Poetry of Angel Island Detainees Inspires Oakland Ballet Performance
Your Guide to an Arts-Filled Martin Luther King Jr. Day
Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland
Meet Kedrick Armstrong, Oakland Symphony’s 29-Year-Old New Music Director
Talking With Tony! Toni! Toné! About Finally Coming Back to Oakland — Together
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"content": "\u003cp>When Oakland Ballet Artistic Director Graham Lustig began planning the fourth annual \u003ca href=\"https://oaklandballet.org/performances-events/angel_island_project/\">Dancing Moons Festival\u003c/a> about two years ago, he had little idea that it would arrive amid heated headlines about the United States government summarily detaining and deporting immigrants.\u003c/p>\n\u003cp>With its focus on Asian American and Pacific Islander choreographers, the festival had already provided an unprecedented spotlight in a creative realm with a slim track record of showcasing AAPI dance makers. The May 4 Paramount Theatre premiere of a major new work, \u003cem>Angel Island Project\u003c/em>, catapults the respected but low-key Oakland Ballet into the midst of a roiling debate centering on fundamental questions about who belongs here and who decides.\u003c/p>\n\u003cp>Inspired by the experiences of detainees at Angel Island, the United States’ primary immigration facility on the West Coast from 1910 to 1940, the ballet features the work of seven choreographers: Natasha Adorlee, Lawrence Chen, Feng Ye, Elaine Kudo, Ashley Thopiah, Wei Wang, and Phil Chan (who was appointed Oakland Ballet’s first artist-in-residence last spring).\u003c/p>\n\u003cfigure id=\"attachment_13975533\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann.jpg\" alt=\"\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13975533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1920x1282.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazmine Quezada (lifted) and company in a preview performance in March of the Angel Island Project on Angel Island. \u003ccite>(Peter Schurmann/Courtesy of Courtesy of Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lustig acknowledges the hot-button nature of the project while pushing back against the work’s topical implications.\u003c/p>\n\u003cp>“We’re not a political organization and we’re not trying to make a political point,” said the British-born choreographer. “Immigration has always been a hot topic. The Dancing Moons Festival is an opportunity to lift up Asian American creative voices: composers, designers, and choreographers. This just seemed a good fit.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a fit that’s inextricably entwined with the Bay Area, and not merely because Angel Island is a 15-minute ferry ride from Tiburon. An intricate collaboration with the Angel Island Immigration Station Foundation and Angel Island Parks and Recreation, the ballet is set to Huang Ruo’s “Angel Island,” an epic oratorio commissioned by Del Sol Quartet in 2020 with support from a Hewlett Foundation 50 Arts Commission.\u003c/p>\n\u003cp>While the quartet has performed “Angel Island” with vocal ensembles around the world since its 2021 premiere at the Presidio Theatre, the Dancing Moons Festival marks the first Bay Area performance of an eighth movement that Huang Ruo added for a 2023 production in Singapore. At the Paramount, the vocal ensemble Volti, conducted by Wei Cheng, joins Del Sol along with Oakland Ballet’s 12 dancers, with lighting design by Courtney Carson and costumes by Alysia Chang and Kaori Higashiyama.\u003c/p>\n\u003cfigure id=\"attachment_13975535\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13975535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">(Front to back) Jazmine Quezada, Ashley Thopiah and Lawrence Chen rehearse ‘The Seascape’ by Ye Feng, part of Oakland Ballet’s Angel Island Project. \u003ccite>(John Hefti/Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite so many collaborators, and contributions by seven choreographers, “it’s a seamless production,” Lustig says. “We have 12 dancers in the company and it became a jigsaw puzzle. Someone works with seven, there are five others who are available for the following piece. In some cases, one movement flows into the next, but there are a few dramatic endings where the stage goes dark.”\u003c/p>\n\u003cp>The libretto is based on San Francisco Poet Laureate Genny Lim’s English translations of poems carved into the walls of the Angel Island Immigration Station barracks — text that Del Sol violist Charlton Lee encountered in her 1991 volume \u003cem>Island: Poetry and History of Chinese Immigrants on Angel Island, 1910-1940\u003c/em>.\u003c/p>\n\u003cp>Lee’s parents immigrated from China in the 1960s, “and I didn’t learn that history until I was in college,” he said. “It opened my eyes to the historical discrimination against Chinese in America. There’s such a wealth of stories and history, and people are unaware of it, including a lot of newer immigrants. They don’t realize how long this type of stuff has been going on.”\u003c/p>\n\u003cfigure id=\"attachment_13975534\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann.jpg\" alt=\"\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13975534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1920x1282.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazmine Quezada (left) and Ashley Thopiah during a preview performance in March of the Angel Island Project on Angel Island. \u003ccite>(Peter Schurmann/Courtesy of Courtesy of Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born and raised in China and now based in New York City, Huang Ruo drew on a kaleidoscopic array of styles and idioms while composing “Angel Island,” including Chinese folk music, natural and processed sounds, Western avant-garde, noise, rock and jazz. (His collaboration with playwright David Henry Hwang, \u003cem>\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>\u003c/em>, premieres at San Francisco Opera in November).\u003c/p>\n\u003cp>For Feng Ye, who moved from Beijing to San Jose in 2016, the dislocation, homesickness and loneliness expressed in the Angel Island poems is viscerally familiar. Her training in Chinese classical and contemporary dance made leaping into ballet a steep challenge.\u003c/p>\n\u003cp>In an excerpt that Oakland Ballet presented at Angel Island Immigration Station on a sunny afternoon in late March, Feng’s piece made canny use of a 40-foot-long plait, deploying the two-sided symbolism of hair in Chinese culture while also using the braid as a device to reorganize the stage.\u003c/p>\n\u003cfigure id=\"attachment_13975536\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lawrence Chen, Jazmine Quezada, Florrie Geller, AL Abraham and Ashley Thopiah rehearse ‘The Seascape’ by Ye Feng as part of Oakland Ballet’s Angel Island Project. \u003ccite>(John Hefti/Courtesy of Courtesy of Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s so much about the hair,” she said. “If the girl falls in love, and they want to live together their whole life, they cut small piece as gift. But if they separate, she cuts a small piece and gives that, and they separate, forever. I wanted to use the braid, the long line, to change the space on stage. The braid connects the dancers, and we make a small space like family to support each other. But sometimes it separates people, and we extend the space.”\u003c/p>\n\u003cp>Expanding the closed circle has long been a motivation for Lustig. In his first U.S. job as artistic director of the American Repertory Ballet Theater in Princeton, New Jersey from 1999-2010, he created Dancing Through the Ceiling, a commissioning project for emerging and established women choreographers.\u003c/p>\n\u003cp>On that front, tremendous progress has been made since 2001, when he began his efforts to obliterate ballet’s glass ceiling. Lustig’s hope is that before too long, an event like the Dancing Moons Festival won’t seem necessary, but current events suggest that it will have reason to continue for many a season.\u003c/p>\n\u003cp>“The ballet hasn’t had a reputation for being very inclusive,” Lustig said. “There are opportunities for change. I feel as a company, we dance our social justice. We have an opportunity to elevate voices and stories not seen.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Angel Island Project will be performed at Oakland Ballet’s Dancing Moons Festival on Sunday, May 4, at the Paramount Theatre in Oakland. \u003ca href=\"https://oaklandballet.org/performances-events/angel_island_project/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Poetry of Angel Island Detainees Inspires Oakland Ballet Performance | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Oakland Ballet Artistic Director Graham Lustig began planning the fourth annual \u003ca href=\"https://oaklandballet.org/performances-events/angel_island_project/\">Dancing Moons Festival\u003c/a> about two years ago, he had little idea that it would arrive amid heated headlines about the United States government summarily detaining and deporting immigrants.\u003c/p>\n\u003cp>With its focus on Asian American and Pacific Islander choreographers, the festival had already provided an unprecedented spotlight in a creative realm with a slim track record of showcasing AAPI dance makers. The May 4 Paramount Theatre premiere of a major new work, \u003cem>Angel Island Project\u003c/em>, catapults the respected but low-key Oakland Ballet into the midst of a roiling debate centering on fundamental questions about who belongs here and who decides.\u003c/p>\n\u003cp>Inspired by the experiences of detainees at Angel Island, the United States’ primary immigration facility on the West Coast from 1910 to 1940, the ballet features the work of seven choreographers: Natasha Adorlee, Lawrence Chen, Feng Ye, Elaine Kudo, Ashley Thopiah, Wei Wang, and Phil Chan (who was appointed Oakland Ballet’s first artist-in-residence last spring).\u003c/p>\n\u003cfigure id=\"attachment_13975533\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann.jpg\" alt=\"\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13975533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-lifted-and-company-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1920x1282.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazmine Quezada (lifted) and company in a preview performance in March of the Angel Island Project on Angel Island. \u003ccite>(Peter Schurmann/Courtesy of Courtesy of Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lustig acknowledges the hot-button nature of the project while pushing back against the work’s topical implications.\u003c/p>\n\u003cp>“We’re not a political organization and we’re not trying to make a political point,” said the British-born choreographer. “Immigration has always been a hot topic. The Dancing Moons Festival is an opportunity to lift up Asian American creative voices: composers, designers, and choreographers. This just seemed a good fit.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a fit that’s inextricably entwined with the Bay Area, and not merely because Angel Island is a 15-minute ferry ride from Tiburon. An intricate collaboration with the Angel Island Immigration Station Foundation and Angel Island Parks and Recreation, the ballet is set to Huang Ruo’s “Angel Island,” an epic oratorio commissioned by Del Sol Quartet in 2020 with support from a Hewlett Foundation 50 Arts Commission.\u003c/p>\n\u003cp>While the quartet has performed “Angel Island” with vocal ensembles around the world since its 2021 premiere at the Presidio Theatre, the Dancing Moons Festival marks the first Bay Area performance of an eighth movement that Huang Ruo added for a 2023 production in Singapore. At the Paramount, the vocal ensemble Volti, conducted by Wei Cheng, joins Del Sol along with Oakland Ballet’s 12 dancers, with lighting design by Courtney Carson and costumes by Alysia Chang and Kaori Higashiyama.\u003c/p>\n\u003cfigure id=\"attachment_13975535\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13975535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-front-to-back-Jazmine-Quezada-Ashley-Thopiah-and-Lawrence-Chen-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">(Front to back) Jazmine Quezada, Ashley Thopiah and Lawrence Chen rehearse ‘The Seascape’ by Ye Feng, part of Oakland Ballet’s Angel Island Project. \u003ccite>(John Hefti/Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite so many collaborators, and contributions by seven choreographers, “it’s a seamless production,” Lustig says. “We have 12 dancers in the company and it became a jigsaw puzzle. Someone works with seven, there are five others who are available for the following piece. In some cases, one movement flows into the next, but there are a few dramatic endings where the stage goes dark.”\u003c/p>\n\u003cp>The libretto is based on San Francisco Poet Laureate Genny Lim’s English translations of poems carved into the walls of the Angel Island Immigration Station barracks — text that Del Sol violist Charlton Lee encountered in her 1991 volume \u003cem>Island: Poetry and History of Chinese Immigrants on Angel Island, 1910-1940\u003c/em>.\u003c/p>\n\u003cp>Lee’s parents immigrated from China in the 1960s, “and I didn’t learn that history until I was in college,” he said. “It opened my eyes to the historical discrimination against Chinese in America. There’s such a wealth of stories and history, and people are unaware of it, including a lot of newer immigrants. They don’t realize how long this type of stuff has been going on.”\u003c/p>\n\u003cfigure id=\"attachment_13975534\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann.jpg\" alt=\"\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13975534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jazmine-Quezada-left-and-Ashley-Thopiah-in-a-preview-performance-of-the-Angel-Island-Project-on-Angel-Island.-Photo-by-Peter-Schurmann-1920x1282.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazmine Quezada (left) and Ashley Thopiah during a preview performance in March of the Angel Island Project on Angel Island. \u003ccite>(Peter Schurmann/Courtesy of Courtesy of Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born and raised in China and now based in New York City, Huang Ruo drew on a kaleidoscopic array of styles and idioms while composing “Angel Island,” including Chinese folk music, natural and processed sounds, Western avant-garde, noise, rock and jazz. (His collaboration with playwright David Henry Hwang, \u003cem>\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>\u003c/em>, premieres at San Francisco Opera in November).\u003c/p>\n\u003cp>For Feng Ye, who moved from Beijing to San Jose in 2016, the dislocation, homesickness and loneliness expressed in the Angel Island poems is viscerally familiar. Her training in Chinese classical and contemporary dance made leaping into ballet a steep challenge.\u003c/p>\n\u003cp>In an excerpt that Oakland Ballet presented at Angel Island Immigration Station on a sunny afternoon in late March, Feng’s piece made canny use of a 40-foot-long plait, deploying the two-sided symbolism of hair in Chinese culture while also using the braid as a device to reorganize the stage.\u003c/p>\n\u003cfigure id=\"attachment_13975536\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/From-left-Lawrence-Chen-Jazmine-Quezada-Florrie-Geller-AL-Abraham-and-Ashley-Thopiah-in-The-Seascape-by-Ye-Feng.-Photo-by-John-Hefti-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lawrence Chen, Jazmine Quezada, Florrie Geller, AL Abraham and Ashley Thopiah rehearse ‘The Seascape’ by Ye Feng as part of Oakland Ballet’s Angel Island Project. \u003ccite>(John Hefti/Courtesy of Courtesy of Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s so much about the hair,” she said. “If the girl falls in love, and they want to live together their whole life, they cut small piece as gift. But if they separate, she cuts a small piece and gives that, and they separate, forever. I wanted to use the braid, the long line, to change the space on stage. The braid connects the dancers, and we make a small space like family to support each other. But sometimes it separates people, and we extend the space.”\u003c/p>\n\u003cp>Expanding the closed circle has long been a motivation for Lustig. In his first U.S. job as artistic director of the American Repertory Ballet Theater in Princeton, New Jersey from 1999-2010, he created Dancing Through the Ceiling, a commissioning project for emerging and established women choreographers.\u003c/p>\n\u003cp>On that front, tremendous progress has been made since 2001, when he began his efforts to obliterate ballet’s glass ceiling. Lustig’s hope is that before too long, an event like the Dancing Moons Festival won’t seem necessary, but current events suggest that it will have reason to continue for many a season.\u003c/p>\n\u003cp>“The ballet hasn’t had a reputation for being very inclusive,” Lustig said. “There are opportunities for change. I feel as a company, we dance our social justice. We have an opportunity to elevate voices and stories not seen.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Angel Island Project will be performed at Oakland Ballet’s Dancing Moons Festival on Sunday, May 4, at the Paramount Theatre in Oakland. \u003ca href=\"https://oaklandballet.org/performances-events/angel_island_project/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a stark study in contrasts, this year’s Inauguration Day and Martin Luther King Jr. Day fall on the same day: Jan. 20. \u003c/p>\n\u003cp>Here in the Bay Area, we’re going to go out on a limb and suggest that most people will choose to recognize the latter. Whether you prefer to spend the day with live music, viewing art or taking to the streets, here’s a roundup of Bay Area activities, performances and other live events coming up for Martin Luther King Jr. Day. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://noontimeconcerts.org/concerts/a-musical-tribute-to-dr-martin-luther-king-jr/\">A Musical Tribute to Dr. Martin Luther King Jr.\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 14\u003cbr>\nOld St. Mary’s Cathedral, San Francisco / Online\u003c/em>\u003c/p>\n\u003cp>This year, Noontime Concerts teamed up with the NorCal Dr. Martin Luther King Jr. Community Foundation for a music program curated by Bay Area pianist Dr. Carl Blake. Featured classical artists also included Santa Rosa violinist Joseph Edelberg, soprano Hope Briggs, flutist William Underwood III and others. If you missed it live, you can \u003ca href=\"https://www.youtube.com/watch?v=LGsFI8GELnE\">rewatch the livestream here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfjazz.org/tickets/productions/visiting-presenters/lift-every-voice/\">‘Lift Every Voice’ and ‘No More Water’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 17–19\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With concerts spread over three days, ‘Lift Every Voice’ celebrates Black music and its roots. Unfortunately, all three shows are sold out. However, another three-day residency at SFJAZZ happens simultaneously: ‘\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/meshell-ndegeocello/\">No More Water\u003c/a>,’ a James Baldwin-themed musical project by Grammy-award winning bassist and singer Meshell Ndegeocello. \u003c/p>\n\u003cfigure id=\"attachment_13970329\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13970329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Meshell Ndegeocello. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paramountoakland.org/events/detail/in-the-name-of-love-a-tribute-to-dr-martin-luther-king-jr-1\">‘In The Name of Love’: A Tribute to MLK featuring the music of Aretha Franklin\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 18\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>In this all-star evening, the music of the Queen of Soul herself, Aretha Franklin, will honor the legacy and impact of Dr. King. (Aretha \u003ca href=\"https://www.ebony.com/the-spiritual-life-aretha-franklin-remembers-mlk-405/\">went on tour with King\u003c/a> when she was just 16; after King’s assassination, she \u003ca href=\"https://www.youtube.com/watch?v=OPvLVGvteHM\">sang at his funeral\u003c/a>.) A collaboration between Living Jazz and SFJAZZ, the tribute features saxophonist Howard Wiley, pianist Kev Choice, the Oakland Interfaith Gospel Choir and others.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2025/2025-mlk-liberation-film-festival/\">2025 MLK Liberation Film Festival\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 18–20\u003cbr>\nVarious venues\u003c/em>\u003c/p>\n\u003cp>In partnership with California Newsreel, NorCal MLK Foundation’s Liberation Film Festival will take place over three days and showcase films meant to inspire civic and social justice engagement. Screenings are free and open to the public, though registration is encouraged. More details on the full lineup and locations will be announced soon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior.jpg\" alt=\"Museum of the African Diaspora\" width=\"2048\" height=\"1356\" class=\"size-full wp-image-13849283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1920x1272.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.moadsf.org/event/dr-martin-luther-king-jr-national-day-of-service-free-admission-2\">Dr. Martin Luther King Jr. Free Community Day\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nMoAD, San Francisco\u003c/em>\u003c/p>\n\u003cp>On MLK Day, the Museum of the African Diaspora is offering free admission. This year, in addition to current exhibition Liberatory Living: Protective Interiors and Radical Black Joy, free programming will include sidewalk chalk art, a gallery scavenger hunt, and Prescott Circus Theater with performances by Marcus Shelby and his Youth Orchestra.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.padc.info/mlk25\">28th Annual Dr. Martin Luther King, Jr. Celebration\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nAlan Harvey Theater, Piedmont\u003c/em>\u003c/p>\n\u003cp>For their 28th annual MLK Day celebration, the Piedmont Anti-Racism and Diversity Committee is offering a program featuring a keynote presentation by Black Panther Party member \u003ca href=\"https://www.erickahuggins.com/\">Ericka Huggins\u003c/a>. There will also be performances by the Oakland Youth Chorus Chamber Singers, a writing showcase and more. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.antipoliceterrorproject.org/new-events/2025/1/20/reclaim-mlk\">March to Reclaim MLK’s Radical Legacy\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\n14th & Broadway, Oakland / Online\u003c/em>\u003c/p>\n\u003cp>The Anti Police-Terror Project is back for their 11th annual march inspired by Dr. King’s revolutionary spirit and his radical legacy. The event will include various speakers and include a children’s area. A livestream with ASL interpretation will be available for those wishing to participate online. \u003c/p>\n\u003cfigure id=\"attachment_12377285\" class=\"wp-caption aligncenter\" style=\"max-width: 2960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401.jpg\" alt=\"Behind the waterfall at the San Franciscos Martin Luther King Memorial designed by Houston Conwill\" width=\"2960\" height=\"1761\" class=\"size-full wp-image-12377285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401.jpg 2960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-520x309.jpg 520w\" sizes=\"auto, (max-width: 2960px) 100vw, 2960px\">\u003cfigcaption class=\"wp-caption-text\">Behind the waterfall at San Francisco’s Martin Luther King Jr. Memorial in Yerba Buena Gardens, designed by Houston Conwill. \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://ybgfestival.org/event/2025-mlk-music-festival/\">MLK 2025 Music Festival\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nYerba Buena Gardens, San Francisco\u003c/em>\u003c/p>\n\u003cp>In its 15th year, NorCal MLK’s 2025 Music Festival brings a variety of artists to the Great Lawn at the Yerba Buena Gardens, the site of a walking Martin Luther King Jr. memorial (above). Those who arrive by 11:45 a.m. will be able to participate in the interfaith commemoration; at noon, the concert kicks off with sets by Dee Dee Simon, Top Shelf Classics, Prentice Powell and more. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/silence-the-violence-mlk-day-peace-walk-tickets-1143379491839?aff=ebdssbdestsearch\">Silence The Violence MLK Day Peace Walk\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\n4th and Townsend St. Caltrain Station, San Francisco \u003c/em>\u003c/p>\n\u003cp>Walk the Block, in collaboration with local groups like United Playaz and the San Francisco Interfaith Council, will host a peace walk through the streets of the city to honor Dr. King’s legacy. The walk will kick off promptly at 11:00 a.m.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://equity.marincounty.org/events/mlk-event\">Marin City’s Annual MLK Day Celebration\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nManzanita Recreation Center, Marin City\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The theme for Marin City’s MLK celebration this year is “Fan the flames of the ‘Dream’ into reality!” Festivities will include youth presentations, music, spoken word and other speakers. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a stark study in contrasts, this year’s Inauguration Day and Martin Luther King Jr. Day fall on the same day: Jan. 20. \u003c/p>\n\u003cp>Here in the Bay Area, we’re going to go out on a limb and suggest that most people will choose to recognize the latter. Whether you prefer to spend the day with live music, viewing art or taking to the streets, here’s a roundup of Bay Area activities, performances and other live events coming up for Martin Luther King Jr. Day. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://noontimeconcerts.org/concerts/a-musical-tribute-to-dr-martin-luther-king-jr/\">A Musical Tribute to Dr. Martin Luther King Jr.\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 14\u003cbr>\nOld St. Mary’s Cathedral, San Francisco / Online\u003c/em>\u003c/p>\n\u003cp>This year, Noontime Concerts teamed up with the NorCal Dr. Martin Luther King Jr. Community Foundation for a music program curated by Bay Area pianist Dr. Carl Blake. Featured classical artists also included Santa Rosa violinist Joseph Edelberg, soprano Hope Briggs, flutist William Underwood III and others. If you missed it live, you can \u003ca href=\"https://www.youtube.com/watch?v=LGsFI8GELnE\">rewatch the livestream here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfjazz.org/tickets/productions/visiting-presenters/lift-every-voice/\">‘Lift Every Voice’ and ‘No More Water’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 17–19\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With concerts spread over three days, ‘Lift Every Voice’ celebrates Black music and its roots. Unfortunately, all three shows are sold out. However, another three-day residency at SFJAZZ happens simultaneously: ‘\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/meshell-ndegeocello/\">No More Water\u003c/a>,’ a James Baldwin-themed musical project by Grammy-award winning bassist and singer Meshell Ndegeocello. \u003c/p>\n\u003cfigure id=\"attachment_13970329\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13970329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Meshell Ndegeocello. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paramountoakland.org/events/detail/in-the-name-of-love-a-tribute-to-dr-martin-luther-king-jr-1\">‘In The Name of Love’: A Tribute to MLK featuring the music of Aretha Franklin\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 18\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>In this all-star evening, the music of the Queen of Soul herself, Aretha Franklin, will honor the legacy and impact of Dr. King. (Aretha \u003ca href=\"https://www.ebony.com/the-spiritual-life-aretha-franklin-remembers-mlk-405/\">went on tour with King\u003c/a> when she was just 16; after King’s assassination, she \u003ca href=\"https://www.youtube.com/watch?v=OPvLVGvteHM\">sang at his funeral\u003c/a>.) A collaboration between Living Jazz and SFJAZZ, the tribute features saxophonist Howard Wiley, pianist Kev Choice, the Oakland Interfaith Gospel Choir and others.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2025/2025-mlk-liberation-film-festival/\">2025 MLK Liberation Film Festival\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 18–20\u003cbr>\nVarious venues\u003c/em>\u003c/p>\n\u003cp>In partnership with California Newsreel, NorCal MLK Foundation’s Liberation Film Festival will take place over three days and showcase films meant to inspire civic and social justice engagement. Screenings are free and open to the public, though registration is encouraged. More details on the full lineup and locations will be announced soon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior.jpg\" alt=\"Museum of the African Diaspora\" width=\"2048\" height=\"1356\" class=\"size-full wp-image-13849283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1920x1272.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.moadsf.org/event/dr-martin-luther-king-jr-national-day-of-service-free-admission-2\">Dr. Martin Luther King Jr. Free Community Day\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nMoAD, San Francisco\u003c/em>\u003c/p>\n\u003cp>On MLK Day, the Museum of the African Diaspora is offering free admission. This year, in addition to current exhibition Liberatory Living: Protective Interiors and Radical Black Joy, free programming will include sidewalk chalk art, a gallery scavenger hunt, and Prescott Circus Theater with performances by Marcus Shelby and his Youth Orchestra.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.padc.info/mlk25\">28th Annual Dr. Martin Luther King, Jr. Celebration\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nAlan Harvey Theater, Piedmont\u003c/em>\u003c/p>\n\u003cp>For their 28th annual MLK Day celebration, the Piedmont Anti-Racism and Diversity Committee is offering a program featuring a keynote presentation by Black Panther Party member \u003ca href=\"https://www.erickahuggins.com/\">Ericka Huggins\u003c/a>. There will also be performances by the Oakland Youth Chorus Chamber Singers, a writing showcase and more. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.antipoliceterrorproject.org/new-events/2025/1/20/reclaim-mlk\">March to Reclaim MLK’s Radical Legacy\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\n14th & Broadway, Oakland / Online\u003c/em>\u003c/p>\n\u003cp>The Anti Police-Terror Project is back for their 11th annual march inspired by Dr. King’s revolutionary spirit and his radical legacy. The event will include various speakers and include a children’s area. A livestream with ASL interpretation will be available for those wishing to participate online. \u003c/p>\n\u003cfigure id=\"attachment_12377285\" class=\"wp-caption aligncenter\" style=\"max-width: 2960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401.jpg\" alt=\"Behind the waterfall at the San Franciscos Martin Luther King Memorial designed by Houston Conwill\" width=\"2960\" height=\"1761\" class=\"size-full wp-image-12377285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401.jpg 2960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-520x309.jpg 520w\" sizes=\"auto, (max-width: 2960px) 100vw, 2960px\">\u003cfigcaption class=\"wp-caption-text\">Behind the waterfall at San Francisco’s Martin Luther King Jr. Memorial in Yerba Buena Gardens, designed by Houston Conwill. \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://ybgfestival.org/event/2025-mlk-music-festival/\">MLK 2025 Music Festival\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nYerba Buena Gardens, San Francisco\u003c/em>\u003c/p>\n\u003cp>In its 15th year, NorCal MLK’s 2025 Music Festival brings a variety of artists to the Great Lawn at the Yerba Buena Gardens, the site of a walking Martin Luther King Jr. memorial (above). Those who arrive by 11:45 a.m. will be able to participate in the interfaith commemoration; at noon, the concert kicks off with sets by Dee Dee Simon, Top Shelf Classics, Prentice Powell and more. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/silence-the-violence-mlk-day-peace-walk-tickets-1143379491839?aff=ebdssbdestsearch\">Silence The Violence MLK Day Peace Walk\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\n4th and Townsend St. Caltrain Station, San Francisco \u003c/em>\u003c/p>\n\u003cp>Walk the Block, in collaboration with local groups like United Playaz and the San Francisco Interfaith Council, will host a peace walk through the streets of the city to honor Dr. King’s legacy. The walk will kick off promptly at 11:00 a.m.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://equity.marincounty.org/events/mlk-event\">Marin City’s Annual MLK Day Celebration\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nManzanita Recreation Center, Marin City\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The theme for Marin City’s MLK celebration this year is “Fan the flames of the ‘Dream’ into reality!” Festivities will include youth presentations, music, spoken word and other speakers. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comedian Kevin Hart usually plays arenas. Sometimes he even \u003ca href=\"https://thecomicscomic.com/2015/08/31/kevin-hart-plays-to-53000-at-philadelphia-stadium-for-new-stand-up-concert-film-what-now-tour/\">headlines stadiums for over 50,000 people\u003c/a>.\u003c/p>\n\u003cp>So when tickets go on sale for the star comedian’s Oct. 25 show at the Paramount Theatre in Oakland — with just 3,000 seats — expect them to sell out quickly.\u003c/p>\n\u003cp>Fortunately, you can get \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">presale tickets\u003c/a> on Wednesday, April 17, at 10 a.m. using the presale code COMEDY. Tickets go on sale to the general public two days later, on Friday, April 19, at 10 a.m.\u003c/p>\n\u003cp>[aside postID='arts_13955679']Playing smaller venues on this tour was a deliberate decision by the comedian. “I wanted to change things up by creating a more intimate environment,” Hart said in a statement. “This hour is about connecting with the audience and feeding off the crowd’s energy and laughter.”\u003c/p>\n\u003cp>At the ornate art-deco Paramount Theatre in Oakland, that energy should be especially evident. Be quick with the click for tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>UPDATE: Two additional shows have been added for Saturday, Sept. 26, at 7:30 p.m. and 10:30 p.m.\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Kevin Hart usually plays arenas. Sometimes he even \u003ca href=\"https://thecomicscomic.com/2015/08/31/kevin-hart-plays-to-53000-at-philadelphia-stadium-for-new-stand-up-concert-film-what-now-tour/\">headlines stadiums for over 50,000 people\u003c/a>.\u003c/p>\n\u003cp>So when tickets go on sale for the star comedian’s Oct. 25 show at the Paramount Theatre in Oakland — with just 3,000 seats — expect them to sell out quickly.\u003c/p>\n\u003cp>Fortunately, you can get \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">presale tickets\u003c/a> on Wednesday, April 17, at 10 a.m. using the presale code COMEDY. Tickets go on sale to the general public two days later, on Friday, April 19, at 10 a.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Playing smaller venues on this tour was a deliberate decision by the comedian. “I wanted to change things up by creating a more intimate environment,” Hart said in a statement. “This hour is about connecting with the audience and feeding off the crowd’s energy and laughter.”\u003c/p>\n\u003cp>At the ornate art-deco Paramount Theatre in Oakland, that energy should be especially evident. Be quick with the click for tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>UPDATE: Two additional shows have been added for Saturday, Sept. 26, at 7:30 p.m. and 10:30 p.m.\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet Kedrick Armstrong, Oakland Symphony’s 29-Year-Old New Music Director",
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"content": "\u003cfigure id=\"attachment_13955630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg\" alt=\"A young conductor smiles and holds a baton. \" width=\"1920\" height=\"2465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-800x1027.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1595x2048.jpg 1595w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong is the new music director of the Oakland Symphony. He takes the podium when the 2024-’25 season begins in October. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kedrickarmstrong.com/\">Kedrick Armstrong\u003c/a> hasn’t moved to Oakland yet, but he’s already a kindred spirit of the Town’s many artists and activists.\u003c/p>\n\u003cp>In a recent conversation about his new appointment as the \u003ca href=\"https://www.oaklandsymphony.org/\">Oakland Symphony\u003c/a>’s music director, Armstrong beams when he talks about music as a way to empower everyday people and strengthen communities. And when the 29-year-old conductor gets going about public school music education — the heart of the Symphony’s public service mission — he’s coming from a place of hard-won wisdom from working to change a system that doesn’t always respect people who look like him.\u003c/p>\n\u003cp>“One of the things that truly excited me about this orchestra is their commitment not only to excellence on the stage, but excellence in music education and community work,” he says.\u003c/p>\n\u003cp>Today, the Oakland Symphony announced that Armstrong will take the helm at the orchestra, effective immediately, after a two-year nationwide search. He follows in the footsteps of \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the beloved, visionary conductor who led the organization for 30 years until his death in 2021 at 63 years old. In the coming months, Armstrong will relocate from Illinois, where he currently serves as the Knox-Galesburg Symphony’s creative partner and principal conductor.\u003c/p>\n\u003cp>Armstrong grew up in Georgetown, South Carolina and spent his young adulthood in Chicago, where his profile in the classical music world rose. Through the Lyric Opera of Chicago, where he has appeared as a conductor, he mentored high school students on the city’s Southside — a Black community with a rich culture and history that, like Oakland, is often maligned in the national press.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Washington Post\u003c/em> named Armstrong a\u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2022/01/22/2022-composers-up-and-coming/\"> conductor to watch\u003c/a> in 2022. In May 2023, he completed his graduate studies at the University of Colorado in Boulder, where he \u003ca href=\"https://www.cpr.org/2023/03/31/colorado-conductor-kedrick-armstrong-nourished-by-black-female-composers/\">researched Black women composers\u003c/a>, including some whose works had never been performed until he got his hands on their scores.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armstrong has guest conducted at the Chicago Opera Theater, the Opera Theatre of St. Louis and three times at the Oakland Symphony. At his most recent Oakland appearance in February 2024, he led the orchestra in a world premiere of \u003ci>Here I Stand\u003c/i>, an oratorio by composer Carlos Simon and librettist Dan Harder about the remarkable life of Black actor, singer, athlete and activist \u003ca href=\"https://www.pbs.org/wnet/americanmasters/paul-robeson-about-the-actor/66/\">Paul Robeson\u003c/a>, who dedicated his life to anti-racist, anti-fascist movements.\u003c/p>\n\u003cp>“I had the opportunity to meet some audience members and community members in that time, and the way that they embraced me as a queer Black man from South Carolina — stepping into this new place was so special and so warming to me,” Armstrong says. [aside postid='arts_13954039']\u003c/p>\n\u003cp>For Armstrong, something that sets the Oakland Symphony apart from other orchestras around the nation is that “they have this flexibility in their playing and this respect that they give to everything, from Mozart to MC Hammer,” he says. “And for me, as a conductor that loves all of these different genres and repertoires, knowing that I already have a group of colleagues who are so behind that idea, style and approach of playing is just a dream of possibilities.”\u003c/p>\n\u003cp>The Oakland Symphony has also had people of color in leadership roles for decades, while most orchestras only began conversations about race in earnest after the George Floyd protests of 2020. (Prior to Michael Morgan’s tenure, Calvin Simmons took the helm at the Oakland Symphony in 1979, becoming the first Black leader of a major U.S. orchestra.)\u003c/p>\n\u003cp>“The thing that inspires me the most, especially with the Oakland Symphony, is knowing that there’s a legacy to stand on,” says Armstrong. [aside postid='arts_13955286']\u003c/p>\n\u003cp>Armstrong spurred diversity reforms at his undergraduate alma mater, Wheaton Conservatory, when he penned a \u003ca href=\"https://thewheatonrecord.com/2020/10/08/alumnis-open-letter-prompts-conservatory-changes-task-force-to-assess-diversity/\">widely circulated open letter\u003c/a> in 2020 calling for more diversity in its curriculum. Oakland Symphony’s music education programs, which serve 19,000 students every year, are particularly important to him. He remembers a time when he thought he had to give up his passion for gospel and jazz to be taken seriously as a classical musician. Now, at an organization that regularly blends genres, he wants to help foster an environment where young musicians, especially those of color, can be themselves.\u003c/p>\n\u003cp>“I’m constantly trying to figure out, how do we teach music with a person’s culture, with the music that they’re accustomed to?” he reflects. [aside postid='arts_13955195']\u003c/p>\n\u003cp>Armstrong makes his first appearance on the Paramount Theatre’s podium as Oakland Symphony Music Director on Oct. 18, in a season kickoff that celebrates the 40th anniversary of the music nonprofit Living Jazz. The orchestra will perform music by Claude Debussy and Julia Perry — the first Black woman to have her work performed by the New York Philharmonic, in 1965 — alongside Living Jazz’s new commissions.\u003c/p>\n\u003cp>The wide-ranging season features titans of the classical music canon, including Bach, Rachmaninoff and Mussorgsky, as well as rising contemporary composers such as Shawn Okpebholo, an ethnomusicologist who studies the music of East and West Africa, and Alabama-born composer Brian Raphael Nabors, who’ll perform his own concerto for the Hammond organ. [aside postid='arts_13955108']\u003c/p>\n\u003cp>While dreaming up future collaborations with jazz musicians and dance ensembles, Armstrong is excited to dive into Oakland’s culture when he moves here in late summer or early fall. A natural bridge builder, he spends his time cooking and hosting when he’s not at the podium. It’s only a matter of time before his Oakland kitchen table is filled with new connections who are just as community-oriented, curious and creative as he is.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think there is such an easy thing for me as an outsider to look at Oakland and to buy into the external pictures that people paint about Oakland, about crime, about poverty,” he says. “But every corner I turn around here, I can’t help but see the beauty that is uplifted by the community.”\u003c/p>\n\u003chr>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955630\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955630\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg\" alt=\"A young conductor smiles and holds a baton. \" width=\"1920\" height=\"2465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-800x1027.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-3.29.24-058-1595x2048.jpg 1595w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong is the new music director of the Oakland Symphony. He takes the podium when the 2024-’25 season begins in October. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kedrickarmstrong.com/\">Kedrick Armstrong\u003c/a> hasn’t moved to Oakland yet, but he’s already a kindred spirit of the Town’s many artists and activists.\u003c/p>\n\u003cp>In a recent conversation about his new appointment as the \u003ca href=\"https://www.oaklandsymphony.org/\">Oakland Symphony\u003c/a>’s music director, Armstrong beams when he talks about music as a way to empower everyday people and strengthen communities. And when the 29-year-old conductor gets going about public school music education — the heart of the Symphony’s public service mission — he’s coming from a place of hard-won wisdom from working to change a system that doesn’t always respect people who look like him.\u003c/p>\n\u003cp>“One of the things that truly excited me about this orchestra is their commitment not only to excellence on the stage, but excellence in music education and community work,” he says.\u003c/p>\n\u003cp>Today, the Oakland Symphony announced that Armstrong will take the helm at the orchestra, effective immediately, after a two-year nationwide search. He follows in the footsteps of \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the beloved, visionary conductor who led the organization for 30 years until his death in 2021 at 63 years old. In the coming months, Armstrong will relocate from Illinois, where he currently serves as the Knox-Galesburg Symphony’s creative partner and principal conductor.\u003c/p>\n\u003cp>Armstrong grew up in Georgetown, South Carolina and spent his young adulthood in Chicago, where his profile in the classical music world rose. Through the Lyric Opera of Chicago, where he has appeared as a conductor, he mentored high school students on the city’s Southside — a Black community with a rich culture and history that, like Oakland, is often maligned in the national press.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Washington Post\u003c/em> named Armstrong a\u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2022/01/22/2022-composers-up-and-coming/\"> conductor to watch\u003c/a> in 2022. In May 2023, he completed his graduate studies at the University of Colorado in Boulder, where he \u003ca href=\"https://www.cpr.org/2023/03/31/colorado-conductor-kedrick-armstrong-nourished-by-black-female-composers/\">researched Black women composers\u003c/a>, including some whose works had never been performed until he got his hands on their scores.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Armstrong has guest conducted at the Chicago Opera Theater, the Opera Theatre of St. Louis and three times at the Oakland Symphony. At his most recent Oakland appearance in February 2024, he led the orchestra in a world premiere of \u003ci>Here I Stand\u003c/i>, an oratorio by composer Carlos Simon and librettist Dan Harder about the remarkable life of Black actor, singer, athlete and activist \u003ca href=\"https://www.pbs.org/wnet/americanmasters/paul-robeson-about-the-actor/66/\">Paul Robeson\u003c/a>, who dedicated his life to anti-racist, anti-fascist movements.\u003c/p>\n\u003cp>“I had the opportunity to meet some audience members and community members in that time, and the way that they embraced me as a queer Black man from South Carolina — stepping into this new place was so special and so warming to me,” Armstrong says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Armstrong, something that sets the Oakland Symphony apart from other orchestras around the nation is that “they have this flexibility in their playing and this respect that they give to everything, from Mozart to MC Hammer,” he says. “And for me, as a conductor that loves all of these different genres and repertoires, knowing that I already have a group of colleagues who are so behind that idea, style and approach of playing is just a dream of possibilities.”\u003c/p>\n\u003cp>The Oakland Symphony has also had people of color in leadership roles for decades, while most orchestras only began conversations about race in earnest after the George Floyd protests of 2020. (Prior to Michael Morgan’s tenure, Calvin Simmons took the helm at the Oakland Symphony in 1979, becoming the first Black leader of a major U.S. orchestra.)\u003c/p>\n\u003cp>“The thing that inspires me the most, especially with the Oakland Symphony, is knowing that there’s a legacy to stand on,” says Armstrong. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Armstrong spurred diversity reforms at his undergraduate alma mater, Wheaton Conservatory, when he penned a \u003ca href=\"https://thewheatonrecord.com/2020/10/08/alumnis-open-letter-prompts-conservatory-changes-task-force-to-assess-diversity/\">widely circulated open letter\u003c/a> in 2020 calling for more diversity in its curriculum. Oakland Symphony’s music education programs, which serve 19,000 students every year, are particularly important to him. He remembers a time when he thought he had to give up his passion for gospel and jazz to be taken seriously as a classical musician. Now, at an organization that regularly blends genres, he wants to help foster an environment where young musicians, especially those of color, can be themselves.\u003c/p>\n\u003cp>“I’m constantly trying to figure out, how do we teach music with a person’s culture, with the music that they’re accustomed to?” he reflects. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Armstrong makes his first appearance on the Paramount Theatre’s podium as Oakland Symphony Music Director on Oct. 18, in a season kickoff that celebrates the 40th anniversary of the music nonprofit Living Jazz. The orchestra will perform music by Claude Debussy and Julia Perry — the first Black woman to have her work performed by the New York Philharmonic, in 1965 — alongside Living Jazz’s new commissions.\u003c/p>\n\u003cp>The wide-ranging season features titans of the classical music canon, including Bach, Rachmaninoff and Mussorgsky, as well as rising contemporary composers such as Shawn Okpebholo, an ethnomusicologist who studies the music of East and West Africa, and Alabama-born composer Brian Raphael Nabors, who’ll perform his own concerto for the Hammond organ. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While dreaming up future collaborations with jazz musicians and dance ensembles, Armstrong is excited to dive into Oakland’s culture when he moves here in late summer or early fall. A natural bridge builder, he spends his time cooking and hosting when he’s not at the podium. It’s only a matter of time before his Oakland kitchen table is filled with new connections who are just as community-oriented, curious and creative as he is.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think there is such an easy thing for me as an outsider to look at Oakland and to buy into the external pictures that people paint about Oakland, about crime, about poverty,” he says. “But every corner I turn around here, I can’t help but see the beauty that is uplifted by the community.”\u003c/p>\n\u003chr>\n\n\u003c/div>\u003c/p>",
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"title": "Talking With Tony! Toni! Toné! About Finally Coming Back to Oakland — Together",
"headTitle": "Talking With Tony! Toni! Toné! About Finally Coming Back to Oakland — Together | KQED",
"content": "\u003cp>Earlier this year, when a cryptic announcement hit social media that all three original members of Tony! Toni! Toné! were going on tour, I, like a lot of people, immediately searched for more details. I even texted the number they said to text, and I normally avoid celebrity text sign-up promos. But this was \u003cem>Tony! Toni! Toné!\u003c/em> — and an extra special hometown show in Oakland was sure to come.\u003c/p>\n\u003cp>When tickets for a show at the Paramount were eventually announced, they quickly sold out. So the group added a second Paramount show (at press time, also nearly sold out). Which just proves the love that Oakland shares for Raphael Saadiq, D’Wayne Wiggins and Timothy Christian Riley, and the music they’ve produced while always repping their hometown.\u003c/p>\n\u003cp>And, as Raphael Saadiq and D’Wayne Wiggins shared when I caught up with them over Zoom before their Just Me and You Tour arrives at the Paramount Theatre in Oakland this week, it’ll be a dream come true to give that love right back.\u003c/p>\n\u003cp>[aside postID='arts_13935962']\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: You’re in the final days of this tour. How excited are you for these hometown shows? And knowing that you sold out the Paramount?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: It’s like living out a dream. The Paramount Theatre. I’ve watched many artists there. I met Cab Calloway there when I was a kid. Seeing Frankie Beverly every November. Historical events have been there. For us to be there.… and on stage with family? Oh my God.\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: I think my excitement will happen when we get to the venue, and then after we get dressed, and that moment we’re about to walk on. And that’s the craziest feeling we get in a place like the Paramount…. We did L.A. [last Saturday] and L.A. was something that we couldn’t even imagine. I don’t even want to think about what Oakland could be. I don’t know how to do that right now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fQd24h1ZDc4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I imagine there’s going to be a lot of family in the audience.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It’s going to be a lot of friends. A lot of family. A lot of people happy to see us together. And we’ll be happy to see them, too. It’s been a long time coming. The energy between us three and also the energy between the audience has been something that we couldn’t put together. Money couldn’t put it together. It’s just special. It’s like the perfect storm right now for us.\u003c/p>\n\u003cp>\u003cstrong>So was it easy to just drop back in and find the flow with each other on stage again?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It never changed.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: We’re comfortable on stage together like that… We know each other’s moves. We know each other’s vibes, we know each other’s style. You know, the history we have together. Certain licks we’ll do, certain turnarounds. Ray’ll change the show right before your eyes and say something in Tim’s ear. That’s the beauty of it. You know, it’s like we levitate together. We rise.\u003c/p>\n\u003cp>[aside postID='arts_13810633']\u003cstrong>Do you have any favorite memories of when you first started playing together? Like out in Oakland clubs?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: We’ve had our share of clubs, one being the \u003ca href=\"https://www.facebook.com/gmackeynurhyme/photos/a.474949895894297/499512880104665/\">Lucky Lion\u003c/a>. That was a place – I guess it would be like First Avenue in Minneapolis, for bands in Oakland. But playing outside in parks was the bigger thing in Oakland. We played a lot of parks. Arroyo Viejo Park, as well as Elmhurst Park on C Street and 98th — I think that was my first gig at a park. My best memories are of playing at parks, not at clubs.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: That’s great memories, too, because DeFremery Park, Sobrante Park, Arroyo Viejo Park, San Antonio Park. Maaan, every park we must have jammed at, you know?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e1YYqeKUp-M\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I read, Raphael, that when you kind of stealthily announced the tour, you wanted it to be very organic — not be leading with the business aspect, but with family. Is that right?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: Yeah… for a long time I was quoted as saying, ‘I’ll probably never do [Tony! Toni! Toné!] again.’ And I did say that, but I kind of said it knowing I can’t control that, right? But I knew I wanted to put the announcement out very beautifully. I wanted to see us look how we look. Get the right photos out, and \u003ca href=\"https://spinningplatters.com/2023/03/29/breaking-raphael-saadiq-is-touring-with-tony-toni-tone/\">throw a billboard up in the middle of East Oakland\u003c/a>, where we started. And not tell D’Wayne and not tell Tim. Not tell any management people. We felt like Oakland should know first.\u003c/p>\n\u003cfigure id=\"attachment_13937964\" class=\"wp-caption aligncenter\" style=\"max-width: 2504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg\" alt=\"Three Black men in semi-formal fashionable clothes stand in a row, looking into the camera\" width=\"2504\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg 2504w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1536x1045.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-2048x1394.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1920x1307.jpg 1920w\" sizes=\"(max-width: 2504px) 100vw, 2504px\">\u003cfigcaption class=\"wp-caption-text\">The image that Raphael Saadiq put on a billboard in Oakland to announce Tony! Toni! Toné!’s reunion tour. \u003ccite>(David 'Odiwams' Wright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know, we’ve not just played music in that city, but we’ve lost family members in that city. We ate a lot of cheeseburgers in that city. We ate a lot of donuts. We’ve had a lot of fights with people. We dodged bullets… We watched karate movies at Eastmont Mall at the Lux. We got to watch buildings go up and go down. We watched the whole city change from Black to what it is now. You know, we’ve seen a lot. We walked those streets so much. We watched our parents get old and, you know, watched our father [pass away]. So many people we said ‘good morning’ to that’s not there no more. Older people who taught us, that died a natural death, who had a good life.\u003c/p>\n\u003cp>So we have a lot ingrained in us that’s not just music. We’re not just music anymore. We’re feeling like this ancestor thing coming out. Spirit just took over. We’re just riding the wave. I really feel like that. And that’s how I’ve been feeling on the tour.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: The music is the score to our lives, you know. It helped us stay focused. We learned a lot. We still learn a lot. We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue and it took us a while to gather all of those thoughts and those passions. And when you see us on stage together, you can see we’ve been through a lot and it shines. And Oakland is our base, no matter what.\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>Tony! Toni! Toné! plays the Paramount Theatre in Oakland on Nov. 14 and 15, and The Masonic in San Francisco on Nov. 17. \u003ca href=\"https://www.ticketmaster.com/tony-toni-tone-tickets/artist/874672\">Details and ticket info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Raphael Saadiq and D'Wayne Wiggins discuss why their reunion shows at the Paramount Theatre are extra special: 'Oakland is our base, no matter what.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year, when a cryptic announcement hit social media that all three original members of Tony! Toni! Toné! were going on tour, I, like a lot of people, immediately searched for more details. I even texted the number they said to text, and I normally avoid celebrity text sign-up promos. But this was \u003cem>Tony! Toni! Toné!\u003c/em> — and an extra special hometown show in Oakland was sure to come.\u003c/p>\n\u003cp>When tickets for a show at the Paramount were eventually announced, they quickly sold out. So the group added a second Paramount show (at press time, also nearly sold out). Which just proves the love that Oakland shares for Raphael Saadiq, D’Wayne Wiggins and Timothy Christian Riley, and the music they’ve produced while always repping their hometown.\u003c/p>\n\u003cp>And, as Raphael Saadiq and D’Wayne Wiggins shared when I caught up with them over Zoom before their Just Me and You Tour arrives at the Paramount Theatre in Oakland this week, it’ll be a dream come true to give that love right back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: You’re in the final days of this tour. How excited are you for these hometown shows? And knowing that you sold out the Paramount?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: It’s like living out a dream. The Paramount Theatre. I’ve watched many artists there. I met Cab Calloway there when I was a kid. Seeing Frankie Beverly every November. Historical events have been there. For us to be there.… and on stage with family? Oh my God.\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: I think my excitement will happen when we get to the venue, and then after we get dressed, and that moment we’re about to walk on. And that’s the craziest feeling we get in a place like the Paramount…. We did L.A. [last Saturday] and L.A. was something that we couldn’t even imagine. I don’t even want to think about what Oakland could be. I don’t know how to do that right now.\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/fQd24h1ZDc4'\n title='//www.youtube.com/embed/fQd24h1ZDc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I imagine there’s going to be a lot of family in the audience.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It’s going to be a lot of friends. A lot of family. A lot of people happy to see us together. And we’ll be happy to see them, too. It’s been a long time coming. The energy between us three and also the energy between the audience has been something that we couldn’t put together. Money couldn’t put it together. It’s just special. It’s like the perfect storm right now for us.\u003c/p>\n\u003cp>\u003cstrong>So was it easy to just drop back in and find the flow with each other on stage again?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It never changed.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: We’re comfortable on stage together like that… We know each other’s moves. We know each other’s vibes, we know each other’s style. You know, the history we have together. Certain licks we’ll do, certain turnarounds. Ray’ll change the show right before your eyes and say something in Tim’s ear. That’s the beauty of it. You know, it’s like we levitate together. We rise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Do you have any favorite memories of when you first started playing together? Like out in Oakland clubs?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: We’ve had our share of clubs, one being the \u003ca href=\"https://www.facebook.com/gmackeynurhyme/photos/a.474949895894297/499512880104665/\">Lucky Lion\u003c/a>. That was a place – I guess it would be like First Avenue in Minneapolis, for bands in Oakland. But playing outside in parks was the bigger thing in Oakland. We played a lot of parks. Arroyo Viejo Park, as well as Elmhurst Park on C Street and 98th — I think that was my first gig at a park. My best memories are of playing at parks, not at clubs.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: That’s great memories, too, because DeFremery Park, Sobrante Park, Arroyo Viejo Park, San Antonio Park. Maaan, every park we must have jammed at, you know?\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/e1YYqeKUp-M'\n title='//www.youtube.com/embed/e1YYqeKUp-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I read, Raphael, that when you kind of stealthily announced the tour, you wanted it to be very organic — not be leading with the business aspect, but with family. Is that right?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: Yeah… for a long time I was quoted as saying, ‘I’ll probably never do [Tony! Toni! Toné!] again.’ And I did say that, but I kind of said it knowing I can’t control that, right? But I knew I wanted to put the announcement out very beautifully. I wanted to see us look how we look. Get the right photos out, and \u003ca href=\"https://spinningplatters.com/2023/03/29/breaking-raphael-saadiq-is-touring-with-tony-toni-tone/\">throw a billboard up in the middle of East Oakland\u003c/a>, where we started. And not tell D’Wayne and not tell Tim. Not tell any management people. We felt like Oakland should know first.\u003c/p>\n\u003cfigure id=\"attachment_13937964\" class=\"wp-caption aligncenter\" style=\"max-width: 2504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg\" alt=\"Three Black men in semi-formal fashionable clothes stand in a row, looking into the camera\" width=\"2504\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg 2504w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1536x1045.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-2048x1394.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1920x1307.jpg 1920w\" sizes=\"(max-width: 2504px) 100vw, 2504px\">\u003cfigcaption class=\"wp-caption-text\">The image that Raphael Saadiq put on a billboard in Oakland to announce Tony! Toni! Toné!’s reunion tour. \u003ccite>(David 'Odiwams' Wright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know, we’ve not just played music in that city, but we’ve lost family members in that city. We ate a lot of cheeseburgers in that city. We ate a lot of donuts. We’ve had a lot of fights with people. We dodged bullets… We watched karate movies at Eastmont Mall at the Lux. We got to watch buildings go up and go down. We watched the whole city change from Black to what it is now. You know, we’ve seen a lot. We walked those streets so much. We watched our parents get old and, you know, watched our father [pass away]. So many people we said ‘good morning’ to that’s not there no more. Older people who taught us, that died a natural death, who had a good life.\u003c/p>\n\u003cp>So we have a lot ingrained in us that’s not just music. We’re not just music anymore. We’re feeling like this ancestor thing coming out. Spirit just took over. We’re just riding the wave. I really feel like that. And that’s how I’ve been feeling on the tour.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: The music is the score to our lives, you know. It helped us stay focused. We learned a lot. We still learn a lot. We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue and it took us a while to gather all of those thoughts and those passions. And when you see us on stage together, you can see we’ve been through a lot and it shines. And Oakland is our base, no matter what.\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>Tony! Toni! Toné! plays the Paramount Theatre in Oakland on Nov. 14 and 15, and The Masonic in San Francisco on Nov. 17. \u003ca href=\"https://www.ticketmaster.com/tony-toni-tone-tickets/artist/874672\">Details and ticket info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"source": "NPR"
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"how-i-built-this": {
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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