them get an agent). “We love playing independent venues in general, especially ones like Rickshaw who take risks on new bands and are staffed by people who really care like Dan,” he says.\u003c/p>\n\u003cp>White and Strachota did consider bringing in some of those national artists they caught on the way up, and also new ones they’d never been able to coax to the club.\u003c/p>\n\u003cp>But ultimately they decided to keep it close to home. The vast majority of the series’ headliners are local, or at one time were: French Cassettes, Pardoner, Fake Fruit, The She’s, Geographer and plenty more.\u003c/p>\n\u003cfigure id=\"attachment_13939764\" class=\"wp-caption aligncenter\" style=\"max-width: 990px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939764 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2.jpg\" alt=\"a woman plays guitar bathed in blue and pink light on a stage\" width=\"990\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2.jpg 990w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2-768x512.jpg 768w\" sizes=\"(max-width: 990px) 100vw, 990px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The She’s, seen playing at the Rickshaw Stop for the venue’s 15th anniversary in 2019. They’ll play the venue again with French Cassettes on Jan. 5, 2024. \u003ccite>(Geoffrey Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think what’s really been heartening is doing some of these all-local shows and you’re like ‘OK, not everyone has left town,” says Strachota. “There are a lot of people here, and they’re young people, and they’re excited about the scene.’”\u003c/p>\n\u003cp>Those young people are factoring in more and more to the club’s overall operations. Lately, they’ve been letting the younger folks in their employ — and their own families — take the reins. “One very strong recommendation I’d ever give anybody … is to find people that are smart, and that are much younger than you, that can help you figure out where you’re going,” says White. “Maybe twee bands and rock music from 1999 is not the thing anymore, so find somebody who gets what the hell it is and listen to them.”\u003c/p>\n\u003cp>To wit, White’s son designed nearly all of the posters for the 20th anniversary series, and his daughter runs the venue’s social media accounts. “To see our friends’ kids now work here and come to shows here, and get involved, is like — I never in my wildest dreams would have thought that that would happen,” says White.\u003c/p>\n\u003cp>Not bad for a couple of guys who just wanted to party. “You can make more money doing dance parties,” says White. “But it’s the affection for the art of the performance that keeps you going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Rickshaw Stop’s 20th anniversary shows kick off Jan. 5 and run through February. Prices vary; more info and \u003ca href=\"https://rickshawstop.com/\">tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rickshaw Stop, the beloved live music venue in San Francisco that’s hosted everyone from a nascent Sam Smith and Billie Eilish to your roommate’s garage band, feels a little bit enchanted.\u003c/p>\n\u003cp>Enter through a mural of a tentacled beast on an otherwise dull block of Fell Street, and you’ll find yourself in a lively spill of odds and ends: A worse-for-wear piano sags under a “No Diving Allowed” sign to stage left. Marble-topped counters, scavenged from the demolition site of a Catholic rectory, serve as the bar. There are dramatic, crushed-velvet curtains on each side of the stage, a bike suspended from the ceiling and, of course, the titular rickshaw in the corner.\u003c/p>\n\u003cp>But even though it can make you feel like you’ve slipped into some ramshackle fairytale realm, the venue actually exists for a pretty mundane reason: zoning.\u003c/p>\n\u003cp>“This block is a really wild block,” says Christopher White, the venue’s owner. Rickshaw Stop’s section of the street has housed restaurants, repair shops, hotels and offices over the years. When White and co-founder Waldo Williams approached it in 2003, it was a disused soundstage where companies shot commercials in the 1960s.\u003c/p>\n\u003cp>“Waldo and I were like ‘Ooh, we could build something here,’” White says. They knew, since the block also housed food establishments, they could apply for a liquor license. “So that’s why we ended up getting the place.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Twenty years later, Rickshaw Stop hosts concerts most nights of the week with a slate of up-and-coming indie bands and artists, many from right here in the Bay Area. This month, they’ll celebrate their 20th anniversary with \u003ca href=\"https://www.kqed.org/arts/13935783/rickshaw-stop-20th-anniversary-celebration\">a series of shows that kicks off Jan. 5\u003c/a> and runs throughout the month into February. The lineup is full of independent musicians, particularly local ones, who have played there over the years, including San Francisco punks Pardoner and Oakland garage-rock stylists \u003ca href=\"https://www.kqed.org/arts/13928718/fake-fruit-is-the-best-emerging-band-in-the-bay-is-the-universe-conspiring-against-them\">Fake Fruit\u003c/a>, as well as those who have since graduated to wider acclaim, like K. Flay and Shannon Shaw.\u003c/p>\n\u003cfigure id=\"attachment_13939952\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg\" alt=\"a young woman with dark hair and a dark dress plays a white guitar on stage in purple lighting\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1441278746-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hannah D’Amato of Oakland’s Fake Fruit, seen here performing at Pitchfork Music Festival London in 2022, will play a Rickshaw Stop anniversary show Jan. 18, 2024. \u003ccite>(Burak Cingi/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite its current reputation as a rock venue, the dream of Rickshaw Stop started as the dream of a \u003cem>club\u003c/em> club — the kind with pulsating beats, sweaty dance floors and going-out dresses. White and Williams liked dance parties and were looking for a space to hold their own, which led them to the former TV studio. After meeting through a mutual friend, White recruited Dan Strachota — then the DJ and founder of French-pop dance party Bardot a Go Go — to play their first event: a party for Halloween 2003. (There’s debate about how Strachota was dressed that night; he says Santa, White maintains he was a traffic cone with their mutual friend as a traffic cop.) Two decades later, Dan Strachota serves as the club’s longtime talent buyer.\u003c/p>\n\u003cp>But Williams’ wife suggested their idea of a club wasn’t, well, all that cool. “Fran was like ‘Nightclubs are dumb. But bands are cool.’” As White says, it’s always a good idea to listen to Fran. So they put out feelers for live musicians. Their first live act, in 2004, was Willie Wisely, a singer-songwriter from Los Angeles. “It was actually a totally delightful night,” says White. So they started to balance the dance parties with live acts.\u003c/p>\n\u003cp>The dance parties remain on the calendar to this day — even Bardot a Go Go, still going strong after 25 years, takes place there. “[The dance parties] made our bones and also got us noticed, and I think probably got some money in the coffers to get better equipment,” says Strachota.\u003c/p>\n\u003cp>In due time, White realized that Fran was right — while the dance parties were popular, the live music was drawing a crowd, too. He summarizes Rickshaw Stop’s philosophy this way: “The right band, in the right room, at the right time.”\u003c/p>\n\u003cfigure id=\"attachment_13939951\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-scaled.jpeg\" alt=\"three white men in ballcaps stand for a photo smiling outside a music venue on a city street\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/image0-6-1920x1440.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harp Casey, Dan Strachota and Christopher White at Rickshaw Stop’s 2023 staff holiday party. \u003ccite>(John Karr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That mantra has led Rickshaw Stop to occupy a unique place in the local live music landscape: the 400-person capacity makes it the perfect fit for bands that aren’t total newbies, but are just about to start gathering industry buzz. “We always say we wanna catch people on the way up,” says Strachota.\u003c/p>\n\u003cp>Strachota, who has worked as a DJ, music director and music journalist in addition to booking, has honed a precise ear for rising talent. That’s resulted in some major “I knew them when”s – including artists with indie clout, like Mac DeMarco and Vampire Weekend, as well as superstars Sam Smith and Billie Eilish, all of whom played Rickshaw Stop early in their careers.\u003c/p>\n\u003cp>That in-between size combined with an avowed commitment to supporting independent artists has built them an abundance of goodwill amongst both Bay Area musicians and music fans, many of whom are coming back for the anniversary series in January.\u003c/p>\n\u003cp>A number of the bands playing the series include Rickshaw Stop employees as well — another testament to how deeply woven into the local music community they have become. Barback Michael Cruz has worked at the venue since early 2023. His band, Combo, is supporting Cheekface — who aren’t local, but recently tweeted their gratitude for Strachota inviting them to play Rickshaw Stop in 2019.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I appreciate that the space is being used for live music and entertainment instead of something soulless or corporate,” Cruz says. “It’s great to work with like-minded musicians and music lovers.”\u003c/p>\n\u003cp>Cheekface guitarist Greg Katz believes Strachota’s taking a chance on them was a crucial step on their way to wider acclaim (and helped them get an agent). “We love playing independent venues in general, especially ones like Rickshaw who take risks on new bands and are staffed by people who really care like Dan,” he says.\u003c/p>\n\u003cp>White and Strachota did consider bringing in some of those national artists they caught on the way up, and also new ones they’d never been able to coax to the club.\u003c/p>\n\u003cp>But ultimately they decided to keep it close to home. The vast majority of the series’ headliners are local, or at one time were: French Cassettes, Pardoner, Fake Fruit, The She’s, Geographer and plenty more.\u003c/p>\n\u003cfigure id=\"attachment_13939764\" class=\"wp-caption aligncenter\" style=\"max-width: 990px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939764 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2.jpg\" alt=\"a woman plays guitar bathed in blue and pink light on a stage\" width=\"990\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2.jpg 990w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/The-Shes-15-Anniv-2-768x512.jpg 768w\" sizes=\"(max-width: 990px) 100vw, 990px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The She’s, seen playing at the Rickshaw Stop for the venue’s 15th anniversary in 2019. They’ll play the venue again with French Cassettes on Jan. 5, 2024. \u003ccite>(Geoffrey Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think what’s really been heartening is doing some of these all-local shows and you’re like ‘OK, not everyone has left town,” says Strachota. “There are a lot of people here, and they’re young people, and they’re excited about the scene.’”\u003c/p>\n\u003cp>Those young people are factoring in more and more to the club’s overall operations. Lately, they’ve been letting the younger folks in their employ — and their own families — take the reins. “One very strong recommendation I’d ever give anybody … is to find people that are smart, and that are much younger than you, that can help you figure out where you’re going,” says White. “Maybe twee bands and rock music from 1999 is not the thing anymore, so find somebody who gets what the hell it is and listen to them.”\u003c/p>\n\u003cp>To wit, White’s son designed nearly all of the posters for the 20th anniversary series, and his daughter runs the venue’s social media accounts. “To see our friends’ kids now work here and come to shows here, and get involved, is like — I never in my wildest dreams would have thought that that would happen,” says White.\u003c/p>\n\u003cp>Not bad for a couple of guys who just wanted to party. “You can make more money doing dance parties,” says White. “But it’s the affection for the art of the performance that keeps you going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Rickshaw Stop’s 20th anniversary shows kick off Jan. 5 and run through February. Prices vary; more info and \u003ca href=\"https://rickshawstop.com/\">tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rickshaw Stop Celebrates Two Decades of Live Music in San Francisco",
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"content": "\u003cp>\u003ca href=\"https://rickshawstop.com/\">Rickshaw Stop\u003c/a> is a gem of the San Francisco live music scene — an intimate, independent venue that punches above its weight.\u003c/p>\n\u003cp>Over its 20 year history, the 350-capacity, charmingly dive-y concert hall has hosted early-career performances from stars like Billie Eilish, M.I.A., Vampire Weekend, Jorja Smith and more. But beyond touring acts, it’s also nurtured Bay Area artists like garage-punk-country crooner \u003ca href=\"https://www.kqed.org/arts/13834539/shannon-shaw-ascends-from-the-warehouse-to-rock-n-roll-greatness\">Shannon Shaw\u003c/a> and rising rockers \u003ca href=\"https://www.kqed.org/arts/13928718/fake-fruit-is-the-best-emerging-band-in-the-bay-is-the-universe-conspiring-against-them\">Fake Fruit\u003c/a>. After \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\">weathering pandemic shutdowns\u003c/a>, it remains a crucial resource for local musicians as \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">corporate promoters\u003c/a> continue to \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">consolidate the concert industry\u003c/a>.\u003c/p>\n\u003cp>Shaw, Fake Fruit and a slate of other Bay Area artists are helping Rickshaw Stop ring in two decades in January 2024. Its 20th anniversary celebration kicks off on Jan. 5 with a free band showcase (lineup coming soon) and continues with shows into February.\u003c/p>\n\u003cfigure id=\"attachment_13875762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875762\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7452.jpg\" alt=\"Blue and pink lights on a band on stage in dark theater, sound board lit at bottom right\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Rickshaw Stop during night four of the Noise Pop Music and Art Festival on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So far, nine anniversary concerts have been announced, with more to come. Highlights include a Jan. 11 show with San Francisco post-punks \u003ca href=\"https://www.kqed.org/arts/13811943/pardoner-thinks-theyre-going-to-hell\">Pardoner\u003c/a> with chokecherry, Spiral Dub and Armin; Shannon Shaw on Jan. 13 with Mae Powell and MAYYA; Fake Fruit on Jan. 18 with Dummy and April Magazine; and a funky dance party on Jan. 19 with Planet Booty and more.\u003c/p>\n\u003cp>Tickets go on sale Oct. 6 at 10 a.m., and VIP passes are available that grant fans access to all the anniversary concerts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rickshaw Stop’s 20th Anniversary Celebration kicks off on Jan. 5. \u003ca href=\"https://rickshawstop.com/calendar/\">Full line-up and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Shannon Shaw, Fake Fruit, Planet Booty and more headline a slate of anniversary concerts in January.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://rickshawstop.com/\">Rickshaw Stop\u003c/a> is a gem of the San Francisco live music scene — an intimate, independent venue that punches above its weight.\u003c/p>\n\u003cp>Over its 20 year history, the 350-capacity, charmingly dive-y concert hall has hosted early-career performances from stars like Billie Eilish, M.I.A., Vampire Weekend, Jorja Smith and more. But beyond touring acts, it’s also nurtured Bay Area artists like garage-punk-country crooner \u003ca href=\"https://www.kqed.org/arts/13834539/shannon-shaw-ascends-from-the-warehouse-to-rock-n-roll-greatness\">Shannon Shaw\u003c/a> and rising rockers \u003ca href=\"https://www.kqed.org/arts/13928718/fake-fruit-is-the-best-emerging-band-in-the-bay-is-the-universe-conspiring-against-them\">Fake Fruit\u003c/a>. After \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\">weathering pandemic shutdowns\u003c/a>, it remains a crucial resource for local musicians as \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">corporate promoters\u003c/a> continue to \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">consolidate the concert industry\u003c/a>.\u003c/p>\n\u003cp>Shaw, Fake Fruit and a slate of other Bay Area artists are helping Rickshaw Stop ring in two decades in January 2024. Its 20th anniversary celebration kicks off on Jan. 5 with a free band showcase (lineup coming soon) and continues with shows into February.\u003c/p>\n\u003cfigure id=\"attachment_13875762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875762\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7452.jpg\" alt=\"Blue and pink lights on a band on stage in dark theater, sound board lit at bottom right\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Rickshaw Stop during night four of the Noise Pop Music and Art Festival on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So far, nine anniversary concerts have been announced, with more to come. Highlights include a Jan. 11 show with San Francisco post-punks \u003ca href=\"https://www.kqed.org/arts/13811943/pardoner-thinks-theyre-going-to-hell\">Pardoner\u003c/a> with chokecherry, Spiral Dub and Armin; Shannon Shaw on Jan. 13 with Mae Powell and MAYYA; Fake Fruit on Jan. 18 with Dummy and April Magazine; and a funky dance party on Jan. 19 with Planet Booty and more.\u003c/p>\n\u003cp>Tickets go on sale Oct. 6 at 10 a.m., and VIP passes are available that grant fans access to all the anniversary concerts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rickshaw Stop’s 20th Anniversary Celebration kicks off on Jan. 5. \u003ca href=\"https://rickshawstop.com/calendar/\">Full line-up and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland",
"headTitle": "Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland | KQED",
"content": "\u003cp>The only voices heard in \u003cem>Flower\u003c/em>, a 28-minute film produced by world-renowned ballet dancer \u003ca href=\"https://mistycopeland.com/\">Misty Copeland\u003c/a>, belong to three unhoused residents of an RV encampment in West Oakland.\u003c/p>\n\u003cp>The choice was very much intentional — Copeland herself experienced housing and food insecurity for much of her childhood. “It can happen to anyone,” she says in an interview. “So many Americans are one paycheck away from losing their home.”\u003c/p>\n\u003cp>A film about a woman struggling to hang on to the family home she shares with her dementia-stricken mother, \u003cem>Flower\u003c/em> screens on Friday, Sept. 29, as part of Oakland Ballet’s season opener at the Paramount Theatre. Copeland will be on stage to present.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FuiMrxuSR2o\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Copeland hopes \u003cem>Flower\u003c/em> not only highlights the housing affordability crisis, but challenges the tropes of what homelessness looks like.\u003c/p>\n\u003cp>The film is the first for Copeland’s production company, \u003ca href=\"https://www.instagram.com/lifeinmotionproductions/\">Life in Motion\u003c/a>, which she co-founded with ballerina Leyla Fayyaz, an Emmy-winning producer. Also behind the scenes of \u003cem>Flower\u003c/em> is a who’s-who of Bay Area-bred stars. Grammy-winning artist Raphael Saadiq composed the score, with a stirring, repeated refrain of “I’m heeeeere now” that won’t soon leave the viewer’s memory.\u003c/p>\n\u003cp>Street dancers-turned-choreographers to the stars Rich and Tone Talauega, aka \u003ca href=\"https://www.richandtoneproductions.com/\">Rich + Tone\u003c/a>, contribute their moves. Raised in Richmond, the brothers were discovered by one of Michael Jackson’s choreographers while freestyling at an Oakland club in the early ’90s. And \u003ca href=\"https://linesballet.org/lines-ballet-mission-and-purpose/alonzo-king/\">Alonzo King\u003c/a> (of San Francisco’s Alonzo King LINES Ballet), who’s known Copeland since she was a teen, also choreographs.\u003c/p>\n\u003cfigure id=\"attachment_13935226\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-2.jpg\" alt=\"A man and woman float in repose against a black background\" width=\"980\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-768x321.jpg 768w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland with co-star Babatunji Johnson in the short film ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local talent shines on screen, as well. Bay Area dancer \u003ca href=\"https://babatunjijohnson.com/\">Babatunji Johnson\u003c/a> co-stars with Copeland; turf dancers – including Algerion “Krow” Bryant – perform in the film; and Oakland Ballet youth appear as students in a scene where Copeland’s character teaches a ballet class.\u003c/p>\n\u003cp>“It was important that we had people [who] are from the community,” says Copeland, whose husband, Olu Evans, was born and raised in Oakland. “Not necessarily for the world, but for that community to say, ‘we know that person,’ [or] ‘there’s that place – Mama’s Royal Café.’ That’s our community. That’s really us. It’s not this Hollywood facade.”\u003c/p>\n\u003cfigure id=\"attachment_13935227\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-1.jpg\" alt=\"A woman in a black top and hair pulled back looks up as older houses stand in the background\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1536x643.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland in ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same intention also went into incorporating the real experiences of the three unhoused community members in the West Oakland RV encampment.\u003c/p>\n\u003cp>“It made sense to use that one opportunity where people speak, to give that opportunity to people who are often voiceless or overlooked,” Copeland says. “I feel like it really is the glue that brings the story together in a powerful way.”\u003c/p>\n\u003cp>[aside postID='arts_11230644']The Sept. 29 event at the Paramount Theatre also features live dance performances by Johnson, Krow, turf dancers, \u003ca href=\"https://destinyarts.org/\">Destiny Arts\u003c/a> youth and ballerina \u003ca href=\"https://www.sfballet.org/artist/angela-watson-2/\">Angela Watson\u003c/a> from Oakland. Highlights from the Oakland Ballet Company shows Luna Mexicana, Dancing Moons Festival and The Nutcracker round out the program.\u003c/p>\n\u003cp>“It’s super exciting,” Copeland says of the long-awaited Oakland premiere. “We hope that we did the community justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flower,’ starring Misty Copeland, premieres at the Paramount Theatre in Oakland on Sept. 29 at 7 p.m. The film premiere is accompanied by live performances by Oakland Ballet and others. \u003ca href=\"https://oaklandballet.org/flower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With a 28-minute film addressing housing insecurity, Copeland kicks off Oakland Ballet’s new season. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only voices heard in \u003cem>Flower\u003c/em>, a 28-minute film produced by world-renowned ballet dancer \u003ca href=\"https://mistycopeland.com/\">Misty Copeland\u003c/a>, belong to three unhoused residents of an RV encampment in West Oakland.\u003c/p>\n\u003cp>The choice was very much intentional — Copeland herself experienced housing and food insecurity for much of her childhood. “It can happen to anyone,” she says in an interview. “So many Americans are one paycheck away from losing their home.”\u003c/p>\n\u003cp>A film about a woman struggling to hang on to the family home she shares with her dementia-stricken mother, \u003cem>Flower\u003c/em> screens on Friday, Sept. 29, as part of Oakland Ballet’s season opener at the Paramount Theatre. Copeland will be on stage to present.\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/FuiMrxuSR2o'\n title='//www.youtube.com/embed/FuiMrxuSR2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Copeland hopes \u003cem>Flower\u003c/em> not only highlights the housing affordability crisis, but challenges the tropes of what homelessness looks like.\u003c/p>\n\u003cp>The film is the first for Copeland’s production company, \u003ca href=\"https://www.instagram.com/lifeinmotionproductions/\">Life in Motion\u003c/a>, which she co-founded with ballerina Leyla Fayyaz, an Emmy-winning producer. Also behind the scenes of \u003cem>Flower\u003c/em> is a who’s-who of Bay Area-bred stars. Grammy-winning artist Raphael Saadiq composed the score, with a stirring, repeated refrain of “I’m heeeeere now” that won’t soon leave the viewer’s memory.\u003c/p>\n\u003cp>Street dancers-turned-choreographers to the stars Rich and Tone Talauega, aka \u003ca href=\"https://www.richandtoneproductions.com/\">Rich + Tone\u003c/a>, contribute their moves. Raised in Richmond, the brothers were discovered by one of Michael Jackson’s choreographers while freestyling at an Oakland club in the early ’90s. And \u003ca href=\"https://linesballet.org/lines-ballet-mission-and-purpose/alonzo-king/\">Alonzo King\u003c/a> (of San Francisco’s Alonzo King LINES Ballet), who’s known Copeland since she was a teen, also choreographs.\u003c/p>\n\u003cfigure id=\"attachment_13935226\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-2.jpg\" alt=\"A man and woman float in repose against a black background\" width=\"980\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-768x321.jpg 768w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland with co-star Babatunji Johnson in the short film ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local talent shines on screen, as well. Bay Area dancer \u003ca href=\"https://babatunjijohnson.com/\">Babatunji Johnson\u003c/a> co-stars with Copeland; turf dancers – including Algerion “Krow” Bryant – perform in the film; and Oakland Ballet youth appear as students in a scene where Copeland’s character teaches a ballet class.\u003c/p>\n\u003cp>“It was important that we had people [who] are from the community,” says Copeland, whose husband, Olu Evans, was born and raised in Oakland. “Not necessarily for the world, but for that community to say, ‘we know that person,’ [or] ‘there’s that place – Mama’s Royal Café.’ That’s our community. That’s really us. It’s not this Hollywood facade.”\u003c/p>\n\u003cfigure id=\"attachment_13935227\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-1.jpg\" alt=\"A woman in a black top and hair pulled back looks up as older houses stand in the background\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1536x643.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland in ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same intention also went into incorporating the real experiences of the three unhoused community members in the West Oakland RV encampment.\u003c/p>\n\u003cp>“It made sense to use that one opportunity where people speak, to give that opportunity to people who are often voiceless or overlooked,” Copeland says. “I feel like it really is the glue that brings the story together in a powerful way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Sept. 29 event at the Paramount Theatre also features live dance performances by Johnson, Krow, turf dancers, \u003ca href=\"https://destinyarts.org/\">Destiny Arts\u003c/a> youth and ballerina \u003ca href=\"https://www.sfballet.org/artist/angela-watson-2/\">Angela Watson\u003c/a> from Oakland. Highlights from the Oakland Ballet Company shows Luna Mexicana, Dancing Moons Festival and The Nutcracker round out the program.\u003c/p>\n\u003cp>“It’s super exciting,” Copeland says of the long-awaited Oakland premiere. “We hope that we did the community justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flower,’ starring Misty Copeland, premieres at the Paramount Theatre in Oakland on Sept. 29 at 7 p.m. The film premiere is accompanied by live performances by Oakland Ballet and others. \u003ca href=\"https://oaklandballet.org/flower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "pain-beauty-and-immortality-in-frida-y-diego-sf-operas-first-spanish-language-work",
"title": "Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work",
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"headTitle": "Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work | KQED",
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"content": "\u003cp>Leave it to Frida Kahlo and Diego Rivera to keep making history, nearly 70 years after death: In the 100-year history of San Francisco Opera, \u003cem>El último sueño de Frida y Diego\u003c/em> is both its first production sung in Spanish, and the first time the Opera has produced the work of a female composer of color, Gabriela Lena Frank.\u003c/p>\n\u003cp>[aside postid='news_11848986']The production, which opened June 13, gleefully and poignantly captures the “live out loud” nature of the famously tempestuous and highly decorated Mexican couple. The fictional story, about a final meeting between the art icons upon Kahlo’s 24-hour return to earth from the underworld, brings together many terrific facets of performance storytelling. An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Review: SF Opera’s ‘El último sueño de Frida y Diego’ | KQED",
"description": "Gabriela Lena Frank and Nilo Cruz's 'El último sueño de Frida y Diego' is a vibrant exploration of the artists' legacy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leave it to Frida Kahlo and Diego Rivera to keep making history, nearly 70 years after death: In the 100-year history of San Francisco Opera, \u003cem>El último sueño de Frida y Diego\u003c/em> is both its first production sung in Spanish, and the first time the Opera has produced the work of a female composer of color, Gabriela Lena Frank.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The production, which opened June 13, gleefully and poignantly captures the “live out loud” nature of the famously tempestuous and highly decorated Mexican couple. The fictional story, about a final meeting between the art icons upon Kahlo’s 24-hour return to earth from the underworld, brings together many terrific facets of performance storytelling. An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 Bay Area Summer Concerts Not to Miss in 2023",
"headTitle": "10 Bay Area Summer Concerts Not to Miss in 2023 | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Feeling the sun’s warmth, sipping something cold and dancing with friends is life-giving. And we need more of that medicine after three years of pandemic living. Fortunately for Bay Area music fans, there’s plenty of opportunity to do all of the above with a summer calendar packed with festivals and concerts. The events we’ve rounded up range from $free.99 to splurge-worthy experiences to help you get out there and make the most of our warm(ish)-weather months.\u003c/p>\n\u003cfigure id=\"attachment_13918676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/larussell\">LaRussell Live From the Pergola\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 4–Aug. 6, 2023\u003cbr>\nVallejo\u003cbr>\nPay what you want\u003c/i>\u003c/p>\n\u003cp>Don’t let the boyish grin and Crocs fool you — \u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\">LaRussell\u003c/a>’s \u003ca href=\"https://youtu.be/8FP5sc687-I\">razor-sharp lyrics\u003c/a> and savvy business maneuvers command respect. Truly a man of the people, he’s built a successful brand by selling pay-what-you-want concert tickets, and transparently narrating his artistic journey on social media in real time. His grassroots momentum has caught the eye of crucial industry figures: most recently, he appeared on a \u003ca href=\"https://www.youtube.com/watch?v=ITgGDY_B6mI\">DJ Drama mixtape\u003c/a> alongside Lil Wayne, Lil Baby and Tyler, the Creator. It probably won’t be too much longer that his backyard can contain his growing fanbase, so consider his summer Live from the Pergola shows a special opportunity to see the rising Vallejo artist perform at his parents’ house, surrounded by his real-life friends and family.\u003c/p>\n\u003cfigure id=\"attachment_13925602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.summerofmusicsf.com/\">Summer of Music SF\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturdays, June 17–Sept. 2023\u003cbr>\nVarious locations, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local musicians need a leg up to rebound from the \u003ca href=\"https://www.npr.org/2022/09/19/1122947022/tour-canceled-covid-safety-concerts-masks\">many difficulties they’ve faced during the pandemic\u003c/a>. And so do small businesses in neighborhoods with dwindling foot traffic and empty storefronts. As part of the solution, local promoter \u003ca href=\"https://www.kqed.org/arts/13925590/noise-pop-festival-2023-review\">Noise Pop\u003c/a> and the nonprofit \u003ca href=\"https://www.civicspacefoundation.org/\">Civic Joy Fund\u003c/a> are hoping to create a positive feedback loop of fun to bolster San Francisco’s culture and economy. Their new Summer of Music SF concert series kicks off in June, with free shows to be announced in neighborhoods such as the Mission, the Castro, Chinatown, Bayview and more.\u003c/p>\n\u003cfigure id=\"attachment_13842757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_3471-800x533.jpg\" alt=\"Santigold performs at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santigold performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays, June 18–Aug. 20, 2023\u003cbr>\nStern Grove Meadow, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Stern Grove is a San Francisco institution, and this year the free series of park concerts kicks off with a performance by jazz fusion band Snarky Puppy. Other lineup highlights include the gritty synthpop of Santigold, the San Francisco Symphony, punk poet laureate Patti Smith and the Flaming Lips, who close out the festival at its annual Big Picnic.\u003c/p>\n\u003cfigure id=\"attachment_13929275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-500243726-800x534.jpg\" alt=\"Peaches, wearing faux-hawk, dark eye shadow and a pink, swirly costume, does a full split while holding the microphone out to the audience. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peaches performs at Electric Ballroom on December 6, 2015 in London, England. \u003ccite>(Jim Dyson/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/QUEERLY-BELOVEDPRIDE/548317?afflky=1015Folsom\">Peaches\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Micahtron and Your Muther\u003cbr>\nJune 25, 2023\u003cbr>\n1015 Folsom, San Francisco\u003cbr>\n$40+\u003c/i>\u003c/p>\n\u003cp>Way before it was mainstream, Peaches made anthems for the pursuit of feminine sexual pleasure — with album art that featured natural-body nudity, fake beards, balaclavas and other provocative fun that doesn’t cater to the male gaze. Now it seems like the world has caught up to the cult-favorite indie star, who’s been paving the way since 2000. \u003ca href=\"https://youtu.be/DgYSM91vJko\">\u003cem>What else is in the teaches of Peaches?\u003c/em>\u003c/a> If there’s one Pride event you can’t miss, it’s Peaches in a live show produced by feminist adult performer Courtney Trouble. Rapper Micahtron and genre-bending DJ Your Muther will open, with performances by Club Mercy BDSM Burlesque and more.\u003c/p>\n\u003cfigure id=\"attachment_13915730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill on stage at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 1–2, 2023\u003cbr>\nMosswood Park, Oakland\u003cbr>\n$89+\u003c/i>\u003c/p>\n\u003cp>Mosswood Meltdown is a wholesome gathering for punks of all ages, and this year’s fest — hosted, as always, by counterculture godfather John Waters — brings some rare treats. Following last year’s \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">near-spiritual Bikini Kill set\u003c/a>, Kathleen Hanna returns in a rare appearance with her electroclash outfit \u003ca href=\"https://youtu.be/aqhntKPh2EY\">Le Tigre\u003c/a>. Veteran female rap group JJ Fad, \u003ca href=\"https://www.kqed.org/food/series/cooking-with-brontez\">Brontez Purnell\u003c/a>’s lovably chaotic band Gravy Train!!!! and punky funk veterans ESG are among the standout acts.\u003c/p>\n\u003cfigure id=\"attachment_13848943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/IC3PEAK-800x450.jpg\" alt='Still from \"Смерти Больше Нет /Death No More.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Смерти Больше Нет /Death No More.” \u003ccite>((IC3PEAK/YouTube))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/ic3peak-the-independent-tickets/13163608?pl=independentsf&REFID=clientsitewp\">Ic3peak\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 12, 2023\u003cbr>\nThe Independent, San Francisco\u003cbr>\n$25+\u003c/i>\u003c/p>\n\u003cp>Ic3peak embodies true punk — not just because of their screamo vocals or dark makeup, but because the Russian duo has made it their mission to stand against oppression in an era when political dissent is criminalized in their home country. The two have previously \u003ca href=\"https://www.kqed.org/arts/13848939/young-russian-musicians-struggle-under-government-scrutiny\">risked arrest\u003c/a> over anti-police lyrics. More recently, they’ve boldly taken a public anti-war stance, which carries a jail sentence in Russia. Fortunately their international profile is expanding, especially with their 2022 album \u003ca href=\"https://youtu.be/QZ8FOyJrgUg\">\u003ci>Kiss of Death\u003c/i>\u003c/a>, which features Russian and English lyrics in an exquisite nu metal, hyperpop and rap mashup.\u003c/p>\n\u003cfigure id=\"attachment_13929276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg\" alt=\"Larry June raps into the microphone on a big festival stage. He's wearing a bucket hat, designer sunglasses and a bandana and is smiling. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry June performs during 2023 Rolling Loud Los Angeles at Hollywood Park Grounds on March 04, 2023 in Inglewood, California. \u003ccite>(Photo by Timothy Norris/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thefoxoakland.com/events/larry-june-230726\">Larry June\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With The Alchemist, Monroe Flow and Dvme\u003cbr>\nJuly 26, 2023\u003cbr>\nThe Fox Theater, Oakland\u003cbr>\n$49.50+\u003c/i>\u003c/p>\n\u003cp>Larry June has had an impressive come-up this year. After a decade of grinding it out in the local scene — from early SoundCloud mixtapes to opening a \u003ca href=\"https://www.kqed.org/forum/2010101892498/all-you-can-eat-the-bay-areas-hip-hop-food-hustles\">boba shop\u003c/a> — the entrepreneurial rapper exploded nationally with his Alchemist-produced album \u003ca href=\"https://youtu.be/Kt_Q9DxNP9Q\">\u003ci>The Great Escape\u003c/i>\u003c/a>, a collection of luxuriously laidback rhymes for coastal drives to cliffside mansions. Aspirational yet playful, June’s raps bridge hip-hop generations, and he has a proud legion of fans at home in the Bay watching his rise. The two hometown dates of his national tour sold out, but fortunately The Fox Theater has added a third night with tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13929299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1168538954-800x546.jpg\" alt=\"Mary J. Blige sings into the mic while wearing a head-to-toe gold sequins outfit. \" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary J. Blige performs at The Joint inside the Hard Rock Hotel & Casino on August 16, 2019 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/jazz-festival-napa/tickets/\">Blue Note Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 28–30, 2023\u003cbr>\nSilverado Resort, Napa\u003cbr>\nSingle-day general admission: $225+, three-day pass: $575+\u003c/i>\u003c/p>\n\u003cp>The 2010s saw the explosion of mega-fests like Coachella, whose lineups are enormous enough to appeal to hundreds of thousands of fans. But there’s something to be said for a more intimate experience catering to the diehards of a specific scene. Blue Note Jazz Festival is that event for the \u003ca href=\"https://www.kqed.org/arts/13916940/review-blue-note-jazz-festival-napa-valley\">grown-and-sexy hip-hop, jazz and soul crowd\u003c/a>. It’s definitely on the pricey side, and in a remote wine country location, but seeing Mary J. Blige, Nas and Chance the Rapper in a small-ish crowd as the sun sets behind oak trees sounds like a peak experience to me. This festival celebrates top-tier Black musical excellence: the 2023 lineup also includes funk legend \u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a>, drum virtuoso Yussef Dayes and powerhouse vocalists like Ari Lennox.\u003c/p>\n\u003cfigure id=\"attachment_13829540\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-800x533.jpg\" alt=\"Kendrick Lamar, whose album DAMN. won this year's Pulitzer Prize for music, performs in London earlier this year.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar live in London in 2018. \u003ccite>(Daniel Leal-Olivas/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands Music & Arts Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 11–13, 2023\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nSingle-day general admission: $199+, three-day pass: $449+ \u003c/i>[aside postid='arts_13929461']\u003c/p>\n\u003cp>Two words: Kendrick Lamar. Outside Lands, one of San Francisco’s most popular music festivals, secured one of this generation’s brightest hip-hop talents this year. The rest of its lineup features some pretty special selections, including sad-girl icon Lana Del Rey, queer country crooner Orville Peck, our nation’s hot girl-in-chief Megan Thee Stallion and Afrofuturist pop star Janelle Monáe — who just announced that they’ll usher in a\u003ca href=\"https://youtu.be/Y7S6wLP_vsY\"> luxuriously sex-positive summer\u003c/a> with their June album, \u003ci>The Age of Pleasure\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13929302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-172749170-800x533.jpg\" alt=\"The four MCs of Souls of Mischief - Opio, Tajai, Phesto and A-Plus - pose together at nightlife venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Souls Of Mischief attends S.O.B.’s on July 3, 2013 in New York City. \u003ccite>(Johnny Nunez/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Souls-ofMischief/531255?afflky=GreatAmericanMusicHall\">Souls of Mischief\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 14, 2023\u003cbr>\nGreat American Music Hall, San Francisco\u003cbr>\n$27+ \u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Souls of Mischief have been chilling from \u003ca href=\"https://youtu.be/fXJc2NYwHjw\">\u003ci>93 ’til Infinity\u003c/i>\u003c/a>, and their Oakland alternative hip-hop opus turned 30 years old this year. The group is spending the year celebrating with a 93-stop world tour, which culminates in an intimate concert at the Great American Music Hall. Souls of Mischief and their larger collective, Hieroglyphics, set the bar for MCs of their generation with quick-witted, acrobatic rhymes. And they’ve given back to hip-hop culture through their annual festival \u003ca href=\"https://www.kqed.org/arts/tag/hiero-day\">Hiero Day\u003c/a>, which takes place a couple weeks after the GAMH show on Sept. 4 (lineup to be announced).\u003c/p>\n\n",
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"excerpt": "Larry June headlines the Fox, Le Tigre returns at Mosswood Meltdown and LaRussell invites fans to his backyard.",
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"title": "10 Bay Area Summer Concerts Not to Miss in 2023 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Feeling the sun’s warmth, sipping something cold and dancing with friends is life-giving. And we need more of that medicine after three years of pandemic living. Fortunately for Bay Area music fans, there’s plenty of opportunity to do all of the above with a summer calendar packed with festivals and concerts. The events we’ve rounded up range from $free.99 to splurge-worthy experiences to help you get out there and make the most of our warm(ish)-weather months.\u003c/p>\n\u003cfigure id=\"attachment_13918676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/larussell\">LaRussell Live From the Pergola\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 4–Aug. 6, 2023\u003cbr>\nVallejo\u003cbr>\nPay what you want\u003c/i>\u003c/p>\n\u003cp>Don’t let the boyish grin and Crocs fool you — \u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\">LaRussell\u003c/a>’s \u003ca href=\"https://youtu.be/8FP5sc687-I\">razor-sharp lyrics\u003c/a> and savvy business maneuvers command respect. Truly a man of the people, he’s built a successful brand by selling pay-what-you-want concert tickets, and transparently narrating his artistic journey on social media in real time. His grassroots momentum has caught the eye of crucial industry figures: most recently, he appeared on a \u003ca href=\"https://www.youtube.com/watch?v=ITgGDY_B6mI\">DJ Drama mixtape\u003c/a> alongside Lil Wayne, Lil Baby and Tyler, the Creator. It probably won’t be too much longer that his backyard can contain his growing fanbase, so consider his summer Live from the Pergola shows a special opportunity to see the rising Vallejo artist perform at his parents’ house, surrounded by his real-life friends and family.\u003c/p>\n\u003cfigure id=\"attachment_13925602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.summerofmusicsf.com/\">Summer of Music SF\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturdays, June 17–Sept. 2023\u003cbr>\nVarious locations, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local musicians need a leg up to rebound from the \u003ca href=\"https://www.npr.org/2022/09/19/1122947022/tour-canceled-covid-safety-concerts-masks\">many difficulties they’ve faced during the pandemic\u003c/a>. And so do small businesses in neighborhoods with dwindling foot traffic and empty storefronts. As part of the solution, local promoter \u003ca href=\"https://www.kqed.org/arts/13925590/noise-pop-festival-2023-review\">Noise Pop\u003c/a> and the nonprofit \u003ca href=\"https://www.civicspacefoundation.org/\">Civic Joy Fund\u003c/a> are hoping to create a positive feedback loop of fun to bolster San Francisco’s culture and economy. Their new Summer of Music SF concert series kicks off in June, with free shows to be announced in neighborhoods such as the Mission, the Castro, Chinatown, Bayview and more.\u003c/p>\n\u003cfigure id=\"attachment_13842757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_3471-800x533.jpg\" alt=\"Santigold performs at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santigold performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays, June 18–Aug. 20, 2023\u003cbr>\nStern Grove Meadow, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Stern Grove is a San Francisco institution, and this year the free series of park concerts kicks off with a performance by jazz fusion band Snarky Puppy. Other lineup highlights include the gritty synthpop of Santigold, the San Francisco Symphony, punk poet laureate Patti Smith and the Flaming Lips, who close out the festival at its annual Big Picnic.\u003c/p>\n\u003cfigure id=\"attachment_13929275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-500243726-800x534.jpg\" alt=\"Peaches, wearing faux-hawk, dark eye shadow and a pink, swirly costume, does a full split while holding the microphone out to the audience. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peaches performs at Electric Ballroom on December 6, 2015 in London, England. \u003ccite>(Jim Dyson/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/QUEERLY-BELOVEDPRIDE/548317?afflky=1015Folsom\">Peaches\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Micahtron and Your Muther\u003cbr>\nJune 25, 2023\u003cbr>\n1015 Folsom, San Francisco\u003cbr>\n$40+\u003c/i>\u003c/p>\n\u003cp>Way before it was mainstream, Peaches made anthems for the pursuit of feminine sexual pleasure — with album art that featured natural-body nudity, fake beards, balaclavas and other provocative fun that doesn’t cater to the male gaze. Now it seems like the world has caught up to the cult-favorite indie star, who’s been paving the way since 2000. \u003ca href=\"https://youtu.be/DgYSM91vJko\">\u003cem>What else is in the teaches of Peaches?\u003c/em>\u003c/a> If there’s one Pride event you can’t miss, it’s Peaches in a live show produced by feminist adult performer Courtney Trouble. Rapper Micahtron and genre-bending DJ Your Muther will open, with performances by Club Mercy BDSM Burlesque and more.\u003c/p>\n\u003cfigure id=\"attachment_13915730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill on stage at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 1–2, 2023\u003cbr>\nMosswood Park, Oakland\u003cbr>\n$89+\u003c/i>\u003c/p>\n\u003cp>Mosswood Meltdown is a wholesome gathering for punks of all ages, and this year’s fest — hosted, as always, by counterculture godfather John Waters — brings some rare treats. Following last year’s \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">near-spiritual Bikini Kill set\u003c/a>, Kathleen Hanna returns in a rare appearance with her electroclash outfit \u003ca href=\"https://youtu.be/aqhntKPh2EY\">Le Tigre\u003c/a>. Veteran female rap group JJ Fad, \u003ca href=\"https://www.kqed.org/food/series/cooking-with-brontez\">Brontez Purnell\u003c/a>’s lovably chaotic band Gravy Train!!!! and punky funk veterans ESG are among the standout acts.\u003c/p>\n\u003cfigure id=\"attachment_13848943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/IC3PEAK-800x450.jpg\" alt='Still from \"Смерти Больше Нет /Death No More.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Смерти Больше Нет /Death No More.” \u003ccite>((IC3PEAK/YouTube))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/ic3peak-the-independent-tickets/13163608?pl=independentsf&REFID=clientsitewp\">Ic3peak\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 12, 2023\u003cbr>\nThe Independent, San Francisco\u003cbr>\n$25+\u003c/i>\u003c/p>\n\u003cp>Ic3peak embodies true punk — not just because of their screamo vocals or dark makeup, but because the Russian duo has made it their mission to stand against oppression in an era when political dissent is criminalized in their home country. The two have previously \u003ca href=\"https://www.kqed.org/arts/13848939/young-russian-musicians-struggle-under-government-scrutiny\">risked arrest\u003c/a> over anti-police lyrics. More recently, they’ve boldly taken a public anti-war stance, which carries a jail sentence in Russia. Fortunately their international profile is expanding, especially with their 2022 album \u003ca href=\"https://youtu.be/QZ8FOyJrgUg\">\u003ci>Kiss of Death\u003c/i>\u003c/a>, which features Russian and English lyrics in an exquisite nu metal, hyperpop and rap mashup.\u003c/p>\n\u003cfigure id=\"attachment_13929276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg\" alt=\"Larry June raps into the microphone on a big festival stage. He's wearing a bucket hat, designer sunglasses and a bandana and is smiling. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry June performs during 2023 Rolling Loud Los Angeles at Hollywood Park Grounds on March 04, 2023 in Inglewood, California. \u003ccite>(Photo by Timothy Norris/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thefoxoakland.com/events/larry-june-230726\">Larry June\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With The Alchemist, Monroe Flow and Dvme\u003cbr>\nJuly 26, 2023\u003cbr>\nThe Fox Theater, Oakland\u003cbr>\n$49.50+\u003c/i>\u003c/p>\n\u003cp>Larry June has had an impressive come-up this year. After a decade of grinding it out in the local scene — from early SoundCloud mixtapes to opening a \u003ca href=\"https://www.kqed.org/forum/2010101892498/all-you-can-eat-the-bay-areas-hip-hop-food-hustles\">boba shop\u003c/a> — the entrepreneurial rapper exploded nationally with his Alchemist-produced album \u003ca href=\"https://youtu.be/Kt_Q9DxNP9Q\">\u003ci>The Great Escape\u003c/i>\u003c/a>, a collection of luxuriously laidback rhymes for coastal drives to cliffside mansions. Aspirational yet playful, June’s raps bridge hip-hop generations, and he has a proud legion of fans at home in the Bay watching his rise. The two hometown dates of his national tour sold out, but fortunately The Fox Theater has added a third night with tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13929299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1168538954-800x546.jpg\" alt=\"Mary J. Blige sings into the mic while wearing a head-to-toe gold sequins outfit. \" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary J. Blige performs at The Joint inside the Hard Rock Hotel & Casino on August 16, 2019 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/jazz-festival-napa/tickets/\">Blue Note Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 28–30, 2023\u003cbr>\nSilverado Resort, Napa\u003cbr>\nSingle-day general admission: $225+, three-day pass: $575+\u003c/i>\u003c/p>\n\u003cp>The 2010s saw the explosion of mega-fests like Coachella, whose lineups are enormous enough to appeal to hundreds of thousands of fans. But there’s something to be said for a more intimate experience catering to the diehards of a specific scene. Blue Note Jazz Festival is that event for the \u003ca href=\"https://www.kqed.org/arts/13916940/review-blue-note-jazz-festival-napa-valley\">grown-and-sexy hip-hop, jazz and soul crowd\u003c/a>. It’s definitely on the pricey side, and in a remote wine country location, but seeing Mary J. Blige, Nas and Chance the Rapper in a small-ish crowd as the sun sets behind oak trees sounds like a peak experience to me. This festival celebrates top-tier Black musical excellence: the 2023 lineup also includes funk legend \u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a>, drum virtuoso Yussef Dayes and powerhouse vocalists like Ari Lennox.\u003c/p>\n\u003cfigure id=\"attachment_13829540\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-800x533.jpg\" alt=\"Kendrick Lamar, whose album DAMN. won this year's Pulitzer Prize for music, performs in London earlier this year.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar live in London in 2018. \u003ccite>(Daniel Leal-Olivas/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands Music & Arts Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 11–13, 2023\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nSingle-day general admission: $199+, three-day pass: $449+ \u003c/i>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two words: Kendrick Lamar. Outside Lands, one of San Francisco’s most popular music festivals, secured one of this generation’s brightest hip-hop talents this year. The rest of its lineup features some pretty special selections, including sad-girl icon Lana Del Rey, queer country crooner Orville Peck, our nation’s hot girl-in-chief Megan Thee Stallion and Afrofuturist pop star Janelle Monáe — who just announced that they’ll usher in a\u003ca href=\"https://youtu.be/Y7S6wLP_vsY\"> luxuriously sex-positive summer\u003c/a> with their June album, \u003ci>The Age of Pleasure\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13929302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-172749170-800x533.jpg\" alt=\"The four MCs of Souls of Mischief - Opio, Tajai, Phesto and A-Plus - pose together at nightlife venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Souls Of Mischief attends S.O.B.’s on July 3, 2013 in New York City. \u003ccite>(Johnny Nunez/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Souls-ofMischief/531255?afflky=GreatAmericanMusicHall\">Souls of Mischief\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 14, 2023\u003cbr>\nGreat American Music Hall, San Francisco\u003cbr>\n$27+ \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Souls of Mischief have been chilling from \u003ca href=\"https://youtu.be/fXJc2NYwHjw\">\u003ci>93 ’til Infinity\u003c/i>\u003c/a>, and their Oakland alternative hip-hop opus turned 30 years old this year. The group is spending the year celebrating with a 93-stop world tour, which culminates in an intimate concert at the Great American Music Hall. Souls of Mischief and their larger collective, Hieroglyphics, set the bar for MCs of their generation with quick-witted, acrobatic rhymes. And they’ve given back to hip-hop culture through their annual festival \u003ca href=\"https://www.kqed.org/arts/tag/hiero-day\">Hiero Day\u003c/a>, which takes place a couple weeks after the GAMH show on Sept. 4 (lineup to be announced).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kev Choice Delivers Symphonic Rap with Newest Album, ‘The Healing’",
"headTitle": "Kev Choice Delivers Symphonic Rap with Newest Album, ‘The Healing’ | KQED",
"content": "\u003cp>In 2018, the Oakland Symphony’s “Rooted in Oakland” series brought an orchestral ensemble to the Paramount Theatre. But instead of the 50-piece band playing the usual Mozart or Bach, they summoned the mobbish energy of Too $hort, the Luniz and Dru Down. The mastermind behind that string-heavy tour de hyphy? Oakland’s own, \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\">Kev Choice\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Choice\u003c/a> isn’t just a prolific, classically trained composer and arranger who has worked with the Oakland and \u003ca href=\"https://www.youtube.com/watch?v=LYuoaytEeDE\">San Francisco\u003c/a> symphonies, though; he also raps, produces, sings and is an especially fire pianist. His wide-ranging list of collaborators includes NBA superstar Damian Lillard and local rap savant \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">Rexx Life Raj\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13878382']Now, the chameleonic artist is on the verge of a new sound, one that synthesizes his maturity as a veteran Bay Area musician with his latest project, \u003ci>The Healing\u003c/i>. He’ll debut select tracks from the album as a “ghetto upscale” pre-release party with guest performances from \u003ca href=\"https://www.youtube.com/watch?v=7AnAwaYmIlE\">Rob Woods\u003c/a> and \u003ca href=\"https://youtu.be/aR1LVuhivnY\">T. Carriér\u003c/a> on Friday, April 7, at the New Parish in Oakland.\u003c/p>\n\u003cp>The event will serve as a teaser for the upcoming full-length album (scheduled to be dropped at the end of April). It’s a celebration of the local arts community that has pushed him towards his musical peak — “from concert halls to sidewalks,” as Choice puts it. Though listed as a solo project, the album’s various features — which include Woods and Carriér and contributions from \u003ca href=\"https://www.instagram.com/djdsharp/?hl=en\">DJ D-Sharp\u003c/a> and \u003ca href=\"https://www.instagram.com/drewwwbanga/\">Drew Banga\u003c/a> — are meant to tell a story about the kinds of relationships that men, Black men in particular, are capable of healing from.\u003c/p>\n\u003cp>“It’s a dope energy to build on. Just seeing how we’re all aligned as men in music, hip hop, community. We focus on craft, positive messaging,” he says. “There’s lots of issues around commitment, trust and transparency in any relationship. This is me telling that in a musical form.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album is part of a planned trilogy, something Choice says is influenced by his work as an orchestra arranger in a genre which often features a series of movements and sequences to create epic emotion. \u003ci>The Healing\u003c/i> is a preamble of sorts, and Choice later plans to explore the stages of “progression” and “transformation.”\u003c/p>\n\u003cp>“It’s about my growth as a human, musician and artist,” he adds. “Every step is building towards a larger composition. This is that first step for people to recognize and hear those elements I’ve been working on.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Healing’ album pre-release party will be at \u003ca href=\"https://www.instagram.com/thenewparish/?hl=en\">The New Parish\u003c/a> (1743 San Pablo Ave., Oakland) on Friday, April 7 at 8 p.m. Tickets are $15-40 \u003ca href=\"https://www.ticketweb.com/event/kev-choice-t-carrier-rob-the-new-parish-tickets/12972385\">in advance\u003c/a>, $20 at the door.\u003c/i>\u003c/p>\n\n",
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"excerpt": "An album pre-release party on April 7 celebrates the versatile Oakland artist’s newest work, part of a planned trilogy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2018, the Oakland Symphony’s “Rooted in Oakland” series brought an orchestral ensemble to the Paramount Theatre. But instead of the 50-piece band playing the usual Mozart or Bach, they summoned the mobbish energy of Too $hort, the Luniz and Dru Down. The mastermind behind that string-heavy tour de hyphy? Oakland’s own, \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\">Kev Choice\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Choice\u003c/a> isn’t just a prolific, classically trained composer and arranger who has worked with the Oakland and \u003ca href=\"https://www.youtube.com/watch?v=LYuoaytEeDE\">San Francisco\u003c/a> symphonies, though; he also raps, produces, sings and is an especially fire pianist. His wide-ranging list of collaborators includes NBA superstar Damian Lillard and local rap savant \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">Rexx Life Raj\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, the chameleonic artist is on the verge of a new sound, one that synthesizes his maturity as a veteran Bay Area musician with his latest project, \u003ci>The Healing\u003c/i>. He’ll debut select tracks from the album as a “ghetto upscale” pre-release party with guest performances from \u003ca href=\"https://www.youtube.com/watch?v=7AnAwaYmIlE\">Rob Woods\u003c/a> and \u003ca href=\"https://youtu.be/aR1LVuhivnY\">T. Carriér\u003c/a> on Friday, April 7, at the New Parish in Oakland.\u003c/p>\n\u003cp>The event will serve as a teaser for the upcoming full-length album (scheduled to be dropped at the end of April). It’s a celebration of the local arts community that has pushed him towards his musical peak — “from concert halls to sidewalks,” as Choice puts it. Though listed as a solo project, the album’s various features — which include Woods and Carriér and contributions from \u003ca href=\"https://www.instagram.com/djdsharp/?hl=en\">DJ D-Sharp\u003c/a> and \u003ca href=\"https://www.instagram.com/drewwwbanga/\">Drew Banga\u003c/a> — are meant to tell a story about the kinds of relationships that men, Black men in particular, are capable of healing from.\u003c/p>\n\u003cp>“It’s a dope energy to build on. Just seeing how we’re all aligned as men in music, hip hop, community. We focus on craft, positive messaging,” he says. “There’s lots of issues around commitment, trust and transparency in any relationship. This is me telling that in a musical form.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album is part of a planned trilogy, something Choice says is influenced by his work as an orchestra arranger in a genre which often features a series of movements and sequences to create epic emotion. \u003ci>The Healing\u003c/i> is a preamble of sorts, and Choice later plans to explore the stages of “progression” and “transformation.”\u003c/p>\n\u003cp>“It’s about my growth as a human, musician and artist,” he adds. “Every step is building towards a larger composition. This is that first step for people to recognize and hear those elements I’ve been working on.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Healing’ album pre-release party will be at \u003ca href=\"https://www.instagram.com/thenewparish/?hl=en\">The New Parish\u003c/a> (1743 San Pablo Ave., Oakland) on Friday, April 7 at 8 p.m. Tickets are $15-40 \u003ca href=\"https://www.ticketweb.com/event/kev-choice-t-carrier-rob-the-new-parish-tickets/12972385\">in advance\u003c/a>, $20 at the door.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>[aside postid='arts_13039627']First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13920973']Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Stoni, COMMANDO and Others Serve Excellence at Noise Pop 2023",
"headTitle": "Stoni, COMMANDO and Others Serve Excellence at Noise Pop 2023 | KQED",
"content": "\u003cp>\u003cstrong>Update, Feb. 28, 2023: \u003c/strong>According to a statement from the New Parish, the Junglepussy concert on Feb. 26 ended early because of technical difficulties. Ticketholders can redeem tickets to a future concert at the venue by emailing info@thenewparish.com.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 27, 2023:\u003c/strong>\u003c/p>\n\u003cp>Beloved music festival \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> celebrated its 30th anniversary Feb. 20–26 with headlining sets from Yo La Tengo, Boy Harsher and Duster. A wealth of performances by hip-hop artists, cumbia bands and punk outfits at venues across the Bay Area reminded show-goers that nothing can replace witnessing musical excellence live on stage. The KQED Arts & Culture team hopped around the concerts for a week, and were left with a renewed appreciation for the craft and creativity that abounds in our local live music scene. Here’s what we saw.\u003c/p>\n\u003cfigure id=\"attachment_13925545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO at Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Queer Mosh Pit for COMMANDO\u003c/h2>\n\u003cp>Tuesday night at San Francisco’s Bottom of the Hill, \u003ca href=\"https://commandothebando.bandcamp.com/album/commando-2\">COMMANDO\u003c/a> emerged on stage like a dazzling rock ’n’ roll chimera. The supergroup brought together seven completely different veteran musicians, and their exuberant performance celebrated queerness in all its forms.\u003c/p>\n\u003cp>Juba Kalamka (formerly of the 2000s hip-hop crew Deep Dickollective) opened the show with “Meatswinga (Morello Muh Mello),” his low voice revving like an engine as the band members thrust their hips towards the audience. As nu-metal guitar by Principal Dammit and Van Jackson-Weaver and Andy Meyerson’s powerful rhythm section set the energy in the room ablaze, Honey Mahogany delivered operatic high notes, and Drew Arriola-Sands detonated screamo growls. Lynnee Breedlove (of revered early-’90s queercore band Tribe8) commanded the mic with a punk swagger, and surprised the audience with a tender spoken-word homage to Prince’s genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13925547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>COMMANDO sets out to be the queer role models the band members never had growing up, and at Bottom of the Hill that vision came to life. Trans and gender non-conforming teens with Xs on their hands, too young to drink, moshed in the front to lyrics about punching Nazis. And after witnessing seven diverse, skilled musicians owning their personal power on stage, everyone else set off into the night carrying a little piece of COMMANDO’s boldness with them. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: ovrkast., Michael Sneed and demahjiae perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ovrkast., Michael Sneed and demahjiae Transmit Love Through Soulful Raps\u003c/h2>\n\u003cp>On Wednesday evening, Oakland artists \u003ca href=\"https://itsovrkast.bandcamp.com/\">ovrkast.\u003c/a>, \u003ca href=\"https://demahjiae.bandcamp.com/\">demahjiae\u003c/a> and \u003ca href=\"https://michaelsneed.bandcamp.com/track/blame-sumer-ft-molly-arizona\">Michael Sneed\u003c/a> electrified Brick and Mortar Music Hall’s small San Francisco stage, connecting heart-to-heart with an eager crowd of hip-hop lovers. As ovrkast. performed his 2020 single “Try Again,” the audience scooted closer while he rapped about feelings of inadequacy and picking himself back up. His voice sounded raw, capturing a desperation that resonated with the crowd as voices chanted along to the hook: “You can’t win, you ain’t shit / Try again, try again / Do it all over, try again.”\u003c/p>\n\u003cfigure id=\"attachment_13925559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed, ovrkast., demahjiae and their live band backstage at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ovrkast. outside of Brick and Mortar Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each artist brought a different energy: as Sneed performed his 2019 track “Reinvent,” he mirrored a crescendo of instrumentation — yelling out as he neared the edge of the stage, playing with flow and encouraging the crowd to get loud. demahjiae slowed the pace, sauntering as he rapped songs off of his 2020 project \u003cem>And, Such is Life\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Together, the three artists were in complete sync, supporting one another with harmonies and on-the-spot improvisations. After demahjiae performed one of his latest tracks, “Hold Me Down,” the trio embraced, expressing that the show was ultimately about love and gratitude for everyone involved. “To know my brothers are behind me backing me up is the most beautiful thing I could ask for,” said demahjiae. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">demahjiae, ovrkast. and Michael Sneed perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg\" alt=\"\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ritmos Tropicosmos headlines the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ritmos Tropicosmos and Combo Tezeta’s Mystical Cumbia\u003c/h2>\n\u003cp>On a frigid Friday night, a tropical cumbia dance party kept Albany’s Ivy Room nice and toasty. Oakland six-piece \u003ca href=\"https://combotezeta.bandcamp.com/album/la-danza-del-camale-n-la-reina-nocturna\">Combo Tezeta\u003c/a> kicked off the baile with a garage-band take on ’60s and ’70s classics and originals, with distorted guitars and jangly synths layering psychedelic ooze onto timbales and güiras. The musician’s solos revealed hard-won skills, but the band members looked remarkably chill as they played together fluidly.\u003c/p>\n\u003cfigure id=\"attachment_13925585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Combo Tezeta plays at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ritmostropicosmos.bandcamp.com/\">Ritmos Tropicosmos\u003c/a> brought playful energy to their experimental cumbia, with vocalist Eli Reyes embodying a mystical master of ceremonies as haunted circus melodies swirled. With lyrics about mummies, ancestors and legends like La Llorona (“This one will test your Spanish,” Reyes said from the stage), the band created an otherworldly atmosphere that inspired people to dance and rejoice in community — how you might imagine a party in the underworld. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>L.A. Witch’s Magic Transcends a Crowded Bar\u003c/h2>\n\u003cp>The popular Mission dive bar Kilowatt returned as a Noise Pop venue for the first time in 25 years. After hosting concerts between ’94 and ’98, Kilowatt long ago replaced its soundboard with dart boards.\u003c/p>\n\u003cp>Friday night’s \u003ca href=\"https://lawitches.bandcamp.com/album/one-way-or-the-highway\">L.A. Witch\u003c/a> show, the first of their two Noise Pop performances, was only the venue’s second attempt at hosting live music since new ownership took over — and you could tell. Overcrowding marred the entire evening, an issue further complicated by the fact that the Kilowatt bathrooms now live behind the stage and were impossible to access. (Folks had to resort to running across the street to use Delirium’s facilities.)\u003c/p>\n\u003cfigure id=\"attachment_13925598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch backstage at Kilowatt Bar in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But L.A. Witch made the claustrophobic conditions worth it. The charismatic trio sounds like The Jesus and Mary Chain and Mazzy Star birthed a love child back in the ’90s that’s now all grown up and inviting you on an ill-advised road trip. That reverb-drenched adventure was consistently alluring. Frontwoman Sade Sanchez was unflappably cool throughout the night, and the set itself was pure magic, making you want to drown your sorrows one moment and twist like Mia Wallace the next. If only there was enough space in Kilowatt to do so. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Stoni Makes Her Mark\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/callherstoni/\">Stoni\u003c/a> makes waves whenever she posts a car freestyle or hops on a track with one of her fellow Text Me Records artists. But the Oakland MC has spent years quietly training in her dojo, and still has yet to drop a debut album (although we hear it’s finally coming this year). Her masterful set Sunday night at Oakland’s New Parish, opening for Junglepussy, showed it’ll be worth the wait.\u003c/p>\n\u003cp>Stoni rapped with infectious confidence and laser-beam precision, and the audience gasped and cheered at every smack-talking bar — each one more audacious than the last. But the wildest part of the show was during a song about getting one over on a rich dude, when actors joined her on stage and enacted a full-scale performance of a robbery. Then, one of the masked “assailants” removed her mask, and it turned out to be fellow Oakland MC Fijiana, who joined Stoni for the next track.\u003c/p>\n\u003cfigure id=\"attachment_13925620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925620\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’ve never seen the audience demand an encore from the first opening act, but it happened at New Parish Sunday night. The venue cut Stoni’s mic when she tried to come back, but she returned during Tia Nomore’s also excellent performance with a live band. Unfortunately, the celebratory close to Noise Pop came to an abrupt ending — headliner Junglepussy left the stage without an explanation after three tracks. “So sorry to my fans, blame @noisepop,” she wrote on her Instagram story. KQED has reached out to Junglepussy’s team and Noise Pop for comment, and will update this story if we hear back. \u003ci>— Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13925625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore performs at The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Wavey performs at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1536x964.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines The Chapel in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925531\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Backup dancer crowd surfs during Strfkr’s set at The UC Theatre in Berkeley at Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AP Tobler performs at Bottom of the Hill in San Francisco on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Brick and Mortar Music Hall in San Francisco at Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The festival took over venues across the Bay Area Feb. 20–26 for its 30th anniversary. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Feb. 28, 2023: \u003c/strong>According to a statement from the New Parish, the Junglepussy concert on Feb. 26 ended early because of technical difficulties. Ticketholders can redeem tickets to a future concert at the venue by emailing info@thenewparish.com.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 27, 2023:\u003c/strong>\u003c/p>\n\u003cp>Beloved music festival \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> celebrated its 30th anniversary Feb. 20–26 with headlining sets from Yo La Tengo, Boy Harsher and Duster. A wealth of performances by hip-hop artists, cumbia bands and punk outfits at venues across the Bay Area reminded show-goers that nothing can replace witnessing musical excellence live on stage. The KQED Arts & Culture team hopped around the concerts for a week, and were left with a renewed appreciation for the craft and creativity that abounds in our local live music scene. Here’s what we saw.\u003c/p>\n\u003cfigure id=\"attachment_13925545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-at-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO at Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Queer Mosh Pit for COMMANDO\u003c/h2>\n\u003cp>Tuesday night at San Francisco’s Bottom of the Hill, \u003ca href=\"https://commandothebando.bandcamp.com/album/commando-2\">COMMANDO\u003c/a> emerged on stage like a dazzling rock ’n’ roll chimera. The supergroup brought together seven completely different veteran musicians, and their exuberant performance celebrated queerness in all its forms.\u003c/p>\n\u003cp>Juba Kalamka (formerly of the 2000s hip-hop crew Deep Dickollective) opened the show with “Meatswinga (Morello Muh Mello),” his low voice revving like an engine as the band members thrust their hips towards the audience. As nu-metal guitar by Principal Dammit and Van Jackson-Weaver and Andy Meyerson’s powerful rhythm section set the energy in the room ablaze, Honey Mahogany delivered operatic high notes, and Drew Arriola-Sands detonated screamo growls. Lynnee Breedlove (of revered early-’90s queercore band Tribe8) commanded the mic with a punk swagger, and surprised the audience with a tender spoken-word homage to Prince’s genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13925547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Commando-headline-Bottom-of-the-Hill-in-San-Francisco-during-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">COMMANDO headlines Bottom of the Hill in San Francisco during night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>COMMANDO sets out to be the queer role models the band members never had growing up, and at Bottom of the Hill that vision came to life. Trans and gender non-conforming teens with Xs on their hands, too young to drink, moshed in the front to lyrics about punching Nazis. And after witnessing seven diverse, skilled musicians owning their personal power on stage, everyone else set off into the night carrying a little piece of COMMANDO’s boldness with them. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/From-left-to-right-Ovrkast.-Michael-Sneed-and-Demahjiae-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: ovrkast., Michael Sneed and demahjiae perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ovrkast., Michael Sneed and demahjiae Transmit Love Through Soulful Raps\u003c/h2>\n\u003cp>On Wednesday evening, Oakland artists \u003ca href=\"https://itsovrkast.bandcamp.com/\">ovrkast.\u003c/a>, \u003ca href=\"https://demahjiae.bandcamp.com/\">demahjiae\u003c/a> and \u003ca href=\"https://michaelsneed.bandcamp.com/track/blame-sumer-ft-molly-arizona\">Michael Sneed\u003c/a> electrified Brick and Mortar Music Hall’s small San Francisco stage, connecting heart-to-heart with an eager crowd of hip-hop lovers. As ovrkast. performed his 2020 single “Try Again,” the audience scooted closer while he rapped about feelings of inadequacy and picking himself back up. His voice sounded raw, capturing a desperation that resonated with the crowd as voices chanted along to the hook: “You can’t win, you ain’t shit / Try again, try again / Do it all over, try again.”\u003c/p>\n\u003cfigure id=\"attachment_13925559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-Ovrkast.-Demahjiae-and-their-live-band-backstage-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed, ovrkast., demahjiae and their live band backstage at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ovrkast.-outside-of-Brick-and-Mortar-Music-Hall-during-night-three-of-the-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ovrkast. outside of Brick and Mortar Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each artist brought a different energy: as Sneed performed his 2019 track “Reinvent,” he mirrored a crescendo of instrumentation — yelling out as he neared the edge of the stage, playing with flow and encouraging the crowd to get loud. demahjiae slowed the pace, sauntering as he rapped songs off of his 2020 project \u003cem>And, Such is Life\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Together, the three artists were in complete sync, supporting one another with harmonies and on-the-spot improvisations. After demahjiae performed one of his latest tracks, “Hold Me Down,” the trio embraced, expressing that the show was ultimately about love and gratitude for everyone involved. “To know my brothers are behind me backing me up is the most beautiful thing I could ask for,” said demahjiae. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Demahjiae-Ovrkast.-and-Michael-Sneed-perform-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">demahjiae, ovrkast. and Michael Sneed perform at Brick and Mortar Music Hall in San Francisco on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg\" alt=\"\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003-1536x967.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Ritmos-Tropicosmos-headlines-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ritmos Tropicosmos headlines the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ritmos Tropicosmos and Combo Tezeta’s Mystical Cumbia\u003c/h2>\n\u003cp>On a frigid Friday night, a tropical cumbia dance party kept Albany’s Ivy Room nice and toasty. Oakland six-piece \u003ca href=\"https://combotezeta.bandcamp.com/album/la-danza-del-camale-n-la-reina-nocturna\">Combo Tezeta\u003c/a> kicked off the baile with a garage-band take on ’60s and ’70s classics and originals, with distorted guitars and jangly synths layering psychedelic ooze onto timbales and güiras. The musician’s solos revealed hard-won skills, but the band members looked remarkably chill as they played together fluidly.\u003c/p>\n\u003cfigure id=\"attachment_13925585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Combo-Tezeta-plays-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Combo Tezeta plays at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-the-Ivy-Room-in-Albany-during-night-five-of-the-Noise-Pop-Music-and-Art-Festival-on-Friday-Feb.-24-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Ivy Room in Albany during night five of the Noise Pop Music and Art Festival on Friday, Feb. 24, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ritmostropicosmos.bandcamp.com/\">Ritmos Tropicosmos\u003c/a> brought playful energy to their experimental cumbia, with vocalist Eli Reyes embodying a mystical master of ceremonies as haunted circus melodies swirled. With lyrics about mummies, ancestors and legends like La Llorona (“This one will test your Spanish,” Reyes said from the stage), the band created an otherworldly atmosphere that inspired people to dance and rejoice in community — how you might imagine a party in the underworld. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>L.A. Witch’s Magic Transcends a Crowded Bar\u003c/h2>\n\u003cp>The popular Mission dive bar Kilowatt returned as a Noise Pop venue for the first time in 25 years. After hosting concerts between ’94 and ’98, Kilowatt long ago replaced its soundboard with dart boards.\u003c/p>\n\u003cp>Friday night’s \u003ca href=\"https://lawitches.bandcamp.com/album/one-way-or-the-highway\">L.A. Witch\u003c/a> show, the first of their two Noise Pop performances, was only the venue’s second attempt at hosting live music since new ownership took over — and you could tell. Overcrowding marred the entire evening, an issue further complicated by the fact that the Kilowatt bathrooms now live behind the stage and were impossible to access. (Folks had to resort to running across the street to use Delirium’s facilities.)\u003c/p>\n\u003cfigure id=\"attachment_13925598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-backstage-at-Kilowatt-Bar-in-San-Francisco-on-Saturday-Feb.-27-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch backstage at Kilowatt Bar in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But L.A. Witch made the claustrophobic conditions worth it. The charismatic trio sounds like The Jesus and Mary Chain and Mazzy Star birthed a love child back in the ’90s that’s now all grown up and inviting you on an ill-advised road trip. That reverb-drenched adventure was consistently alluring. Frontwoman Sade Sanchez was unflappably cool throughout the night, and the set itself was pure magic, making you want to drown your sorrows one moment and twist like Mia Wallace the next. If only there was enough space in Kilowatt to do so. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/L.A.-Witch-headline-Kilowatt-Bar-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-in-San-Francisco-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Witch headline Kilowatt Bar on night six of the Noise Pop Music and Art Festival in San Francisco on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Stoni Makes Her Mark\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/callherstoni/\">Stoni\u003c/a> makes waves whenever she posts a car freestyle or hops on a track with one of her fellow Text Me Records artists. But the Oakland MC has spent years quietly training in her dojo, and still has yet to drop a debut album (although we hear it’s finally coming this year). Her masterful set Sunday night at Oakland’s New Parish, opening for Junglepussy, showed it’ll be worth the wait.\u003c/p>\n\u003cp>Stoni rapped with infectious confidence and laser-beam precision, and the audience gasped and cheered at every smack-talking bar — each one more audacious than the last. But the wildest part of the show was during a song about getting one over on a rich dude, when actors joined her on stage and enacted a full-scale performance of a robbery. Then, one of the masked “assailants” removed her mask, and it turned out to be fellow Oakland MC Fijiana, who joined Stoni for the next track.\u003c/p>\n\u003cfigure id=\"attachment_13925620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925620\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stoni-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stoni performs at The New Parish in Oakland on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve never seen the audience demand an encore from the first opening act, but it happened at New Parish Sunday night. The venue cut Stoni’s mic when she tried to come back, but she returned during Tia Nomore’s also excellent performance with a live band. Unfortunately, the celebratory close to Noise Pop came to an abrupt ending — headliner Junglepussy left the stage without an explanation after three tracks. “So sorry to my fans, blame @noisepop,” she wrote on her Instagram story. KQED has reached out to Junglepussy’s team and Noise Pop for comment, and will update this story if we hear back. \u003ci>— Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13925625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore performs at The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Junglepussy-headlines-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Junglepussy headlines The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/James-Wavey-performs-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Wavey performs at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001-1536x964.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tommy-Guerrero-headlines-The-Chapel-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines The Chapel in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Bottom-of-the-Hill-in-San-Francisco-on-night-two-of-the-Noise-Pop-Music-and-Art-Festival-on-Tuesday-Feb.-21-2023.-001001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Bottom of the Hill in San Francisco on night two of the Noise Pop Music and Art Festival on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Strfkr-headlines-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Strfkr headlines The UC Theatre in Berkeley on night four of the Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925531\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0ABackup-dancer-crowd-surfs-during-Strfkrs-set-at-The-UC-Theatre-in-Berkeley-on-night-four-of-the-Noise-Pop-Music-and-Art-Festival-on-Thursday-Feb.-23-2023..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Backup dancer crowd surfs during Strfkr’s set at The UC Theatre in Berkeley at Noise Pop Music and Art Festival on Thursday, Feb. 23, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/AP-Tobler-performs-at-Bottom-of-the-Hill-in-San-Francisco-on-Tuesday-Feb.-21-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AP Tobler performs at Bottom of the Hill in San Francisco on Tuesday, Feb. 21, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13925576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-at-Noise-Pop-Music-and-Art-Festival-on-Wednesday-Feb.-22-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Brick and Mortar Music Hall in San Francisco at Noise Pop Music and Art Festival on Wednesday, Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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