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"content": "\u003cp>Poppy has a habit of kicking off her tours in the Bay Area; she’s played at Cornerstone, the Great American Music Hall and the UC Theatre. Last night, the viral-video star turned experimental metal artist began her \u003ca href=\"https://impoppy.com/pages/tour?srsltid=AfmBOor5Gwgv3gh3iNSDJz8xAJCUhLT_kNbmZflIo6-Bg-ejyUwu0x5c\">new tour\u003c/a>, ‘They’re All Around Us,’ with a sold-out show at \u003ca href=\"https://www.kqed.org/arts/tag/the-fillmore\">The Fillmore\u003c/a> in San Francisco. \u003c/p>\n\u003cp>Attendees dressed accordingly: black lipstick, dark eyeshadow, fishnets, tights, spiked silver collars, a variety of facial piercings and hand tattoos, and plenty of Poppy T-shirts from tours past. The occasion summoned a range of ages, from undergrads to graying metalheads, lining up against the barricade at the front of the stage. \u003c/p>\n\u003cfigure id=\"attachment_13973023\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poppy’s 2025 tour comes amid a flurry of activity for the 30-year-old. The night before the San Francisco show, she performed “the cost of giving up,” from her new album Negative Spaces, on Jimmy Kimmel Live! In Los Angeles. Just a few months ago, she received \u003ca href=\"https://www.billboard.com/music/awards/grammy-nominations-2025-full-list-1235823165/\">her second Grammy nomination\u003c/a> for best metal performance for her feature on the Knocked Loose song “Suffocate.” (She may not have won that Grammy, but she went viral when \u003ca href=\"https://www.youtube.com/watch?v=oGi843XWcNA\">a reporter mistook a vocalist from Spiritbox for her on the red carpet\u003c/a>.) \u003c/p>\n\u003cp>At the show, Poppy’s set design was simple, with white risers and a screen that showed occasional black-and-white VCR clips, but her apparel was anything but. Poppy took the stage wearing a piece from Selkie’s Fall/Winter 2025 collection: a \u003ca href=\"https://selkiecollection.com/collections/nyfw-fall-2025-libertine/products/the-dark-red-drama-military-coat\">deep red, floor-length military style jacket\u003c/a> with gold embroidery. For the first half of the show, she paired the jacket with a short layered skirt, switching out of it by the end to wear the jacket on its own with a matching pair of red shoes. Her mic stand, too, sparkled with red stones, while her guitarists wore all black, including matching ski masks that sparkled as they shredded. \u003c/p>\n\u003cfigure id=\"attachment_13973021\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686.jpg\" alt=\"\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13973021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the opening bars of set opener “have you had enough?,” the crowd came alive, singing along while Poppy worked the stage, using every square inch available to get low and close to fans. I found myself screaming and thrashing right along with them when she transitioned into “BLOODMONEY,” a track from her 2020 album “I Disagree.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t long before the Fillmore floorboards beneath our feet were creaking and bending for the entirety of her song “crystallized.” The \u003ca href=\"https://www.setlist.fm/setlist/poppy/2025/the-fillmore-san-francisco-ca-635e2237.html\">ensuing setlist\u003c/a> included older songs, like “Anything Like Me,” while newer fans were able to bang their heads along to recent tracks like “push go.” \u003c/p>\n\u003cfigure id=\"attachment_13973018\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Poppy asked the crowd to split into two sides. Immediately the temperature in the venue rose as we crammed together to accommodate a mosh pit. At one point, after a sudden, sharp pain on my shoulder, I turned around to survey the chaos. Whether the sudden siege against those of us up front came from a rogue wave of moshers or a fallen crowdsurfer, I couldn’t tell. But I at least fared better than the person behind me, who was hit in the head so hard that their hair clip broke into pieces. \u003c/p>\n\u003cp>“I wanna see a really fast circle pit!” Poppy exhorted toward the end of the show. “Can you do that for me?” Everyone scrambled to comply, a freshly formed pit gaining more people as concertgoers from the back moved up to participate. “Faster…” she said, watching the mayhem. “Faster!” Another wave of heat moved through the crowd as the pit picked up speed. When she was satisfied, her band kicked off “Bite Your Teeth,” making the audience roar. The energy remained high for the next song, “Concrete,” giving crowdsurfers the perfect opportunity to rise above the rest of us and be passed forward until collapsing at the foot of the stage. \u003c/p>\n\u003cfigure id=\"attachment_13973022\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As concert goers decompressed before the encore, Poppy’s voice floated out to the crowd from backstage. “Was it real?” she asked the audience. “Or all a dream?” She paused. “I think I liked it,” she decided.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We did, too. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poppy has a habit of kicking off her tours in the Bay Area; she’s played at Cornerstone, the Great American Music Hall and the UC Theatre. Last night, the viral-video star turned experimental metal artist began her \u003ca href=\"https://impoppy.com/pages/tour?srsltid=AfmBOor5Gwgv3gh3iNSDJz8xAJCUhLT_kNbmZflIo6-Bg-ejyUwu0x5c\">new tour\u003c/a>, ‘They’re All Around Us,’ with a sold-out show at \u003ca href=\"https://www.kqed.org/arts/tag/the-fillmore\">The Fillmore\u003c/a> in San Francisco. \u003c/p>\n\u003cp>Attendees dressed accordingly: black lipstick, dark eyeshadow, fishnets, tights, spiked silver collars, a variety of facial piercings and hand tattoos, and plenty of Poppy T-shirts from tours past. The occasion summoned a range of ages, from undergrads to graying metalheads, lining up against the barricade at the front of the stage. \u003c/p>\n\u003cfigure id=\"attachment_13973023\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8780-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poppy’s 2025 tour comes amid a flurry of activity for the 30-year-old. The night before the San Francisco show, she performed “the cost of giving up,” from her new album Negative Spaces, on Jimmy Kimmel Live! In Los Angeles. Just a few months ago, she received \u003ca href=\"https://www.billboard.com/music/awards/grammy-nominations-2025-full-list-1235823165/\">her second Grammy nomination\u003c/a> for best metal performance for her feature on the Knocked Loose song “Suffocate.” (She may not have won that Grammy, but she went viral when \u003ca href=\"https://www.youtube.com/watch?v=oGi843XWcNA\">a reporter mistook a vocalist from Spiritbox for her on the red carpet\u003c/a>.) \u003c/p>\n\u003cp>At the show, Poppy’s set design was simple, with white risers and a screen that showed occasional black-and-white VCR clips, but her apparel was anything but. Poppy took the stage wearing a piece from Selkie’s Fall/Winter 2025 collection: a \u003ca href=\"https://selkiecollection.com/collections/nyfw-fall-2025-libertine/products/the-dark-red-drama-military-coat\">deep red, floor-length military style jacket\u003c/a> with gold embroidery. For the first half of the show, she paired the jacket with a short layered skirt, switching out of it by the end to wear the jacket on its own with a matching pair of red shoes. Her mic stand, too, sparkled with red stones, while her guitarists wore all black, including matching ski masks that sparkled as they shredded. \u003c/p>\n\u003cfigure id=\"attachment_13973021\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686.jpg\" alt=\"\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13973021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8686-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the opening bars of set opener “have you had enough?,” the crowd came alive, singing along while Poppy worked the stage, using every square inch available to get low and close to fans. I found myself screaming and thrashing right along with them when she transitioned into “BLOODMONEY,” a track from her 2020 album “I Disagree.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t long before the Fillmore floorboards beneath our feet were creaking and bending for the entirety of her song “crystallized.” The \u003ca href=\"https://www.setlist.fm/setlist/poppy/2025/the-fillmore-san-francisco-ca-635e2237.html\">ensuing setlist\u003c/a> included older songs, like “Anything Like Me,” while newer fans were able to bang their heads along to recent tracks like “push go.” \u003c/p>\n\u003cfigure id=\"attachment_13973018\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8945-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Poppy asked the crowd to split into two sides. Immediately the temperature in the venue rose as we crammed together to accommodate a mosh pit. At one point, after a sudden, sharp pain on my shoulder, I turned around to survey the chaos. Whether the sudden siege against those of us up front came from a rogue wave of moshers or a fallen crowdsurfer, I couldn’t tell. But I at least fared better than the person behind me, who was hit in the head so hard that their hair clip broke into pieces. \u003c/p>\n\u003cp>“I wanna see a really fast circle pit!” Poppy exhorted toward the end of the show. “Can you do that for me?” Everyone scrambled to comply, a freshly formed pit gaining more people as concertgoers from the back moved up to participate. “Faster…” she said, watching the mayhem. “Faster!” Another wave of heat moved through the crowd as the pit picked up speed. When she was satisfied, her band kicked off “Bite Your Teeth,” making the audience roar. The energy remained high for the next song, “Concrete,” giving crowdsurfers the perfect opportunity to rise above the rest of us and be passed forward until collapsing at the foot of the stage. \u003c/p>\n\u003cfigure id=\"attachment_13973022\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TAAU.LANZ-8559-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poppy performs at The Fillmore in San Francisco on March 11, 2025, for the first show of her They’re All Around Us tour. \u003ccite>(Alana Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As concert goers decompressed before the encore, Poppy’s voice floated out to the crowd from backstage. “Was it real?” she asked the audience. “Or all a dream?” She paused. “I think I liked it,” she decided.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We did, too. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Los Angeles punk band The Linda Lindas (made up of sisters Mila and Lucia de la Garza, their cousin Eloise Wong and their friend Bela Salazar) shot to fame in 2021 when their youngest member was just 10 years old. The heavy bass and righteous energy of their song “\u003ca href=\"https://youtu.be/3msSlr4PkDE\">Racist, Sexist Boy\u003c/a>” — performed, thrillingly, among library stacks — was a cathartic release of pent-up anxiety in the midst of the pandemic’s rise in anti-AAPI rhetoric and violence.\u003c/p>\n\u003cp>In the years since, they’ve proven themselves to be so much more than a viral hit. The Linda Lindas have since signed to Epitaph, toured with Green Day, appeared on movie soundtracks, played Coachella (and the Scripps National Spelling Bee) and put out two albums. \u003ci>No Obligation\u003c/i>, their latest, was released Oct. 11, 2024.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=244939209/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2592853602/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>All four members contributed to writing the album’s songs. They trade off on lead vocals, swinging from screamed anthems to sweet harmonies and catchy pop-punk. “We’re so small / but we stand tall / Right the wrongs / and sing along,” they sing on “Resolution/Revoution.”\u003c/p>\n\u003cp>Now they’re no longer the supporting act: The Linda Lindas’ first headlining tour kicks off March 20 with a \u003ca href=\"https://theuctheatre.org/events/the-linda-lindas/detail\">show at the UC Theatre\u003c/a>, followed by a night at \u003ca href=\"https://concerts.livenation.com/the-linda-lindas-san-francisco-california-03-21-2025/event/1C006151A90029A7\">the Fillmore\u003c/a> on March 21. \u003ca href=\"https://www.byopband.com/\">Be Your Own Pet\u003c/a> — a punk/garage rock band from Nashville that formed when \u003ci>its\u003c/i> members were in high school, back in 2003 — opens for them at both shows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the end of their tour with Green Day last September, The Linda Lindas played 924 Gilman to a crowd of parents introducing their children to the legendary all-ages venue, prompting KQED’s Gabe Meline \u003ca href=\"https://www.kqed.org/arts/13969081/best-live-music-bay-area-2024\">to call the show\u003c/a>, “Perhaps the most wholesome punk show I’ve ever seen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that vein, note that the \u003ca href=\"https://theuctheatre.org/events/the-linda-lindas/detail\">UC Theatre\u003c/a> is an all-ages venue (with the exception of babies in arms). \u003ca href=\"https://concerts.livenation.com/the-linda-lindas-san-francisco-california-03-21-2025/event/1C006151A90029A7\">The Fillmore\u003c/a> is ages five and over. Tickets for both shows are on sale now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Los Angeles punk band The Linda Lindas (made up of sisters Mila and Lucia de la Garza, their cousin Eloise Wong and their friend Bela Salazar) shot to fame in 2021 when their youngest member was just 10 years old. The heavy bass and righteous energy of their song “\u003ca href=\"https://youtu.be/3msSlr4PkDE\">Racist, Sexist Boy\u003c/a>” — performed, thrillingly, among library stacks — was a cathartic release of pent-up anxiety in the midst of the pandemic’s rise in anti-AAPI rhetoric and violence.\u003c/p>\n\u003cp>In the years since, they’ve proven themselves to be so much more than a viral hit. The Linda Lindas have since signed to Epitaph, toured with Green Day, appeared on movie soundtracks, played Coachella (and the Scripps National Spelling Bee) and put out two albums. \u003ci>No Obligation\u003c/i>, their latest, was released Oct. 11, 2024.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=244939209/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2592853602/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>All four members contributed to writing the album’s songs. They trade off on lead vocals, swinging from screamed anthems to sweet harmonies and catchy pop-punk. “We’re so small / but we stand tall / Right the wrongs / and sing along,” they sing on “Resolution/Revoution.”\u003c/p>\n\u003cp>Now they’re no longer the supporting act: The Linda Lindas’ first headlining tour kicks off March 20 with a \u003ca href=\"https://theuctheatre.org/events/the-linda-lindas/detail\">show at the UC Theatre\u003c/a>, followed by a night at \u003ca href=\"https://concerts.livenation.com/the-linda-lindas-san-francisco-california-03-21-2025/event/1C006151A90029A7\">the Fillmore\u003c/a> on March 21. \u003ca href=\"https://www.byopband.com/\">Be Your Own Pet\u003c/a> — a punk/garage rock band from Nashville that formed when \u003ci>its\u003c/i> members were in high school, back in 2003 — opens for them at both shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the end of their tour with Green Day last September, The Linda Lindas played 924 Gilman to a crowd of parents introducing their children to the legendary all-ages venue, prompting KQED’s Gabe Meline \u003ca href=\"https://www.kqed.org/arts/13969081/best-live-music-bay-area-2024\">to call the show\u003c/a>, “Perhaps the most wholesome punk show I’ve ever seen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that vein, note that the \u003ca href=\"https://theuctheatre.org/events/the-linda-lindas/detail\">UC Theatre\u003c/a> is an all-ages venue (with the exception of babies in arms). \u003ca href=\"https://concerts.livenation.com/the-linda-lindas-san-francisco-california-03-21-2025/event/1C006151A90029A7\">The Fillmore\u003c/a> is ages five and over. Tickets for both shows are on sale now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Live Music I Saw But Didn’t Get to Review in 2024",
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"content": "\u003cp>Maybe it was the election anxiety. I went to see live music \u003cem>compulsively\u003c/em> in 2024 — over 50 shows, and that’s on top of another 20-odd plays, art exhibits, movies and events. Yes, it’s part of my job, but it’s also my connection to others, my spiritual practice, my therapy. And while I was able to review 15 live music shows for KQED by stars of \u003ca href=\"https://www.kqed.org/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour\">rap\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13962051/review-olivia-rodrigo-san-francisco-chase-center-guts-tour\">pop\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955312/review-green-day-fillmore-photos-san-francisco\">rock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">classical\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">jazz\u003c/a>, many others went unnoted.\u003c/p>\n\u003cp>There are dozens of reasons for all of us to see live music, and to especially \u003ca href=\"https://www.kqed.org/arts/11027790/keep-listening-notes-on-turning-40-and-still-seeking-out-new-music\">seek out new music, no matter your age\u003c/a>. But in 2024, you’ll notice below, I also allowed myself the guilty pleasure of nostalgia. Here, then, are 30 shows I saw in 2024 which I didn’t review, now reviewed in just one sentence each — complete with bad photos from my phone.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796.jpeg\" alt=\"\" width=\"1920\" height=\"1472\" class=\"aligncenter size-full wp-image-13969134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-800x613.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-1020x782.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-160x123.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-768x589.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-1536x1178.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Jan. 14\u003cbr>\n\u003cstrong>David Hegarty\u003cbr>\nCastro Theatre, San Francisco\u003c/strong>\u003cbr>\nBefore the double feature of \u003cem>Blade Runner\u003c/em> and \u003cem>Robocop\u003c/em>, I made a point of writing down the beloved organist’s setlist: “Consider Yourself,” “S’Wonderful,” “This Could Be the Start of Something Big,” “A Wonderful Guy,” “Cheek to Cheek,” “That’s Entertainment” and, naturally, “San Francisco” (two weeks later, before a screening of \u003cem>2001\u003c/em>, he played “Also Sprach Zarathustra”).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM.png\" alt=\"\" width=\"1294\" height=\"1126\" class=\"aligncenter size-full wp-image-13969132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-800x696.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-1020x888.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-160x139.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-768x668.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Feb. 3\u003cbr>\n\u003cstrong>Howard Wiley\u003cbr>\nSFJAZZ, San Francisco\u003c/strong>\u003cbr>\nGod bless saxophonist Howard Wiley, who advertised a gospel music show and then opened his set with Ornette Coleman’s “The Face of the Bass.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410.jpeg\" alt=\"\" width=\"1920\" height=\"1590\" class=\"aligncenter size-full wp-image-13969143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-800x663.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-1020x845.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-768x636.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-1536x1272.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Feb. 10\u003cbr>\n\u003cstrong>MDC\u003cbr>\nThe Ivy Room, Albany \u003c/strong>\u003cbr>\nThis San Francisco punk band once \u003ca href=\"https://www.kqed.org/arts/12454758/bay-area-warehouse-scene-threatened-after-decades-of-incubating-art\">squatted inside the giant underground beer vats\u003c/a> of the former Hamm’s brewery on Bryant Street, just two and a half blocks from KQED’s current headquarters; at this haywire show, “Born to Die” still sounded tremendous, 43 years later. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM.png\" alt=\"\" width=\"1292\" height=\"1096\" class=\"aligncenter size-full wp-image-13969129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-800x679.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-1020x865.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-160x136.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-768x651.png 768w\" sizes=\"auto, (max-width: 1292px) 100vw, 1292px\">\u003c/p>\n\u003cp>Feb. 10\u003cbr>\n\u003cstrong>Deltrice\u003cbr>\nChris Club, Vallejo \u003c/strong>\u003cbr>\nI want Deltrice to sing the hook on almost every Bay Area rap song I hear.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/cellski.main_.jpg\" width=\"1286\" height=\"866\" class=\"size-full wp-image-13959762\">\u003c/p>\n\u003cp>Feb. 22\u003cbr>\n\u003cstrong>Cellski with the Top Chefs\u003cbr>\nBrick & Mortar Music Hall, San Francisco \u003c/strong>\u003cbr>\nThere is nothing like a whole city turning out to shower love on one of its own, who performed \u003ca href=\"https://www.instagram.com/p/C3rqbZIraS_/\">every single song\u003c/a> from \u003cem>Mr. Predicter\u003c/em> for its 30th anniversary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM.png\" alt=\"\" width=\"1286\" height=\"866\" class=\"aligncenter size-full wp-image-13969135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-768x517.png 768w\" sizes=\"auto, (max-width: 1286px) 100vw, 1286px\">\u003c/p>\n\u003cp>March 24\u003cbr>\n\u003cstrong>Lil Kayla\u003cbr>\nPhoenix Theatre, Petaluma\u003c/strong>\u003cbr>\nDear Lil Kayla, I apologize on behalf of Sonoma County that only 85 people came to your show, hope you give us another shot someday.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004.jpg\" alt=\"\" width=\"1920\" height=\"1320\" class=\"aligncenter size-full wp-image-13969128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-1536x1056.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>March 28 (and 31)\u003cbr>\n\u003cstrong>Bruce Springsteen and the E Street Band\u003cbr>\nChase Center, San Francisco\u003c/strong>\u003cbr>\nI am not allowed to talk about Bruce Springsteen in public, because eventually someone spins their forefinger around their ear in the universal sign for “this guy’s crazy,” but suffice it to say, he opened with “Something In the Night” (!!) and when I got home I immediately bought a solo ticket to the second show. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM.png\" alt=\"\" width=\"1290\" height=\"994\" class=\"aligncenter size-full wp-image-13969136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-800x616.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-1020x786.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-768x592.png 768w\" sizes=\"auto, (max-width: 1290px) 100vw, 1290px\">\u003c/p>\n\u003cp>April 3\u003cbr>\n\u003cstrong>Danny Brown\u003cbr>\nRegency Ballroom, San Francisco\u003c/strong>\u003cbr>\nOpener Alice Longyu Gao bent minds with “Let’s Hope Heteros Fail, Learn and Retire” and Bruiser Wolf melted hearts with “Momma Was a Dopefiend,” but it’s Detroit’s era in rap, and Danny Brown still brought the heat (speaketh the forefather: “\u003ca href=\"https://www.youtube.com/watch?v=PUv_OIFmLwg\">My hoe got tats on her face, sell me them cookies from Oakland\u003c/a>”). \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147.png\" alt=\"\" width=\"1715\" height=\"1638\" class=\"aligncenter size-full wp-image-13969137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147.png 1715w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-800x764.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-1020x974.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-768x734.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-1536x1467.png 1536w\" sizes=\"auto, (max-width: 1715px) 100vw, 1715px\">\u003c/p>\n\u003cp>May 8\u003cbr>\n\u003cstrong>454\u003cbr>\nThe Independent, San Francisco\u003c/strong>\u003cbr>\nLet us all have the energy of 10 bowls of Frosted Flakes before we bound onstage and bounce, weave, skitter and float about for 40 minutes of unfiltered joy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM.png\" alt=\"\" width=\"1526\" height=\"1384\" class=\"aligncenter size-full wp-image-13969138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM.png 1526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-800x726.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-768x697.png 768w\" sizes=\"auto, (max-width: 1526px) 100vw, 1526px\">\u003c/p>\n\u003cp>May 18\u003cbr>\n\u003cstrong>The Piner High School Band\u003cbr>\nRose Parade, Santa Rosa\u003c/strong>\u003cbr>\nIt should be considered cruel and unusual punishment to force high school music students into military marching rituals, and yet I, a former band kid, still felt a strange sort of pride to see my alma mater persisting against brutal budget cuts to public school music programs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM.png\" alt=\"\" width=\"1298\" height=\"1276\" class=\"aligncenter size-full wp-image-13969140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-800x786.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-1020x1003.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-160x157.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-768x755.png 768w\" sizes=\"auto, (max-width: 1298px) 100vw, 1298px\">\u003c/p>\n\u003cp>May 21\u003cbr>\n\u003cstrong>Too Short\u003cbr>\nLake Merritt Bandstand, Oakland\u003c/strong>\u003cbr>\nOakland Is the Most Amazing City In the World, Chapter 3,276: Too Short agreeing to this free afternoon show on the shore of the lake for thousands of people on a random Tuesday … to promote \u003cem>voter registration\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971.png\" alt=\"\" width=\"1275\" height=\"1162\" class=\"aligncenter size-full wp-image-13969141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971.png 1275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-800x729.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-1020x930.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-160x146.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-768x700.png 768w\" sizes=\"auto, (max-width: 1275px) 100vw, 1275px\">\u003c/p>\n\u003cp>May 29\u003cbr>\n\u003cstrong>Los Alegres del Barranco\u003cbr>\nJuilliard Park, Santa Rosa\u003c/strong>\u003cbr>\nThere is an attraction in \u003ca href=\"https://bohemian.com/listening-to-huey-lewis-outside-the-fence-at-the-sonoma-county-fair-isnt-all-that-bad/\">listening to concerts from outside the fence\u003c/a> — and just a few nights after watching Los Alegres del Barranco’s norteño corridos through the chain link, my daughter and I stood outside City Hall in San Francisco to hear Skrillex’s set wafting through the nighttime air.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM.png\" alt=\"\" width=\"1288\" height=\"1102\" class=\"aligncenter size-full wp-image-13969117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM.png 1288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-768x657.png 768w\" sizes=\"auto, (max-width: 1288px) 100vw, 1288px\">\u003c/p>\n\u003cp>June 9\u003cbr>\n\u003cstrong>Gary Bartz\u003cbr>\nSFJAZZ, San Francisco \u003c/strong>\u003cbr>\nTruly (and I imagine guest trumpeter Ambrose Akinmusire agrees) all of us can only hope to be one-tenth as funny and creative as Gary Bartz when we, too, are 83. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM.png\" alt=\"\" width=\"1722\" height=\"1324\" class=\"aligncenter size-full wp-image-13969118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-800x615.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-1020x784.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-768x590.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-1536x1181.png 1536w\" sizes=\"auto, (max-width: 1722px) 100vw, 1722px\">\u003c/p>\n\u003cp>June 15\u003cbr>\n\u003cstrong>Houston Person\u003cbr>\nTown Plaza, Healdsburg \u003c/strong>\u003cbr>\nI played his version of “\u003ca href=\"https://www.youtube.com/watch?v=lR3K7msLNes\">Young, Gifted and Black\u003c/a>” for a week straight afterward.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a.jpg\" alt=\"\" width=\"1920\" height=\"1394\" class=\"aligncenter size-full wp-image-13969116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-1536x1115.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>July 6\u003cbr>\n\u003cstrong>Standing on the Corner\u003cbr>\nSFJAZZ, San Francisco\u003c/strong>\u003cbr>\nAcross a 13-song set of spaced-out songs like “Angel,” “Get Out the Ghetto” and “Genocide,” Gio Escobar recited original poetry, covered Chuck Berry and showed that New York, though it historically looks down on the Bay Area, has a bit of our experimental, political bent after all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c.jpg\" alt=\"\" width=\"1920\" height=\"1522\" class=\"aligncenter size-full wp-image-13969121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-1536x1218.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Aug. 20\u003cbr>\n\u003cstrong>X\u003cbr>\nGuild Theatre, Menlo Park\u003c/strong>\u003cbr>\nI danced and danced and danced and danced and danced, and did not stop until an acoustic duet of John and Exene singing “\u003ca href=\"https://www.youtube.com/watch?v=V9zfrW0F2K8\">See How We Are\u003c/a>,” and only because it rendered my knees too weak to move. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM.png\" alt=\"\" width=\"1144\" height=\"936\" class=\"aligncenter size-full wp-image-13969119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-800x655.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-1020x835.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-160x131.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-768x628.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Sept. 1\u003cbr>\n\u003cstrong>Fifteen\u003cbr>\nArlene Francis Center, Santa Rosa\u003c/strong>\u003cbr>\nThe lines “\u003ca href=\"https://youtu.be/fv5ZFuiGiXQ?si=UqRQ4WULyM6Qv2Gy&t=165\">I was born a little too late to see the dream that they called America / See I only wanna be a free man but it’s against the law to sleep on the ground in God’s land\u003c/a>” felt more relevant than ever after the \u003ca href=\"https://www.kqed.org/news/11991340/supreme-court-says-laws-criminalizing-homeless-camping-do-not-violate-constitution\">Supreme Court’s Grants Pass decision criminalizing camping on public property\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM.png\" alt=\"\" width=\"1042\" height=\"776\" class=\"aligncenter size-full wp-image-13969123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM.png 1042w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-800x596.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-1020x760.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-768x572.png 768w\" sizes=\"auto, (max-width: 1042px) 100vw, 1042px\">\u003c/p>\n\u003cp>Sept. 3\u003cbr>\n\u003cstrong>Smoking Popes\u003cbr>\nGreat American Music Hall, San Francisco\u003c/strong>\u003cbr>\nThey dropped a minute or so of the Replacements’ “Can’t Hardly Wait” into the middle of “Gotta Know Right Now,” and I died right then and there.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM.png\" alt=\"\" width=\"1144\" height=\"1002\" class=\"aligncenter size-full wp-image-13969125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-800x701.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-1020x893.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-160x140.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-768x673.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Sept. 5\u003cbr>\n\u003cstrong>Future and Metro Boomin\u003cbr>\nOakland Arena, Oakland\u003c/strong>\u003cbr>\nWhile Future isn’t a rap dinosaur by any means, when the transcendence of “March Madness” filled the arena, I had a sobering realization that the song is now nearly 10 years old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM.png\" alt=\"\" width=\"1140\" height=\"784\" class=\"aligncenter size-full wp-image-13969126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM.png 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-800x550.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-768x528.png 768w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\">\u003c/p>\n\u003cp>Sept. 16\u003cbr>\n\u003cstrong>Pulp\u003cbr>\nBill Graham Civic Auditorium, San Francisco\u003c/strong>\u003cbr>\nIt was a Monday night, tickets on Stubhub were literally $9, and Jarvis Cocker talked about Richard Brautigan living on Geary Street before soaring through “This Is Hardcore,” a perfect song.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c.jpg\" alt=\"\" width=\"1920\" height=\"1582\" class=\"aligncenter size-full wp-image-13969114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-800x659.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-1020x840.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Sept. 21\u003cbr>\n\u003cstrong>The Linda Lindas\u003cbr>\n924 Gilman, Berkeley\u003c/strong>\u003cbr>\nPerhaps the most wholesome punk show I’ve ever seen; I lost count of how many parents I ran into in the packed crowd, bringing their children to Gilman for the first time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM.png\" alt=\"\" width=\"1146\" height=\"828\" class=\"aligncenter size-full wp-image-13969112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM.png 1146w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-800x578.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-1020x737.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-768x555.png 768w\" sizes=\"auto, (max-width: 1146px) 100vw, 1146px\">\u003c/p>\n\u003cp>Sept. 23\u003cbr>\n\u003cstrong>Nicki Minaj\u003cbr>\nChase Center, San Francisco\u003c/strong>\u003cbr>\nI WISH I COULD QUIT YOU NICKI 🤷♂️\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM.png\" alt=\"\" width=\"1138\" height=\"770\" class=\"aligncenter size-full wp-image-13969113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM.png 1138w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-768x520.png 768w\" sizes=\"auto, (max-width: 1138px) 100vw, 1138px\">\u003c/p>\n\u003cp>Sept. 28\u003cbr>\n\u003cstrong>Built to Spill\u003cbr>\nThe Fillmore, San Francisco\u003c/strong>\u003cbr>\nThe new rhythm section shreds, the transition from “Twin Falls” into “Some” is better than hospital painkillers, and Doug Martsch’s beard has grown capable of knocking over tall buildings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM.png\" alt=\"\" width=\"1144\" height=\"846\" class=\"aligncenter size-full wp-image-13969115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-800x592.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-1020x754.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-768x568.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Oct. 6\u003cbr>\n\u003cstrong>Billy Ocean\u003cbr>\nGraton Casino, Rohnert Park\u003c/strong>\u003cbr>\nA very long-overdue show in the Bay Area; Billy Ocean basically has six hits, but they are really, really good hits, and he still has \u003cem>that voice\u003c/em> — let’s hope we don’t have to wait another 20 years for him to return. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM.png\" alt=\"\" width=\"1134\" height=\"810\" class=\"aligncenter size-full wp-image-13969120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-800x571.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-1020x729.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-768x549.png 768w\" sizes=\"auto, (max-width: 1134px) 100vw, 1134px\">\u003c/p>\n\u003cp>Oct. 10\u003cbr>\n\u003cstrong>Bladee\u003cbr>\nThe Warfield, San Francisco\u003c/strong>\u003cbr>\nTwo years ago, with ecco2k, Bladee delivered a beautiful, joyful show at Complex in Oakland, and maybe fame really does curdle people, or else Bladee was simply leaning hard into the concept of \u003cem>Cold Visions\u003c/em>, because this time around, bleakness reigned.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM.png\" alt=\"\" width=\"1140\" height=\"1006\" class=\"aligncenter size-full wp-image-13969122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM.png 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-800x706.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-1020x900.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-768x678.png 768w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\">\u003c/p>\n\u003cp>Oct. 19\u003cbr>\n\u003cstrong>History of the Bay\u003cbr>\nThe Midway, San Francisco\u003c/strong>\u003cbr>\nThe Bay Area has an eternally deep well of unsung rap heroes, which means that as monumental as it is to get B-Legit, Kamaiyah, Souls of Mischief, Rick Rock and Mob Figaz on stage together, it still feels like a mere sliver of talent; shout out to Dregs One for playing the long game and building the history piece by piece. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM.png\" alt=\"\" width=\"1144\" height=\"972\" class=\"aligncenter size-full wp-image-13969124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-800x680.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-1020x867.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-160x136.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-768x653.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Oct. 19\u003cbr>\n\u003cstrong>D.R.I.\u003cbr>\nNeck of the Woods, San Francisco\u003c/strong>\u003cbr>\nTwo people got thrown out, girls crowdsurfed over the pit, someone fell asleep on the stage, and afterward, talking to singer Kurt Brecht with swirling thoughts of 500 things to say, all I could muster was “Thank you for the great art you have given the world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM.png\" alt=\"\" width=\"1142\" height=\"950\" class=\"aligncenter size-full wp-image-13969130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM.png 1142w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-800x665.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-1020x849.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-768x639.png 768w\" sizes=\"auto, (max-width: 1142px) 100vw, 1142px\">\u003c/p>\n\u003cp>Oct. 27\u003cbr>\n\u003cstrong>Phoenix Halloween Show\u003cbr>\nPhoenix Theatre, Petaluma\u003c/strong>\u003cbr>\nA classic Halloween-covers night, except this year at the Phoenix, Miss Minor’s insanely elaborate Britney Spears tribute — period-correct in wardrobe, set and choreography — capped the night, along with a giant balloon drop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM.png\" alt=\"\" width=\"1142\" height=\"1016\" class=\"aligncenter size-full wp-image-13969133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM.png 1142w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-800x712.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-1020x907.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-160x142.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-768x683.png 768w\" sizes=\"auto, (max-width: 1142px) 100vw, 1142px\">\u003c/p>\n\u003cp>Nov. 2\u003cbr>\n\u003cstrong>Kirk Franklin’s Reunion Tour\u003cbr>\nOakland Arena, Oakland\u003c/strong>\u003cbr>\nI went for the Clark Sisters, but the surprise of the night was Yolanda Adams, who, at 63, sent shivers down the spine; meanwhile, Kirk Franklin only had to play two piano notes before a spontaneous mass acapella sing-along of “Silver & Gold” broke out around the arena.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720.jpg\" alt=\"\" width=\"1920\" height=\"1996\" class=\"aligncenter size-full wp-image-13969144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-800x832.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-1020x1060.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-768x798.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-1478x1536.jpg 1478w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nov. 30\u003cbr>\n\u003cstrong>Victims Family\u003cbr>\nThe Big Easy, Petaluma\u003c/strong>\u003cbr>\nAfter Victims Family’s epic 40-song set to celebrate their 40th anniversary, I genuinely worried that I had permanent hearing loss, but you know, I wouldn’t have complained if this life-affirming show had been the last music I ever heard.\u003c/p>\n\n",
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"excerpt": "One can only review so many concerts. Here's a roundup of 30 stellar shows that didn't make the cut this year.",
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"title": "The Best Live Music I Saw But Didn’t Get to Review in 2024 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe it was the election anxiety. I went to see live music \u003cem>compulsively\u003c/em> in 2024 — over 50 shows, and that’s on top of another 20-odd plays, art exhibits, movies and events. Yes, it’s part of my job, but it’s also my connection to others, my spiritual practice, my therapy. And while I was able to review 15 live music shows for KQED by stars of \u003ca href=\"https://www.kqed.org/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour\">rap\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13962051/review-olivia-rodrigo-san-francisco-chase-center-guts-tour\">pop\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955312/review-green-day-fillmore-photos-san-francisco\">rock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">classical\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">jazz\u003c/a>, many others went unnoted.\u003c/p>\n\u003cp>There are dozens of reasons for all of us to see live music, and to especially \u003ca href=\"https://www.kqed.org/arts/11027790/keep-listening-notes-on-turning-40-and-still-seeking-out-new-music\">seek out new music, no matter your age\u003c/a>. But in 2024, you’ll notice below, I also allowed myself the guilty pleasure of nostalgia. Here, then, are 30 shows I saw in 2024 which I didn’t review, now reviewed in just one sentence each — complete with bad photos from my phone.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796.jpeg\" alt=\"\" width=\"1920\" height=\"1472\" class=\"aligncenter size-full wp-image-13969134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-800x613.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-1020x782.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-160x123.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-768x589.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-1536x1178.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Jan. 14\u003cbr>\n\u003cstrong>David Hegarty\u003cbr>\nCastro Theatre, San Francisco\u003c/strong>\u003cbr>\nBefore the double feature of \u003cem>Blade Runner\u003c/em> and \u003cem>Robocop\u003c/em>, I made a point of writing down the beloved organist’s setlist: “Consider Yourself,” “S’Wonderful,” “This Could Be the Start of Something Big,” “A Wonderful Guy,” “Cheek to Cheek,” “That’s Entertainment” and, naturally, “San Francisco” (two weeks later, before a screening of \u003cem>2001\u003c/em>, he played “Also Sprach Zarathustra”).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM.png\" alt=\"\" width=\"1294\" height=\"1126\" class=\"aligncenter size-full wp-image-13969132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-800x696.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-1020x888.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-160x139.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-768x668.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Feb. 3\u003cbr>\n\u003cstrong>Howard Wiley\u003cbr>\nSFJAZZ, San Francisco\u003c/strong>\u003cbr>\nGod bless saxophonist Howard Wiley, who advertised a gospel music show and then opened his set with Ornette Coleman’s “The Face of the Bass.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410.jpeg\" alt=\"\" width=\"1920\" height=\"1590\" class=\"aligncenter size-full wp-image-13969143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-800x663.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-1020x845.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-768x636.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-1536x1272.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Feb. 10\u003cbr>\n\u003cstrong>MDC\u003cbr>\nThe Ivy Room, Albany \u003c/strong>\u003cbr>\nThis San Francisco punk band once \u003ca href=\"https://www.kqed.org/arts/12454758/bay-area-warehouse-scene-threatened-after-decades-of-incubating-art\">squatted inside the giant underground beer vats\u003c/a> of the former Hamm’s brewery on Bryant Street, just two and a half blocks from KQED’s current headquarters; at this haywire show, “Born to Die” still sounded tremendous, 43 years later. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM.png\" alt=\"\" width=\"1292\" height=\"1096\" class=\"aligncenter size-full wp-image-13969129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-800x679.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-1020x865.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-160x136.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-768x651.png 768w\" sizes=\"auto, (max-width: 1292px) 100vw, 1292px\">\u003c/p>\n\u003cp>Feb. 10\u003cbr>\n\u003cstrong>Deltrice\u003cbr>\nChris Club, Vallejo \u003c/strong>\u003cbr>\nI want Deltrice to sing the hook on almost every Bay Area rap song I hear.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/cellski.main_.jpg\" width=\"1286\" height=\"866\" class=\"size-full wp-image-13959762\">\u003c/p>\n\u003cp>Feb. 22\u003cbr>\n\u003cstrong>Cellski with the Top Chefs\u003cbr>\nBrick & Mortar Music Hall, San Francisco \u003c/strong>\u003cbr>\nThere is nothing like a whole city turning out to shower love on one of its own, who performed \u003ca href=\"https://www.instagram.com/p/C3rqbZIraS_/\">every single song\u003c/a> from \u003cem>Mr. Predicter\u003c/em> for its 30th anniversary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM.png\" alt=\"\" width=\"1286\" height=\"866\" class=\"aligncenter size-full wp-image-13969135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-768x517.png 768w\" sizes=\"auto, (max-width: 1286px) 100vw, 1286px\">\u003c/p>\n\u003cp>March 24\u003cbr>\n\u003cstrong>Lil Kayla\u003cbr>\nPhoenix Theatre, Petaluma\u003c/strong>\u003cbr>\nDear Lil Kayla, I apologize on behalf of Sonoma County that only 85 people came to your show, hope you give us another shot someday.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004.jpg\" alt=\"\" width=\"1920\" height=\"1320\" class=\"aligncenter size-full wp-image-13969128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-1536x1056.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>March 28 (and 31)\u003cbr>\n\u003cstrong>Bruce Springsteen and the E Street Band\u003cbr>\nChase Center, San Francisco\u003c/strong>\u003cbr>\nI am not allowed to talk about Bruce Springsteen in public, because eventually someone spins their forefinger around their ear in the universal sign for “this guy’s crazy,” but suffice it to say, he opened with “Something In the Night” (!!) and when I got home I immediately bought a solo ticket to the second show. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM.png\" alt=\"\" width=\"1290\" height=\"994\" class=\"aligncenter size-full wp-image-13969136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-800x616.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-1020x786.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-768x592.png 768w\" sizes=\"auto, (max-width: 1290px) 100vw, 1290px\">\u003c/p>\n\u003cp>April 3\u003cbr>\n\u003cstrong>Danny Brown\u003cbr>\nRegency Ballroom, San Francisco\u003c/strong>\u003cbr>\nOpener Alice Longyu Gao bent minds with “Let’s Hope Heteros Fail, Learn and Retire” and Bruiser Wolf melted hearts with “Momma Was a Dopefiend,” but it’s Detroit’s era in rap, and Danny Brown still brought the heat (speaketh the forefather: “\u003ca href=\"https://www.youtube.com/watch?v=PUv_OIFmLwg\">My hoe got tats on her face, sell me them cookies from Oakland\u003c/a>”). \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147.png\" alt=\"\" width=\"1715\" height=\"1638\" class=\"aligncenter size-full wp-image-13969137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147.png 1715w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-800x764.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-1020x974.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-768x734.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-1536x1467.png 1536w\" sizes=\"auto, (max-width: 1715px) 100vw, 1715px\">\u003c/p>\n\u003cp>May 8\u003cbr>\n\u003cstrong>454\u003cbr>\nThe Independent, San Francisco\u003c/strong>\u003cbr>\nLet us all have the energy of 10 bowls of Frosted Flakes before we bound onstage and bounce, weave, skitter and float about for 40 minutes of unfiltered joy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM.png\" alt=\"\" width=\"1526\" height=\"1384\" class=\"aligncenter size-full wp-image-13969138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM.png 1526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-800x726.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-768x697.png 768w\" sizes=\"auto, (max-width: 1526px) 100vw, 1526px\">\u003c/p>\n\u003cp>May 18\u003cbr>\n\u003cstrong>The Piner High School Band\u003cbr>\nRose Parade, Santa Rosa\u003c/strong>\u003cbr>\nIt should be considered cruel and unusual punishment to force high school music students into military marching rituals, and yet I, a former band kid, still felt a strange sort of pride to see my alma mater persisting against brutal budget cuts to public school music programs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM.png\" alt=\"\" width=\"1298\" height=\"1276\" class=\"aligncenter size-full wp-image-13969140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-800x786.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-1020x1003.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-160x157.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-768x755.png 768w\" sizes=\"auto, (max-width: 1298px) 100vw, 1298px\">\u003c/p>\n\u003cp>May 21\u003cbr>\n\u003cstrong>Too Short\u003cbr>\nLake Merritt Bandstand, Oakland\u003c/strong>\u003cbr>\nOakland Is the Most Amazing City In the World, Chapter 3,276: Too Short agreeing to this free afternoon show on the shore of the lake for thousands of people on a random Tuesday … to promote \u003cem>voter registration\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971.png\" alt=\"\" width=\"1275\" height=\"1162\" class=\"aligncenter size-full wp-image-13969141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971.png 1275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-800x729.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-1020x930.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-160x146.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-768x700.png 768w\" sizes=\"auto, (max-width: 1275px) 100vw, 1275px\">\u003c/p>\n\u003cp>May 29\u003cbr>\n\u003cstrong>Los Alegres del Barranco\u003cbr>\nJuilliard Park, Santa Rosa\u003c/strong>\u003cbr>\nThere is an attraction in \u003ca href=\"https://bohemian.com/listening-to-huey-lewis-outside-the-fence-at-the-sonoma-county-fair-isnt-all-that-bad/\">listening to concerts from outside the fence\u003c/a> — and just a few nights after watching Los Alegres del Barranco’s norteño corridos through the chain link, my daughter and I stood outside City Hall in San Francisco to hear Skrillex’s set wafting through the nighttime air.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM.png\" alt=\"\" width=\"1288\" height=\"1102\" class=\"aligncenter size-full wp-image-13969117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM.png 1288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-768x657.png 768w\" sizes=\"auto, (max-width: 1288px) 100vw, 1288px\">\u003c/p>\n\u003cp>June 9\u003cbr>\n\u003cstrong>Gary Bartz\u003cbr>\nSFJAZZ, San Francisco \u003c/strong>\u003cbr>\nTruly (and I imagine guest trumpeter Ambrose Akinmusire agrees) all of us can only hope to be one-tenth as funny and creative as Gary Bartz when we, too, are 83. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM.png\" alt=\"\" width=\"1722\" height=\"1324\" class=\"aligncenter size-full wp-image-13969118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-800x615.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-1020x784.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-768x590.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-1536x1181.png 1536w\" sizes=\"auto, (max-width: 1722px) 100vw, 1722px\">\u003c/p>\n\u003cp>June 15\u003cbr>\n\u003cstrong>Houston Person\u003cbr>\nTown Plaza, Healdsburg \u003c/strong>\u003cbr>\nI played his version of “\u003ca href=\"https://www.youtube.com/watch?v=lR3K7msLNes\">Young, Gifted and Black\u003c/a>” for a week straight afterward.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a.jpg\" alt=\"\" width=\"1920\" height=\"1394\" class=\"aligncenter size-full wp-image-13969116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-1536x1115.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>July 6\u003cbr>\n\u003cstrong>Standing on the Corner\u003cbr>\nSFJAZZ, San Francisco\u003c/strong>\u003cbr>\nAcross a 13-song set of spaced-out songs like “Angel,” “Get Out the Ghetto” and “Genocide,” Gio Escobar recited original poetry, covered Chuck Berry and showed that New York, though it historically looks down on the Bay Area, has a bit of our experimental, political bent after all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c.jpg\" alt=\"\" width=\"1920\" height=\"1522\" class=\"aligncenter size-full wp-image-13969121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-1536x1218.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Aug. 20\u003cbr>\n\u003cstrong>X\u003cbr>\nGuild Theatre, Menlo Park\u003c/strong>\u003cbr>\nI danced and danced and danced and danced and danced, and did not stop until an acoustic duet of John and Exene singing “\u003ca href=\"https://www.youtube.com/watch?v=V9zfrW0F2K8\">See How We Are\u003c/a>,” and only because it rendered my knees too weak to move. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM.png\" alt=\"\" width=\"1144\" height=\"936\" class=\"aligncenter size-full wp-image-13969119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-800x655.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-1020x835.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-160x131.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-768x628.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Sept. 1\u003cbr>\n\u003cstrong>Fifteen\u003cbr>\nArlene Francis Center, Santa Rosa\u003c/strong>\u003cbr>\nThe lines “\u003ca href=\"https://youtu.be/fv5ZFuiGiXQ?si=UqRQ4WULyM6Qv2Gy&t=165\">I was born a little too late to see the dream that they called America / See I only wanna be a free man but it’s against the law to sleep on the ground in God’s land\u003c/a>” felt more relevant than ever after the \u003ca href=\"https://www.kqed.org/news/11991340/supreme-court-says-laws-criminalizing-homeless-camping-do-not-violate-constitution\">Supreme Court’s Grants Pass decision criminalizing camping on public property\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM.png\" alt=\"\" width=\"1042\" height=\"776\" class=\"aligncenter size-full wp-image-13969123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM.png 1042w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-800x596.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-1020x760.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-768x572.png 768w\" sizes=\"auto, (max-width: 1042px) 100vw, 1042px\">\u003c/p>\n\u003cp>Sept. 3\u003cbr>\n\u003cstrong>Smoking Popes\u003cbr>\nGreat American Music Hall, San Francisco\u003c/strong>\u003cbr>\nThey dropped a minute or so of the Replacements’ “Can’t Hardly Wait” into the middle of “Gotta Know Right Now,” and I died right then and there.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM.png\" alt=\"\" width=\"1144\" height=\"1002\" class=\"aligncenter size-full wp-image-13969125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-800x701.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-1020x893.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-160x140.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-768x673.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Sept. 5\u003cbr>\n\u003cstrong>Future and Metro Boomin\u003cbr>\nOakland Arena, Oakland\u003c/strong>\u003cbr>\nWhile Future isn’t a rap dinosaur by any means, when the transcendence of “March Madness” filled the arena, I had a sobering realization that the song is now nearly 10 years old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM.png\" alt=\"\" width=\"1140\" height=\"784\" class=\"aligncenter size-full wp-image-13969126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM.png 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-800x550.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-768x528.png 768w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\">\u003c/p>\n\u003cp>Sept. 16\u003cbr>\n\u003cstrong>Pulp\u003cbr>\nBill Graham Civic Auditorium, San Francisco\u003c/strong>\u003cbr>\nIt was a Monday night, tickets on Stubhub were literally $9, and Jarvis Cocker talked about Richard Brautigan living on Geary Street before soaring through “This Is Hardcore,” a perfect song.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c.jpg\" alt=\"\" width=\"1920\" height=\"1582\" class=\"aligncenter size-full wp-image-13969114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-800x659.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-1020x840.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Sept. 21\u003cbr>\n\u003cstrong>The Linda Lindas\u003cbr>\n924 Gilman, Berkeley\u003c/strong>\u003cbr>\nPerhaps the most wholesome punk show I’ve ever seen; I lost count of how many parents I ran into in the packed crowd, bringing their children to Gilman for the first time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM.png\" alt=\"\" width=\"1146\" height=\"828\" class=\"aligncenter size-full wp-image-13969112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM.png 1146w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-800x578.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-1020x737.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-768x555.png 768w\" sizes=\"auto, (max-width: 1146px) 100vw, 1146px\">\u003c/p>\n\u003cp>Sept. 23\u003cbr>\n\u003cstrong>Nicki Minaj\u003cbr>\nChase Center, San Francisco\u003c/strong>\u003cbr>\nI WISH I COULD QUIT YOU NICKI 🤷♂️\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM.png\" alt=\"\" width=\"1138\" height=\"770\" class=\"aligncenter size-full wp-image-13969113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM.png 1138w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-768x520.png 768w\" sizes=\"auto, (max-width: 1138px) 100vw, 1138px\">\u003c/p>\n\u003cp>Sept. 28\u003cbr>\n\u003cstrong>Built to Spill\u003cbr>\nThe Fillmore, San Francisco\u003c/strong>\u003cbr>\nThe new rhythm section shreds, the transition from “Twin Falls” into “Some” is better than hospital painkillers, and Doug Martsch’s beard has grown capable of knocking over tall buildings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM.png\" alt=\"\" width=\"1144\" height=\"846\" class=\"aligncenter size-full wp-image-13969115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-800x592.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-1020x754.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-768x568.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Oct. 6\u003cbr>\n\u003cstrong>Billy Ocean\u003cbr>\nGraton Casino, Rohnert Park\u003c/strong>\u003cbr>\nA very long-overdue show in the Bay Area; Billy Ocean basically has six hits, but they are really, really good hits, and he still has \u003cem>that voice\u003c/em> — let’s hope we don’t have to wait another 20 years for him to return. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM.png\" alt=\"\" width=\"1134\" height=\"810\" class=\"aligncenter size-full wp-image-13969120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-800x571.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-1020x729.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-768x549.png 768w\" sizes=\"auto, (max-width: 1134px) 100vw, 1134px\">\u003c/p>\n\u003cp>Oct. 10\u003cbr>\n\u003cstrong>Bladee\u003cbr>\nThe Warfield, San Francisco\u003c/strong>\u003cbr>\nTwo years ago, with ecco2k, Bladee delivered a beautiful, joyful show at Complex in Oakland, and maybe fame really does curdle people, or else Bladee was simply leaning hard into the concept of \u003cem>Cold Visions\u003c/em>, because this time around, bleakness reigned.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM.png\" alt=\"\" width=\"1140\" height=\"1006\" class=\"aligncenter size-full wp-image-13969122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM.png 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-800x706.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-1020x900.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-768x678.png 768w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\">\u003c/p>\n\u003cp>Oct. 19\u003cbr>\n\u003cstrong>History of the Bay\u003cbr>\nThe Midway, San Francisco\u003c/strong>\u003cbr>\nThe Bay Area has an eternally deep well of unsung rap heroes, which means that as monumental as it is to get B-Legit, Kamaiyah, Souls of Mischief, Rick Rock and Mob Figaz on stage together, it still feels like a mere sliver of talent; shout out to Dregs One for playing the long game and building the history piece by piece. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM.png\" alt=\"\" width=\"1144\" height=\"972\" class=\"aligncenter size-full wp-image-13969124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-800x680.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-1020x867.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-160x136.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-768x653.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Oct. 19\u003cbr>\n\u003cstrong>D.R.I.\u003cbr>\nNeck of the Woods, San Francisco\u003c/strong>\u003cbr>\nTwo people got thrown out, girls crowdsurfed over the pit, someone fell asleep on the stage, and afterward, talking to singer Kurt Brecht with swirling thoughts of 500 things to say, all I could muster was “Thank you for the great art you have given the world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM.png\" alt=\"\" width=\"1142\" height=\"950\" class=\"aligncenter size-full wp-image-13969130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM.png 1142w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-800x665.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-1020x849.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-768x639.png 768w\" sizes=\"auto, (max-width: 1142px) 100vw, 1142px\">\u003c/p>\n\u003cp>Oct. 27\u003cbr>\n\u003cstrong>Phoenix Halloween Show\u003cbr>\nPhoenix Theatre, Petaluma\u003c/strong>\u003cbr>\nA classic Halloween-covers night, except this year at the Phoenix, Miss Minor’s insanely elaborate Britney Spears tribute — period-correct in wardrobe, set and choreography — capped the night, along with a giant balloon drop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM.png\" alt=\"\" width=\"1142\" height=\"1016\" class=\"aligncenter size-full wp-image-13969133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM.png 1142w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-800x712.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-1020x907.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-160x142.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-768x683.png 768w\" sizes=\"auto, (max-width: 1142px) 100vw, 1142px\">\u003c/p>\n\u003cp>Nov. 2\u003cbr>\n\u003cstrong>Kirk Franklin’s Reunion Tour\u003cbr>\nOakland Arena, Oakland\u003c/strong>\u003cbr>\nI went for the Clark Sisters, but the surprise of the night was Yolanda Adams, who, at 63, sent shivers down the spine; meanwhile, Kirk Franklin only had to play two piano notes before a spontaneous mass acapella sing-along of “Silver & Gold” broke out around the arena.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720.jpg\" alt=\"\" width=\"1920\" height=\"1996\" class=\"aligncenter size-full wp-image-13969144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-800x832.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-1020x1060.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-768x798.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-1478x1536.jpg 1478w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nov. 30\u003cbr>\n\u003cstrong>Victims Family\u003cbr>\nThe Big Easy, Petaluma\u003c/strong>\u003cbr>\nAfter Victims Family’s epic 40-song set to celebrate their 40th anniversary, I genuinely worried that I had permanent hearing loss, but you know, I wouldn’t have complained if this life-affirming show had been the last music I ever heard.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The U.S. Justice Department filed a sweeping antitrust lawsuit against Ticketmaster and parent company Live Nation Entertainment on Thursday, accusing them of running an illegal monopoly over live events in America — squelching competition and driving up prices for fans.\u003c/p>\n\u003cp>The lawsuit, filed in federal court in Manhattan, was brought with 30 state and district attorneys general, and seeks to break up the monopoly they say is squeezing out smaller promoters, hurting artists and drowning fans with endless fees.\u003c/p>\n\u003cp>“It’s time for fans and artists to stop paying the price for Live Nation’s monopoly,” Attorney General Merrick Garland said Thursday. “It is time to restore competition and innovation in the entertainment industry. It is time to break up Live Nation, Ticketmaster. The American people are ready for it.”\u003c/p>\n\u003cp>[aside postID='forum_2010101892062']The Justice Department accused Live Nation of a slew of tactics — including threats and retaliation — that Garland said has allowed the entertainment giant to “suffocate the competition” by keeping a stronghold on virtually every aspect of the industry, from concert promotion to ticketing. The impact on consumers is seen in an “endless list of fees on fans,” the attorney general said.\u003c/p>\n\u003cp>“Live music should not be available only to those who can afford to pay the Ticketmaster tax,” said Assistant Attorney General Jonathan Kanter of the Justice Department’s Antitrust Division. “We are here today to fight for competition so that we can reopen the doors to the live music industry for all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Live Nation has for years denied that it is violating antitrust laws and said Thursday that the lawsuit “won’t solve the issues fans care about relating to ticket prices, service fees, and access to in-demand shows.”\u003c/p>\n\u003cfigure id=\"attachment_11718499\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg\" alt=\"A large concert venue with people sitting on the lawn.\" width=\"1200\" height=\"849\" class=\"size-full wp-image-11718499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-960x679.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Shoreline Amphitheater in Mountain View is one of hundreds of concert venues operated by Live Nation, which merged with Ticketmaster in 2010.\u003c/figcaption>\u003c/figure>\n\u003cp>“Calling Ticketmaster a monopoly may be a PR win for the DOJ in the short term, but it will lose in court because it ignores the basic economics of live entertainment,” Live Nation added, stating that most service fees go to venues and that outside competition has “steadily eroded” Ticketmaster’s market share. The company said it would defend itself “against these baseless allegations” and push for other reforms.\u003c/p>\n\u003cp>Around 70% of tickets for major concert venues in the U.S. are sold through Ticketmaster, according to data in a federal lawsuit filed by consumers in 2022.\u003c/p>\n\u003cp>Live Nation owns or controls more than 265 of North America’s concert venues and dozens of top amphitheaters, according to the Justice Department. In the Bay Area, those include The Fillmore, the Shoreline Amphitheater, the Masonic, August Hall, the Toyota Pavilion at Concord, and the comedy clubs Cobb’s and the Punch Line. \u003c/p>\n\u003cp>Live Nation also contracts regularly with most commercial concert venues in the Bay Area. Those include large venues like Oracle Park, the Chase Center, the SAP Center and the Oakland Arena; theaters like the Paramount Theatre and the Rio Theater; and an increasing number of smaller clubs like the Chapel and Cafe du Nord.\u003c/p>\n\u003cp>[aside postID='arts_13926475']The Justice Department said Live Nation’s anti-competitive practices include using long-term contracts to keep venues from choosing rival ticketers, blocking venues from using multiple ticket sellers and threatening venues that they could lose money and fans if they don’t choose Ticketmaster. The Justice Department says Live Nation also threatened to retaliate against one firm if it didn’t stop a subsidiary from competing for artist promotion contracts.\u003c/p>\n\u003cp>The lawsuit is the latest example of the Biden administration’s aggressive antitrust enforcement approach targeting companies accused of engaging in illegal monopolies that box out competitors and drive up prices. In March, the Justice Department filed a lawsuit against Apple alleging that the tech giant has monopoly power in the smartphone market. The Democratic administration has also taken on Google, Amazon and other tech giants.\u003c/p>\n\u003cp>Ticketmaster, which merged with Live Nation in 2010, is the world’s largest ticket seller. During its annual report last month, the company said that Ticketmaster distributed more than 620 million tickets through its systems in 2023.\u003c/p>\n\u003cp>[aside postID='arts_13923059']Ticketmaster sparked outrage in November 2022 when its site crashed during a presale event for a Taylor Swift stadium tour. The company said its site was overwhelmed by both fans and attacks from bots, which were posing as consumers to scoop up tickets and sell them on secondary sites. The debacle prompted congressional hearings and bills in state legislatures aimed at better protecting consumers.\u003c/p>\n\u003cp>The Justice Department allowed Live Nation and Ticketmaster to merge as long as Live Nation agreed not to retaliate against concert venues for using other ticket companies for 10 years. In 2019, the department investigated and found that Live Nation had “repeatedly” violated that agreement and extended the prohibition on retaliating against concert venues to 2025.\u003c/p>\n\u003cp>Ticketmaster has clashed repeatedly with artists and fans over the years. Pearl Jam took aim at the company in 1994, although the Justice Department ultimately declined to bring a case. More recently, Bruce Springsteen fans were enraged over high ticket costs because of the platform’s dynamic pricing system.\u003c/p>\n\u003cp>Ticketmaster has also had disputes with its industry competitors. In 2015 StubHub sued Ticketmaster and the Golden State Warriors, alleging it unfairly required fans looking to resell tickets to use Ticketmaster’s resale exchange. StubHub alleged in the lawsuit that the organizations prevented fans from deciding how they want to resell tickets and artificially drove up ticket prices.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Grantham-Philips reported from New York. AP Reporters Michelle Chapman and Maria Sherman also contributed from New York. KQED editor Gabe Meline provided additional reporting. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Justice Department accused Live Nation of a slew of tactics — including threats and retaliation — that Garland said has allowed the entertainment giant to “suffocate the competition” by keeping a stronghold on virtually every aspect of the industry, from concert promotion to ticketing. The impact on consumers is seen in an “endless list of fees on fans,” the attorney general said.\u003c/p>\n\u003cp>“Live music should not be available only to those who can afford to pay the Ticketmaster tax,” said Assistant Attorney General Jonathan Kanter of the Justice Department’s Antitrust Division. “We are here today to fight for competition so that we can reopen the doors to the live music industry for all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Live Nation has for years denied that it is violating antitrust laws and said Thursday that the lawsuit “won’t solve the issues fans care about relating to ticket prices, service fees, and access to in-demand shows.”\u003c/p>\n\u003cfigure id=\"attachment_11718499\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg\" alt=\"A large concert venue with people sitting on the lawn.\" width=\"1200\" height=\"849\" class=\"size-full wp-image-11718499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-960x679.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Shoreline Amphitheater in Mountain View is one of hundreds of concert venues operated by Live Nation, which merged with Ticketmaster in 2010.\u003c/figcaption>\u003c/figure>\n\u003cp>“Calling Ticketmaster a monopoly may be a PR win for the DOJ in the short term, but it will lose in court because it ignores the basic economics of live entertainment,” Live Nation added, stating that most service fees go to venues and that outside competition has “steadily eroded” Ticketmaster’s market share. The company said it would defend itself “against these baseless allegations” and push for other reforms.\u003c/p>\n\u003cp>Around 70% of tickets for major concert venues in the U.S. are sold through Ticketmaster, according to data in a federal lawsuit filed by consumers in 2022.\u003c/p>\n\u003cp>Live Nation owns or controls more than 265 of North America’s concert venues and dozens of top amphitheaters, according to the Justice Department. In the Bay Area, those include The Fillmore, the Shoreline Amphitheater, the Masonic, August Hall, the Toyota Pavilion at Concord, and the comedy clubs Cobb’s and the Punch Line. \u003c/p>\n\u003cp>Live Nation also contracts regularly with most commercial concert venues in the Bay Area. Those include large venues like Oracle Park, the Chase Center, the SAP Center and the Oakland Arena; theaters like the Paramount Theatre and the Rio Theater; and an increasing number of smaller clubs like the Chapel and Cafe du Nord.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Justice Department said Live Nation’s anti-competitive practices include using long-term contracts to keep venues from choosing rival ticketers, blocking venues from using multiple ticket sellers and threatening venues that they could lose money and fans if they don’t choose Ticketmaster. The Justice Department says Live Nation also threatened to retaliate against one firm if it didn’t stop a subsidiary from competing for artist promotion contracts.\u003c/p>\n\u003cp>The lawsuit is the latest example of the Biden administration’s aggressive antitrust enforcement approach targeting companies accused of engaging in illegal monopolies that box out competitors and drive up prices. In March, the Justice Department filed a lawsuit against Apple alleging that the tech giant has monopoly power in the smartphone market. The Democratic administration has also taken on Google, Amazon and other tech giants.\u003c/p>\n\u003cp>Ticketmaster, which merged with Live Nation in 2010, is the world’s largest ticket seller. During its annual report last month, the company said that Ticketmaster distributed more than 620 million tickets through its systems in 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster sparked outrage in November 2022 when its site crashed during a presale event for a Taylor Swift stadium tour. The company said its site was overwhelmed by both fans and attacks from bots, which were posing as consumers to scoop up tickets and sell them on secondary sites. The debacle prompted congressional hearings and bills in state legislatures aimed at better protecting consumers.\u003c/p>\n\u003cp>The Justice Department allowed Live Nation and Ticketmaster to merge as long as Live Nation agreed not to retaliate against concert venues for using other ticket companies for 10 years. In 2019, the department investigated and found that Live Nation had “repeatedly” violated that agreement and extended the prohibition on retaliating against concert venues to 2025.\u003c/p>\n\u003cp>Ticketmaster has clashed repeatedly with artists and fans over the years. Pearl Jam took aim at the company in 1994, although the Justice Department ultimately declined to bring a case. More recently, Bruce Springsteen fans were enraged over high ticket costs because of the platform’s dynamic pricing system.\u003c/p>\n\u003cp>Ticketmaster has also had disputes with its industry competitors. In 2015 StubHub sued Ticketmaster and the Golden State Warriors, alleging it unfairly required fans looking to resell tickets to use Ticketmaster’s resale exchange. StubHub alleged in the lawsuit that the organizations prevented fans from deciding how they want to resell tickets and artificially drove up ticket prices.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Grantham-Philips reported from New York. AP Reporters Michelle Chapman and Maria Sherman also contributed from New York. KQED editor Gabe Meline provided additional reporting. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-green-day-fillmore-photos-san-francisco",
"title": "Live Review: Green Day Thrills the Fillmore In an Intimate Two-Hour Show",
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"content": "\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>[aside postID='arts_13950877']During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photographer-david-johnson-obituary-san-francisco-black-culture",
"title": "Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97",
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"content": "\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>[aside postID='arts_13950886']Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>[aside postID='news_11957757']“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Fillmore Will Stop Taking a Cut of Artists’ Merch Sales",
"headTitle": "The Fillmore Will Stop Taking a Cut of Artists’ Merch Sales | KQED",
"content": "\u003cp>Over 75 clubs operated by Live Nation in the United States and Canada will stop taking a percentage of artist merch sales, and will pay performers an additional $1,500 travel stipend per concert, through an initiative called \u003ca href=\"https://roadagain.live/\">On the Road Again\u003c/a>, the company announced Tuesday.\u003c/p>\n\u003cp>In the Bay Area, only one Live Nation venue is included in the program: \u003ca href=\"https://www.livenation.com/venue/KovZpZAE6eeA/the-fillmore-events\">The Fillmore\u003c/a>, the historic, 1,315-capacity concert hall. For over 30 years, artists playing at The Fillmore “counted in” their T-shirts, albums and other merch, and, at the end of the show, “counted out” so the club could tally the night’s income and calculate the amount of profit to take.\u003c/p>\n\u003cp>\u003ca href=\"https://weareumaw.org/\">United Musicians and Allied Workers\u003c/a> (UMAW), an artist advocacy group, says it’s common for venues to take 15%-35% of merch sales, and some artists have reported fees as high as 40% at recent shows. [aside postid='arts_13857471']\u003c/p>\n\u003cp>On the Road Again also promises bonuses for tour staff and local promoters, and will contribute $5 million to Crew Nation, a global relief fund for live music crews facing hardship. Additional Live Nation venues in the Bay Area, including the Masonic, are not listed as participants. Statewide, 14 similarly sized clubs are included in the program, including The Wiltern in Los Angeles and Ace of Spades in Sacramento.\u003c/p>\n\u003cp>The initiative arrives at a challenging time for artists in today’s music industry, where visibility and acclaim do not translate to financial success. While Spotify and other streaming services pay \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">fractions of pennies per stream\u003c/a>, touring and merch sales have become the primary source of income for emerging and mid-level musicians. After a pandemic that decimated live concerts, artists have struggled to rebound due to inflation and high gas prices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s almost impossible to even break even as a touring artist at this level,” says San Francisco singer and multi-instrumentalist \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a>, whose upcoming tour includes a hometown show at \u003ca href=\"https://concerts.livenation.com/la-dona-san-francisco-california-11-09-2023/event/1C005F0FC26A52EC\">The Fillmore on Nov. 9\u003c/a>, as well as shows at participating clubs in Los Angeles and Santa Ana. She says her expenses include hiring a live band, merch handler and photographer, and paying for gas, touring vehicles and lodging. While La Doña handles many business aspects of her tour herself, it’s common for artists to pay booking agents, tour managers and publicists. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“O\u003c/span>ftentimes you can’t really get an offer that will support all of that,” she says. “Most artists \u003cspan style=\"font-weight: 400\">—\u003c/span> I know I do \u003cspan style=\"font-weight: 400\">—\u003c/span> usually end up paying out of pocket to go on tour, which is why you don’t do it very much.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For La Doña, merch sales are critical, and can account for up to a third of the money made each night. She hopes that On the Road Again will inspire more venues to let artists keep the profits from their merch tables, which would allow more diverse acts to succeed in the industry. “Y\u003c/span>ou don’t really get to see some of the best and most interesting musicians live because it’s tough to be on the road,” she notes.\u003c/p>\n\u003cp>[aside postid='arts_13934286']Some artists say that the economics of the industry have brought them close to quitting altogether. “You are either losing money, breaking even or coming home with such a little amount of money for such a big amount of work,” said Bethany Cosentino of Best Coast in a \u003ca href=\"https://www.tiktok.com/@bethanycosentino/video/7278097326621592878?lang=en\">TikTok video posted on Sept. 12\u003c/a>. “Most days I wake up and I question why I’m still even in this industry. There is no stability.”\u003c/p>\n\u003cp>In 2022, UMAW launched a campaign called \u003ca href=\"https://weareumaw.org/news/mymerch-campaign-launch\">#MyMerch\u003c/a>, through which 160 venues have so far pledged to stop charging artists for merch sales. Many of the venues who signed up for UMAW’s campaign are small businesses also struggling in the post-pandemic economy, such as the \u003ca href=\"https://mystictheatre.com/\">Mystic Theatre\u003c/a> in Petaluma, \u003ca href=\"https://www.cornerstoneberkeley.com/\">Cornerstone\u003c/a> in Berkeley and \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.P2XVsKmY.dpbs\">Bottom of the Hill\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Meanwhile, Live Nation — a global conglomerate that owns Ticketmaster, whose ticket fees have ballooned to record levels — reported in July that its revenue is up 27% this year, reaching $5.6 billion at the end of the most recent financial quarter.\u003c/p>\n\u003cp>[aside postid='forum_2010101892062']“This was our strongest second quarter ever, with 2023 on pace to be a record year, and early indicators for 2024 giving us confidence in continued growth,” said Live Nation Entertainment CEO and President Michael Rapino in a report to investors. (Rapino’s own total compensation for 2022 totaled $139 million.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, live music is clearly profitable — but artists aren’t seeing the payoff. New policies at clubs like the Fillmore could be the start of a change small musicians are asking for. “We hope that more [Live Nation] venues (especially small ones) will join the On the Road Again program,” UMAW wrote in an Instagram post on Tuesday.\u003c/p>\n\n",
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"excerpt": "Amid record profits, Live Nation, who owns the Fillmore, launched a national program to boost artists' earnings at over 75 of its clubs.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 75 clubs operated by Live Nation in the United States and Canada will stop taking a percentage of artist merch sales, and will pay performers an additional $1,500 travel stipend per concert, through an initiative called \u003ca href=\"https://roadagain.live/\">On the Road Again\u003c/a>, the company announced Tuesday.\u003c/p>\n\u003cp>In the Bay Area, only one Live Nation venue is included in the program: \u003ca href=\"https://www.livenation.com/venue/KovZpZAE6eeA/the-fillmore-events\">The Fillmore\u003c/a>, the historic, 1,315-capacity concert hall. For over 30 years, artists playing at The Fillmore “counted in” their T-shirts, albums and other merch, and, at the end of the show, “counted out” so the club could tally the night’s income and calculate the amount of profit to take.\u003c/p>\n\u003cp>\u003ca href=\"https://weareumaw.org/\">United Musicians and Allied Workers\u003c/a> (UMAW), an artist advocacy group, says it’s common for venues to take 15%-35% of merch sales, and some artists have reported fees as high as 40% at recent shows. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the Road Again also promises bonuses for tour staff and local promoters, and will contribute $5 million to Crew Nation, a global relief fund for live music crews facing hardship. Additional Live Nation venues in the Bay Area, including the Masonic, are not listed as participants. Statewide, 14 similarly sized clubs are included in the program, including The Wiltern in Los Angeles and Ace of Spades in Sacramento.\u003c/p>\n\u003cp>The initiative arrives at a challenging time for artists in today’s music industry, where visibility and acclaim do not translate to financial success. While Spotify and other streaming services pay \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">fractions of pennies per stream\u003c/a>, touring and merch sales have become the primary source of income for emerging and mid-level musicians. After a pandemic that decimated live concerts, artists have struggled to rebound due to inflation and high gas prices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s almost impossible to even break even as a touring artist at this level,” says San Francisco singer and multi-instrumentalist \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a>, whose upcoming tour includes a hometown show at \u003ca href=\"https://concerts.livenation.com/la-dona-san-francisco-california-11-09-2023/event/1C005F0FC26A52EC\">The Fillmore on Nov. 9\u003c/a>, as well as shows at participating clubs in Los Angeles and Santa Ana. She says her expenses include hiring a live band, merch handler and photographer, and paying for gas, touring vehicles and lodging. While La Doña handles many business aspects of her tour herself, it’s common for artists to pay booking agents, tour managers and publicists. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“O\u003c/span>ftentimes you can’t really get an offer that will support all of that,” she says. “Most artists \u003cspan style=\"font-weight: 400\">—\u003c/span> I know I do \u003cspan style=\"font-weight: 400\">—\u003c/span> usually end up paying out of pocket to go on tour, which is why you don’t do it very much.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For La Doña, merch sales are critical, and can account for up to a third of the money made each night. She hopes that On the Road Again will inspire more venues to let artists keep the profits from their merch tables, which would allow more diverse acts to succeed in the industry. “Y\u003c/span>ou don’t really get to see some of the best and most interesting musicians live because it’s tough to be on the road,” she notes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some artists say that the economics of the industry have brought them close to quitting altogether. “You are either losing money, breaking even or coming home with such a little amount of money for such a big amount of work,” said Bethany Cosentino of Best Coast in a \u003ca href=\"https://www.tiktok.com/@bethanycosentino/video/7278097326621592878?lang=en\">TikTok video posted on Sept. 12\u003c/a>. “Most days I wake up and I question why I’m still even in this industry. There is no stability.”\u003c/p>\n\u003cp>In 2022, UMAW launched a campaign called \u003ca href=\"https://weareumaw.org/news/mymerch-campaign-launch\">#MyMerch\u003c/a>, through which 160 venues have so far pledged to stop charging artists for merch sales. Many of the venues who signed up for UMAW’s campaign are small businesses also struggling in the post-pandemic economy, such as the \u003ca href=\"https://mystictheatre.com/\">Mystic Theatre\u003c/a> in Petaluma, \u003ca href=\"https://www.cornerstoneberkeley.com/\">Cornerstone\u003c/a> in Berkeley and \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.P2XVsKmY.dpbs\">Bottom of the Hill\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Meanwhile, Live Nation — a global conglomerate that owns Ticketmaster, whose ticket fees have ballooned to record levels — reported in July that its revenue is up 27% this year, reaching $5.6 billion at the end of the most recent financial quarter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This was our strongest second quarter ever, with 2023 on pace to be a record year, and early indicators for 2024 giving us confidence in continued growth,” said Live Nation Entertainment CEO and President Michael Rapino in a report to investors. (Rapino’s own total compensation for 2022 totaled $139 million.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, live music is clearly profitable — but artists aren’t seeing the payoff. New policies at clubs like the Fillmore could be the start of a change small musicians are asking for. “We hope that more [Live Nation] venues (especially small ones) will join the On the Road Again program,” UMAW wrote in an Instagram post on Tuesday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Once Booming, Where Are the Blues in San Francisco Now?",
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"content": "\u003cp>No take on San Francisco is more clichéd than proclaiming that the year of one’s arrival was a golden age from which the city has steadily descended, shedding its luster with each passing season. And when it comes to the city’s blues scene, one can make a righteous case for any decade in the latter half of the 20th century as a high-water mark.\u003c/p>\n\u003cp>But by God, the mid-1990s, when I just happened to move to the Bay Area, was an extraordinary moment for the blues in San Francisco, an era reigned over by one of the fiercest artists ever to walk the earth, John Lee Hooker.\u003c/p>\n\u003cp>A potent artifact from that long-gone moment arrives Friday with the Craft Recordings reissue of Hooker’s epochal 1989 hit album \u003cem>The Healer\u003c/em>, which reignited his career amidst a gaudy cast of guest artists eager to bask in his sharkskin-suited glory, including Carlos Santana, George Thorogood, Los Lobos, Canned Heat, Charlie Musselwhite and Robert Cray.\u003c/p>\n\u003cp>Out of print for the past decade, the album not only earned the 73-year-old guitarist, vocalist and songwriter his first Grammy Award (for the Bonnie Raitt duet “I’m in the Mood”), it put Hooker at the center of the scene when the blues still occupied a significant swath of the cultural terrain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0n6fctAUjX4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hooker went on to make several more popular albums also produced by slide guitarist Roy Rogers, while various labels excavated his vast discography, which got off to a brilliant start with his chart-topping 1948 single “Boogie Chillen.” His iconic status continued to grow over the next decade with his 1991 induction into the Rock and Roll Hall of Fame and his Grammy Lifetime Achievement Award in 2000.\u003c/p>\n\u003ch2>National icon, local legend\u003c/h2>\n\u003cp>Locally, Hooker’s star hung over the Fillmore, where Alexander Andreas rechristened a nightspot long known as Jack’s Tavern as the Boom Boom Room, in honor of Hooker’s signature 1962 hit, “Boom Boom.” Contrary to the widespread belief that Hooker owned a piece of the club, Andreas made him an honorary partner, and many a night he could be found behind a red velvet rope in his reserved booth, surrounded by a bevy of ladies and a coterie of musicians. Occasionally a brave fan might approach to pay homage.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13876143,arts_13809453,arts_13897443\"]Robert Cray, who toured widely with Hooker as an opening act and appeared on \u003cem>The Healer\u003c/em>’s funky third track “Baby Lee,” recalled the scene on the Boom Boom Room’s opening night, when the club was packed with dozens of other musicians, television crews and Mayor Willie Brown.\u003c/p>\n\u003cp>“The impact of \u003cem>The Healer\u003c/em> was huge, and then when the Boom Boom Room opened it meant people knew where to find him,” Cray said. “John always seemed to me to have this great attitude about everything. He always had people around who adored him. It was a really exciting time. Carlos and Bonnie Raitt would pop in. We played the San Francisco Blues Festival, the Sacramento Blues Festival and all the clubs in San Francisco and the South Bay. It was pretty live.”\u003c/p>\n\u003cp>As late as the 1990s, the blues scene was still inextricably linked to the frisson around the Fillmore Auditorium in the 1960s — when a rising generation of white Chicago transplants (including Paul Butterfield, Barry Goldberg, Elvin Bishop and Mike Bloomfield) all prevailed upon Bill Graham to present the Black masters who’d mentored them on the Southside (particularly Howlin’ Wolf, Muddy Waters and B.B. King). It’s a story well-told in filmmaker Bob Sarles’ 2021 documentary \u003ca href=\"https://www.youtube.com/watch?v=A8X1n58B9Dw\">\u003cem>Born in Chicago\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The 1960s also saw Hooker connecting with the blues-besotted cohort of young British musicians on the swinging London scene, and it’s no coincidence that the Yardbirds, the Spencer Davis Group and the Animals all recorded his songs. He moved to Oakland late in the decade and worked steadily, with a particularly fruitful collaboration with Canned Heat. When \u003cem>The Healer\u003c/em> put him back on top, he took it all in stride.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nUUyFrHERpU\u003c/p>\n\u003cp>Bassist Ruth Davies, who recorded with Hooker on several albums following \u003cem>The Healer\u003c/em>, remembers one celebratory night at the Boom Boom Room after he’d won two Grammys for his 1997 album \u003cem>Don’t Look Back\u003c/em>, which was co-produced by Van Morrison. He spotted her in the club and motioned for her to join him.\u003c/p>\n\u003cp>“I felt so privileged,” said Davies (who performs \u003ca href=\"https://secure.thefreight.org/11704/pamela-rose-presents-blues-is-a-woman\">Nov. 19 at Freight & Salvage\u003c/a> backing Pamela Rose’s \u003cem>Blues Is a Woman\u003c/em>). Before Davies started working with Hooker, she gained prominence during her long tenure with West Coast blues legend Charles Brown, and went on to tour and record with guitarist Elvin Bishop’s band.\u003c/p>\n\u003cp>“A lot of the blues legends were living here around that time,” Davies said. “Etta James, Charlie Musselwhite and Elvin Bishop were here. Bonnie Raitt was in Marin, and she did so much to help revive Charles Brown’s career.\u003c/p>\n\u003cfigure id=\"attachment_13920970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg\" alt=\"an older Black man in a hat and sungalsses next to a white woman with bangs in a dark suit in a club\" width=\"800\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1536x1418.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-2048x1891.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1920x1773.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Lee Hooker and Ruth Davies in Hooker’s booth at the Boom Boom Room. \u003ccite>(Courtesy of Ruth Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But it wasn’t just the scene here. Traveling was easier. When I started touring with Charles, we did a lot of concerts and festivals, and it seemed like there were three tiers. There were the stars who got paid the most. The middle tier — Charles was in that group. And the local artists. That middle tier is gone,” she said, along with the post-World War II generation of innovators. (Now 86, guitar legend Buddy Guy recently announced a farewell tour in 2023.)\u003c/p>\n\u003ch2>A shifting center of gravity\u003c/h2>\n\u003cp>The infrastructure that sustained the scene has also all but disappeared, with nothing arising to fill the void left by the end of the San Francisco Blues Festival, a major annual event that ran from 1973-2008. The city’s dwindling Black population is another challenge, but the story is similar all over the region. Oakland long boasted a more vital and influential blues scene than San Francisco, anchoring an East Bay soul archipelago that stretched from Richmond and Berkeley out to Camp Stoneman in Pittsburg, and almost all of the clubs and joints that once hosted the blues are gone.\u003c/p>\n\u003cp>Still, the music’s inextricable roots in Black culture continue to manifest in various guises. \u003ca href=\"https://www.fayecarol.com/\">The Dynamic Miss Faye Carol\u003c/a> provides an essential link to the glory days of the East Bay scenes wherever she performs (like her\u003ca href=\"https://secure.thefreight.org/11867/black-womens-roots-festival\"> Black Women’s Roots Festival\u003c/a>, Nov. 27 at Freight & Salvage). Oakland blues vocalist Terrie Odabi has carved out an international career over the past decade, and some of the Bay Area’s best jazz vocalists, like Kim Nalley and Tiffany Austin, make a point of including blues as an essential thread in jazz’s elastic fabric. \u003ca href=\"http://littlevillagefoundation.com/\">The Little Village Foundation\u003c/a> label, created by veteran blues keyboardist and John Lee Hooker sideman Jim Pugh, has boosted the careers of several Bay Area blues artists, like Mumbai-born harmonica player Aki Kumar.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W2EG6svjz0w\u003c/p>\n\u003cp>Meanwhile, the music’s center of gravity continues to shift away from San Francisco. Yoshi’s keeps blues in the musical mix, with shows like the Nov. 21 \u003ca href=\"https://yoshis.com/events/buy-tickets/bay-area-harmonica-convergence-1/detail\">Bay Area Harmonica Convergence\u003c/a>. Norwegian-born San Jose guitarist and recording engineer Kid Andersen has turned his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> into the top spot for Bay Area blues acts to document their music (while working hand-in-hand with Little Village). San Jose’s \u003ca href=\"https://poorhousebistro.com/\">Poor House Bistro\u003c/a> just relocated — literally the entire building — to Little Italy, to make way for Google’s massive new downtown development. Blues great Angela Strehli’s \u003ca href=\"https://www.ranchonicasio.com/\">Rancho Nicasio\u003c/a> is an important outpost in the North Bay, while the biggest blues bills tend to take place at Vallejo’s Empress Theatre.\u003c/p>\n\u003cp>“It’s the same thing in Seattle,” Cray said. “There used to be a bunch of clubs in town. Now we always hit the outskirts, where there might be the theaters and some of the clubs. We’re not downtown in places where it used it happen.”\u003c/p>\n\u003cp>In San Francisco, Myron Mu has kept \u003ca href=\"http://sfblues.weebly.com/saloon-schedule.html\">The Saloon in North Beach\u003c/a>, the city’s oldest venue, in business presenting blues seven nights a week. The city’s premiere club, \u003ca href=\"https://biscuitsandblues.com/\">Biscuits & Blues\u003c/a>, still hasn’t reopened since it was forced to shutter in 2019 by a persistent plumbing problem and an ensuing legal struggle with the neighboring Jack In the Box — but that might finally be coming to an end, said owner Steven Suen said. More than optimistic, he sounded downright philosophic about a musical tradition born out of a need to find solace and communal release in hard times.\u003c/p>\n\u003cp>“The blues as a form of music will never die,” said Suen, who was born in Hong Kong and ended up buying the club after he started managing the venue in 2006. “People keep going back to the roots, figuring out how that music comes about. It will always have a place. It’s not a popular thing, but once people experience it they’ll find something special.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No take on San Francisco is more clichéd than proclaiming that the year of one’s arrival was a golden age from which the city has steadily descended, shedding its luster with each passing season. And when it comes to the city’s blues scene, one can make a righteous case for any decade in the latter half of the 20th century as a high-water mark.\u003c/p>\n\u003cp>But by God, the mid-1990s, when I just happened to move to the Bay Area, was an extraordinary moment for the blues in San Francisco, an era reigned over by one of the fiercest artists ever to walk the earth, John Lee Hooker.\u003c/p>\n\u003cp>A potent artifact from that long-gone moment arrives Friday with the Craft Recordings reissue of Hooker’s epochal 1989 hit album \u003cem>The Healer\u003c/em>, which reignited his career amidst a gaudy cast of guest artists eager to bask in his sharkskin-suited glory, including Carlos Santana, George Thorogood, Los Lobos, Canned Heat, Charlie Musselwhite and Robert Cray.\u003c/p>\n\u003cp>Out of print for the past decade, the album not only earned the 73-year-old guitarist, vocalist and songwriter his first Grammy Award (for the Bonnie Raitt duet “I’m in the Mood”), it put Hooker at the center of the scene when the blues still occupied a significant swath of the cultural terrain.\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/0n6fctAUjX4'\n title='//www.youtube.com/embed/0n6fctAUjX4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hooker went on to make several more popular albums also produced by slide guitarist Roy Rogers, while various labels excavated his vast discography, which got off to a brilliant start with his chart-topping 1948 single “Boogie Chillen.” His iconic status continued to grow over the next decade with his 1991 induction into the Rock and Roll Hall of Fame and his Grammy Lifetime Achievement Award in 2000.\u003c/p>\n\u003ch2>National icon, local legend\u003c/h2>\n\u003cp>Locally, Hooker’s star hung over the Fillmore, where Alexander Andreas rechristened a nightspot long known as Jack’s Tavern as the Boom Boom Room, in honor of Hooker’s signature 1962 hit, “Boom Boom.” Contrary to the widespread belief that Hooker owned a piece of the club, Andreas made him an honorary partner, and many a night he could be found behind a red velvet rope in his reserved booth, surrounded by a bevy of ladies and a coterie of musicians. Occasionally a brave fan might approach to pay homage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Robert Cray, who toured widely with Hooker as an opening act and appeared on \u003cem>The Healer\u003c/em>’s funky third track “Baby Lee,” recalled the scene on the Boom Boom Room’s opening night, when the club was packed with dozens of other musicians, television crews and Mayor Willie Brown.\u003c/p>\n\u003cp>“The impact of \u003cem>The Healer\u003c/em> was huge, and then when the Boom Boom Room opened it meant people knew where to find him,” Cray said. “John always seemed to me to have this great attitude about everything. He always had people around who adored him. It was a really exciting time. Carlos and Bonnie Raitt would pop in. We played the San Francisco Blues Festival, the Sacramento Blues Festival and all the clubs in San Francisco and the South Bay. It was pretty live.”\u003c/p>\n\u003cp>As late as the 1990s, the blues scene was still inextricably linked to the frisson around the Fillmore Auditorium in the 1960s — when a rising generation of white Chicago transplants (including Paul Butterfield, Barry Goldberg, Elvin Bishop and Mike Bloomfield) all prevailed upon Bill Graham to present the Black masters who’d mentored them on the Southside (particularly Howlin’ Wolf, Muddy Waters and B.B. King). It’s a story well-told in filmmaker Bob Sarles’ 2021 documentary \u003ca href=\"https://www.youtube.com/watch?v=A8X1n58B9Dw\">\u003cem>Born in Chicago\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The 1960s also saw Hooker connecting with the blues-besotted cohort of young British musicians on the swinging London scene, and it’s no coincidence that the Yardbirds, the Spencer Davis Group and the Animals all recorded his songs. He moved to Oakland late in the decade and worked steadily, with a particularly fruitful collaboration with Canned Heat. When \u003cem>The Healer\u003c/em> put him back on top, he took it all in stride.\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/nUUyFrHERpU'\n title='//www.youtube.com/embed/nUUyFrHERpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bassist Ruth Davies, who recorded with Hooker on several albums following \u003cem>The Healer\u003c/em>, remembers one celebratory night at the Boom Boom Room after he’d won two Grammys for his 1997 album \u003cem>Don’t Look Back\u003c/em>, which was co-produced by Van Morrison. He spotted her in the club and motioned for her to join him.\u003c/p>\n\u003cp>“I felt so privileged,” said Davies (who performs \u003ca href=\"https://secure.thefreight.org/11704/pamela-rose-presents-blues-is-a-woman\">Nov. 19 at Freight & Salvage\u003c/a> backing Pamela Rose’s \u003cem>Blues Is a Woman\u003c/em>). Before Davies started working with Hooker, she gained prominence during her long tenure with West Coast blues legend Charles Brown, and went on to tour and record with guitarist Elvin Bishop’s band.\u003c/p>\n\u003cp>“A lot of the blues legends were living here around that time,” Davies said. “Etta James, Charlie Musselwhite and Elvin Bishop were here. Bonnie Raitt was in Marin, and she did so much to help revive Charles Brown’s career.\u003c/p>\n\u003cfigure id=\"attachment_13920970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg\" alt=\"an older Black man in a hat and sungalsses next to a white woman with bangs in a dark suit in a club\" width=\"800\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1536x1418.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-2048x1891.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1920x1773.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Lee Hooker and Ruth Davies in Hooker’s booth at the Boom Boom Room. \u003ccite>(Courtesy of Ruth Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But it wasn’t just the scene here. Traveling was easier. When I started touring with Charles, we did a lot of concerts and festivals, and it seemed like there were three tiers. There were the stars who got paid the most. The middle tier — Charles was in that group. And the local artists. That middle tier is gone,” she said, along with the post-World War II generation of innovators. (Now 86, guitar legend Buddy Guy recently announced a farewell tour in 2023.)\u003c/p>\n\u003ch2>A shifting center of gravity\u003c/h2>\n\u003cp>The infrastructure that sustained the scene has also all but disappeared, with nothing arising to fill the void left by the end of the San Francisco Blues Festival, a major annual event that ran from 1973-2008. The city’s dwindling Black population is another challenge, but the story is similar all over the region. Oakland long boasted a more vital and influential blues scene than San Francisco, anchoring an East Bay soul archipelago that stretched from Richmond and Berkeley out to Camp Stoneman in Pittsburg, and almost all of the clubs and joints that once hosted the blues are gone.\u003c/p>\n\u003cp>Still, the music’s inextricable roots in Black culture continue to manifest in various guises. \u003ca href=\"https://www.fayecarol.com/\">The Dynamic Miss Faye Carol\u003c/a> provides an essential link to the glory days of the East Bay scenes wherever she performs (like her\u003ca href=\"https://secure.thefreight.org/11867/black-womens-roots-festival\"> Black Women’s Roots Festival\u003c/a>, Nov. 27 at Freight & Salvage). Oakland blues vocalist Terrie Odabi has carved out an international career over the past decade, and some of the Bay Area’s best jazz vocalists, like Kim Nalley and Tiffany Austin, make a point of including blues as an essential thread in jazz’s elastic fabric. \u003ca href=\"http://littlevillagefoundation.com/\">The Little Village Foundation\u003c/a> label, created by veteran blues keyboardist and John Lee Hooker sideman Jim Pugh, has boosted the careers of several Bay Area blues artists, like Mumbai-born harmonica player Aki Kumar.\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/W2EG6svjz0w'\n title='//www.youtube.com/embed/W2EG6svjz0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, the music’s center of gravity continues to shift away from San Francisco. Yoshi’s keeps blues in the musical mix, with shows like the Nov. 21 \u003ca href=\"https://yoshis.com/events/buy-tickets/bay-area-harmonica-convergence-1/detail\">Bay Area Harmonica Convergence\u003c/a>. Norwegian-born San Jose guitarist and recording engineer Kid Andersen has turned his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> into the top spot for Bay Area blues acts to document their music (while working hand-in-hand with Little Village). San Jose’s \u003ca href=\"https://poorhousebistro.com/\">Poor House Bistro\u003c/a> just relocated — literally the entire building — to Little Italy, to make way for Google’s massive new downtown development. Blues great Angela Strehli’s \u003ca href=\"https://www.ranchonicasio.com/\">Rancho Nicasio\u003c/a> is an important outpost in the North Bay, while the biggest blues bills tend to take place at Vallejo’s Empress Theatre.\u003c/p>\n\u003cp>“It’s the same thing in Seattle,” Cray said. “There used to be a bunch of clubs in town. Now we always hit the outskirts, where there might be the theaters and some of the clubs. We’re not downtown in places where it used it happen.”\u003c/p>\n\u003cp>In San Francisco, Myron Mu has kept \u003ca href=\"http://sfblues.weebly.com/saloon-schedule.html\">The Saloon in North Beach\u003c/a>, the city’s oldest venue, in business presenting blues seven nights a week. The city’s premiere club, \u003ca href=\"https://biscuitsandblues.com/\">Biscuits & Blues\u003c/a>, still hasn’t reopened since it was forced to shutter in 2019 by a persistent plumbing problem and an ensuing legal struggle with the neighboring Jack In the Box — but that might finally be coming to an end, said owner Steven Suen said. More than optimistic, he sounded downright philosophic about a musical tradition born out of a need to find solace and communal release in hard times.\u003c/p>\n\u003cp>“The blues as a form of music will never die,” said Suen, who was born in Hong Kong and ended up buying the club after he started managing the venue in 2006. “People keep going back to the roots, figuring out how that music comes about. It will always have a place. It’s not a popular thing, but once people experience it they’ll find something special.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Queen of the 'Harlem of the West' Brought Glamour and Stars to the Fillmore",
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"content": "\u003cp>She was considered the Queen of the Fillmore, back when the neighborhood was still nicknamed the “Harlem of the West.” She was one of the \u003ca href=\"http://beyondchron.org/heard-fillmore-icon-leola-king-passes/\" target=\"_blank\" rel=\"noopener noreferrer\">first women of color\u003c/a> to ever own and run a Bay Area nightclub. And when the San Francisco Redevelopment Agency came for her crown, Leola King fought back, over and over again.\u003c/p>\n\u003cp>King arrived in San Francisco from Los Angeles in 1946, at the age of 27. She would call the Fillmore home for the next 64 years. Her most famous venture, the Blue Mirror Cocktail Lounge—famous for hosting jazz greats like Louis Armstrong and Dinah Washington—came only after King had brought people from all over the city to the Fillmore via her barbecue pit.\u003c/p>\n\u003cp>Oklahoma King’s was named for her birth state, lovingly constructed at 1601 Geary out of a log cabin, and featured a smoke pit that was visible to outside foot traffic. The \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">meat on King’s menu\u003c/a>, including smoked buffalo, deer and quail, was so popular that she often worked around the clock, sometimes opening at 10am and not closing until 4am the next day.\u003c/p>\n\u003cp>“I was busy all day, all night, lines outside,” she told the \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oral History Archives Project\u003c/a> in 2007. “On Cathedral Hill, coming down the hill, I had a tall, about a 50-foot smoke stack that put the aroma in the air that was just terrific, and people would drive around trying to find the place where this beautiful smell was coming from.”\u003c/p>\n\u003cp>At the end of 1947, when the City Planning Commission submitted a \u003ca href=\"https://smartgrowth.org/how-urban-renewal-destroyed-the-fillmore-in-order-to-save-it/\" target=\"_blank\" rel=\"noopener noreferrer\">$52 million proposal\u003c/a> for rebuilding a 36-block zone enclosed by Van Ness, Webster, McAllister and Geary, King began to be regularly approached by the San Francisco Redevelopment Agency. By her own estimation, King told them the restaurant wasn’t for sale “three or four times.” One morning when she arrived to open up, she was greeted by the sight of a bulldozer—and an empty space where Oklahoma King’s used to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They just come in and bulldoze it to the ground,” she recalled. “Took all my equipment, stuff that I’d paid for, and all of my foods and everything. I don’t know what happened to anything. When I go there, the lot is clear; there’s nothing on it. So that made me have to go to the hospital. I just was so upset.” King was later \u003ca href=\"https://www.harlemofthewestsf.com/fillmore-people/bios-interviews/leola-king/\" target=\"_blank\" rel=\"noopener noreferrer\">reimbursed\u003c/a> what she’d paid for the land, but not for the structure, equipment or business—in all, a fraction of what Oklahoma King’s was actually worth. [aside postid='pop_110017']\u003c/p>\n\u003cp>After the initial shock had subsided, King’s unbreakable tenacity drove her to open the Blue Mirror in 1953. “It was fantastic, a beautiful club,” \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>, “and it was hot, hot, hot.” The club, at 935 Fillmore Street, was smaller than the other popular neighborhood venues at the time—like \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Sullivan’s Fillmore Ballroom\u003c/a>—but attracted the same level of talent. Lena Horne, Ray Charles, Duke Ellington, Count Basie and Cab Calloway were just a few musicians that passed through, and she counted Josephine Baker, Nat “King” Cole, Elizabeth Taylor and boxing legend Sugar Ray Robinson as friends.\u003c/p>\n\u003cp>Bobbie Webb, a saxophonist who performed there with the likes of B.B. King and T-Bone Walker, \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2007\u003c/a> that it wasn’t just the luxurious decor and excellent music that attracted people to the Blue Mirror—it was King herself. “She didn’t only have a personality, she was a beautiful lady,” he reminisced. “All she had to do was stand there.”\u003c/p>\n\u003cp>After almost a decade of running one of the hottest clubs in town, \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">King later claimed\u003c/a> she was warned by neighborhood police that the Redevelopment Agency was using unscrupulous means to acquire buildings. According to her, one day a man and a child arrived at the club, asking if the youngster could use the bathroom. After the bouncer allowed them in, the man bought an alcoholic drink and handed it to the child. “Well, we didn’t even know the kid was in the place,” King recalled. “So that’s how they took my license. They came in and padlocked my door and completely put me out of business.” [aside postid='pop_108474']\u003c/p>\n\u003cp>Against the odds, King bounced back yet again, opening the Bird Cage in 1964. The tavern, decked out in stained glass and bright colors, was open between the hours of 10am and 10pm at 1505 Fillmore Street. Like the Blue Mirror, the venue found popularity quickly, thanks in no small part to its lunch counter, famous for King’s fried chicken and fish.\u003c/p>\n\u003cp>Though King selected the location in the hope that it was deep enough in the neighborhood to remain untouched by redevelopment, after a decade of success, once again the agency bought her venue’s building and, in 1974, evicted all tenants. King refused to go quietly this time, having to be forcibly removed by the sheriff. She spent the next quarter century \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">fighting\u003c/a> the Redevelopment Agency over relocation terms.\u003c/p>\n\u003cp>Leola King eventually declared bankruptcy in the late ’90s, lost her mansion at 711 Scott St., and never quite managed to complete the opening of a new bar named Goldie’s. But her grace and poise in the face of relentless losses, her indomitable spirit, and the joy she brought to the neighborhood are the things people remember most about her.\u003c/p>\n\u003cp>As Lance Burton, founder of \u003ca href=\"https://planetfillmore.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet Fillmore Communications\u003c/a>, who grew up in the Fillmore and remembers King in her heyday \u003ca href=\"https://sfbayview.com/2015/02/legendary-queen-of-fillmore-leola-king-leaves-proud-legacy-of-struggle-against-redevelopment/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote after her death\u003c/a> in 2015: “Mrs. King was like a big movie star to many of us, a star who brought some very bright moments to our community—maybe the most golden period of years ever to have been seen in San Francisco by black folks before or since… Mrs. King gave our people a chance to dress up and shine in a Sunday evening of glory.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She was considered the Queen of the Fillmore, back when the neighborhood was still nicknamed the “Harlem of the West.” She was one of the \u003ca href=\"http://beyondchron.org/heard-fillmore-icon-leola-king-passes/\" target=\"_blank\" rel=\"noopener noreferrer\">first women of color\u003c/a> to ever own and run a Bay Area nightclub. And when the San Francisco Redevelopment Agency came for her crown, Leola King fought back, over and over again.\u003c/p>\n\u003cp>King arrived in San Francisco from Los Angeles in 1946, at the age of 27. She would call the Fillmore home for the next 64 years. Her most famous venture, the Blue Mirror Cocktail Lounge—famous for hosting jazz greats like Louis Armstrong and Dinah Washington—came only after King had brought people from all over the city to the Fillmore via her barbecue pit.\u003c/p>\n\u003cp>Oklahoma King’s was named for her birth state, lovingly constructed at 1601 Geary out of a log cabin, and featured a smoke pit that was visible to outside foot traffic. The \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">meat on King’s menu\u003c/a>, including smoked buffalo, deer and quail, was so popular that she often worked around the clock, sometimes opening at 10am and not closing until 4am the next day.\u003c/p>\n\u003cp>“I was busy all day, all night, lines outside,” she told the \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oral History Archives Project\u003c/a> in 2007. “On Cathedral Hill, coming down the hill, I had a tall, about a 50-foot smoke stack that put the aroma in the air that was just terrific, and people would drive around trying to find the place where this beautiful smell was coming from.”\u003c/p>\n\u003cp>At the end of 1947, when the City Planning Commission submitted a \u003ca href=\"https://smartgrowth.org/how-urban-renewal-destroyed-the-fillmore-in-order-to-save-it/\" target=\"_blank\" rel=\"noopener noreferrer\">$52 million proposal\u003c/a> for rebuilding a 36-block zone enclosed by Van Ness, Webster, McAllister and Geary, King began to be regularly approached by the San Francisco Redevelopment Agency. By her own estimation, King told them the restaurant wasn’t for sale “three or four times.” One morning when she arrived to open up, she was greeted by the sight of a bulldozer—and an empty space where Oklahoma King’s used to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They just come in and bulldoze it to the ground,” she recalled. “Took all my equipment, stuff that I’d paid for, and all of my foods and everything. I don’t know what happened to anything. When I go there, the lot is clear; there’s nothing on it. So that made me have to go to the hospital. I just was so upset.” King was later \u003ca href=\"https://www.harlemofthewestsf.com/fillmore-people/bios-interviews/leola-king/\" target=\"_blank\" rel=\"noopener noreferrer\">reimbursed\u003c/a> what she’d paid for the land, but not for the structure, equipment or business—in all, a fraction of what Oklahoma King’s was actually worth. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the initial shock had subsided, King’s unbreakable tenacity drove her to open the Blue Mirror in 1953. “It was fantastic, a beautiful club,” \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>, “and it was hot, hot, hot.” The club, at 935 Fillmore Street, was smaller than the other popular neighborhood venues at the time—like \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Sullivan’s Fillmore Ballroom\u003c/a>—but attracted the same level of talent. Lena Horne, Ray Charles, Duke Ellington, Count Basie and Cab Calloway were just a few musicians that passed through, and she counted Josephine Baker, Nat “King” Cole, Elizabeth Taylor and boxing legend Sugar Ray Robinson as friends.\u003c/p>\n\u003cp>Bobbie Webb, a saxophonist who performed there with the likes of B.B. King and T-Bone Walker, \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2007\u003c/a> that it wasn’t just the luxurious decor and excellent music that attracted people to the Blue Mirror—it was King herself. “She didn’t only have a personality, she was a beautiful lady,” he reminisced. “All she had to do was stand there.”\u003c/p>\n\u003cp>After almost a decade of running one of the hottest clubs in town, \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">King later claimed\u003c/a> she was warned by neighborhood police that the Redevelopment Agency was using unscrupulous means to acquire buildings. According to her, one day a man and a child arrived at the club, asking if the youngster could use the bathroom. After the bouncer allowed them in, the man bought an alcoholic drink and handed it to the child. “Well, we didn’t even know the kid was in the place,” King recalled. “So that’s how they took my license. They came in and padlocked my door and completely put me out of business.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Against the odds, King bounced back yet again, opening the Bird Cage in 1964. The tavern, decked out in stained glass and bright colors, was open between the hours of 10am and 10pm at 1505 Fillmore Street. Like the Blue Mirror, the venue found popularity quickly, thanks in no small part to its lunch counter, famous for King’s fried chicken and fish.\u003c/p>\n\u003cp>Though King selected the location in the hope that it was deep enough in the neighborhood to remain untouched by redevelopment, after a decade of success, once again the agency bought her venue’s building and, in 1974, evicted all tenants. King refused to go quietly this time, having to be forcibly removed by the sheriff. She spent the next quarter century \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">fighting\u003c/a> the Redevelopment Agency over relocation terms.\u003c/p>\n\u003cp>Leola King eventually declared bankruptcy in the late ’90s, lost her mansion at 711 Scott St., and never quite managed to complete the opening of a new bar named Goldie’s. But her grace and poise in the face of relentless losses, her indomitable spirit, and the joy she brought to the neighborhood are the things people remember most about her.\u003c/p>\n\u003cp>As Lance Burton, founder of \u003ca href=\"https://planetfillmore.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet Fillmore Communications\u003c/a>, who grew up in the Fillmore and remembers King in her heyday \u003ca href=\"https://sfbayview.com/2015/02/legendary-queen-of-fillmore-leola-king-leaves-proud-legacy-of-struggle-against-redevelopment/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote after her death\u003c/a> in 2015: “Mrs. King was like a big movie star to many of us, a star who brought some very bright moments to our community—maybe the most golden period of years ever to have been seen in San Francisco by black folks before or since… Mrs. King gave our people a chance to dress up and shine in a Sunday evening of glory.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"title": "Selected Shorts",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"title": "TED Radio Hour",
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"thebay": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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