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"content": "\u003cp>Bay Area artists have long mastered the art of partying for a purpose. On Saturday, the hip-hop ensemble \u003ca href=\"https://www.audiopharmacy.com/\">Audiopharmacy\u003c/a> will throw an event that’s a celebration — as well as a call to action.\u003c/p>\n\u003cp>For the second installment of group’s quarterly \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">BAMBU Sessions\u003c/a> series, sliding-scale admission will give attendees an evening of live music, an open mic and a Lunar New Year celebration to raise funds for a musician currently in custody of U.S. Immigration and Customs Enforcement.\u003c/p>\n\u003cp>Audiopharmacy founder \u003ca href=\"https://www.instagram.com/teaosense\">Teao Sense\u003c/a> adds that the evening comes with an underlying theme of using old-fashioned human creativity to combat the prevalence of artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13986899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986899 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic.jpg\" alt=\"A collective of people performing on stage. \" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audiopharmacy rocking the stage at Summer Arts & Music Fest 2024 in Redway, CA. \u003ccite>(David Saenz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The issue that I want to address, first and foremost,” Sense tells me during a recent call, “is that we don’t know what’s AI and what’s not AI.” In turn, Sense is turning to what he calls “HI” — human intelligence. A turntablist, producer and multi-instrumentalist, Sense adds that the music recorded during these live BAMBU Sessions events is mixed, mastered and shared with the world for free on \u003ca href=\"http://www.audiopharmacy.com.\">their website\u003c/a>.\u003c/p>\n\u003cp>For more than two decades, Audiopharmacy has recorded and performed around the Bay Area and across the globe. This past December, with financial support from \u003ca href=\"https://www.zoolabs.org/\">Zoo Labs\u003c/a> and \u003ca href=\"https://theintersection.org/\">Intersection for the Arts\u003c/a>, the group opened a new recording studio, arts incubator, performance and wellness space in West Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To christen their new space, known as BAMBU Pharm, they held a series of activations, including \u003ca href=\"https://www.youtube.com/watch?v=ViTeMcO8GZk\">their inaugural BAMBU Sessions\u003c/a> event.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ViTeMcO8GZk\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first jam session was organized and hosted by Teao Sense, jo love/speak cruz, Nikila Badua aka “MamaWisdom1,” as well as Gina Madrid, Sami See, Gema Cantu, Persia Blackwell, Seiji Oda, Aya Eid, Santos S.O.U.L., Marcos Odara, Rasul Grayson, Brass Medik, Amre Leon, Keith Ebbs., poko d., and JT Teodoro. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event also featured talented artists Ian Santillano, Jumakae, Emcee Soulati, Obrayan Calderon, Yrak Saenz, ELENAH, Dani Cornejo, Smiley C, MC Persia, TSAVO, Theresa Panyawai, Razteria, and Khalil Fantauzzi. \u003c/span>\u003c/p>\n\u003cp>Recalling the night with its live percussion, multiple string instruments and jazzy saxophone, \u003ca href=\"https://persia.bandcamp.com/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGntJVx23ZLi3Yq6LFCuSLb9qJWPIFFdUd_8Cm3ePB7F0Xe6dVngZoV8lABwv4_aem_4u74nzmK1Qg_3NbuRxZZ9w\">San Jose’s veteran lyricist MC Persia\u003c/a> says the vibe was so good, she was compelled to spit a few bars.\u003c/p>\n\u003cp>A rapper since her early teenage years, MC Persia began to experience “brain fog” in her late 30s, causing her to work more behind the scenes. Audiopharmacy’s events have aided her ambition to continue performing.\u003c/p>\n\u003cp>“For the past decade, every time I’ve stepped back on a stage it’s been because of Audiopharmacy,” she tells me. “What they are building isn’t just an event. It’s medicine. Every time I stand in it, I’m reminded why I started in the first place.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GSWC0T9u2aM\u003c/p>\n\u003cp>That medicine extends beyond the music. “We’re generally raising funds for all the different things that we do,” says Sense, adding that the group regularly hosts workshops, ranging from art and music to Qigong and boxing.\u003c/p>\n\u003cp>This weekend, the group will raise funds for their friend, a Bay Area-based percussionist from Brazil named \u003ca href=\"https://www.gofundme.com/f/free-leo-from-ice-detention\">Leandro “Leo” Oliveira\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13986720']On Dec. 4, 2025, Oliveira, while seeking asylum in the U.S., was leaving a scheduled immigration appointment in San Francisco when he was detained by ICE agents and subsequently incarcerated.\u003c/p>\n\u003cp>Oliveira, who plays percussion with Audiopharmacy, as well as the Bay Area Brazilian bands \u003ca href=\"https://www.instagram.com/bateriabatuki?igshid=Y2IzZGU1MTFhOQ%3D%3D\">Batuki\u003c/a> and\u003ca href=\"https://www.instagram.com/ndlband/\"> Namorados Da Lua (NDL)\u003c/a>, has reportedly been offered documents to self-deport, but isn’t signing. Now, Audiopharmacy is raising funds for their colleague’s legal representation through what cofounder jo love/speak cruz calls “radical joy” while doing “substantive work that supports our people.”\u003c/p>\n\u003cfigure id=\"attachment_13986898\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm.jpg\" alt=\"Eight people posing for a photo outside, in front of a building with a mural painted on it.\" width=\"2000\" height=\"2411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-768x926.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-1274x1536.jpg 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-1699x2048.jpg 1699w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Audiopharmacy (Nikila Badua aka MamaWisdom1, Santos S.O.U.L., Gina Madrid, jo love/speak cruz, Teao Sense, Obrayan Calderon, Marcos Odara, Ras K’ Dee) pose for a photo outside West Oakland’s mural and museum dedicated to the women of the Black Panther Party. \u003ccite>(Sade Adeyemi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The jam session and open mic will also honor the start of the Lunar New Year. jo love/speak cruz says they’ll celebrate the Year of the Fire Horse by gifting traditional red envelopes to attendees — as well as offering free boxing lessons from \u003ca href=\"https://www.jxtheo.net/bayanihanboxing\">Jean “Jxtheo” Teodoro, owner of Bayanihan Boxing\u003c/a> to ensure the community is artistically, politically and physically empowered.\u003c/p>\n\u003cp>The Year of the Fire Horse brings a “really bold, passionate, and purposeful energy,” jo love/speak cruz attests, adding that it’s important to harness this energy in a benevolent manner. “Beyond the individual,” she says, “it’s meant to really move the collective.”\u003c/p>\n\u003cp>With that in mind, Audiopharmacy will combine music and fresh Nepali cuisine with collective meditation and the intentional usage of certain colors. As they make art and party for a purpose, while kicking off a fresh Lunar New Year, jo love/speak cruz offers a reminder: “Fire is good,” she says. “We’ve got to melt the ice.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audiopharmacy’s second installment of the \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">BAMBU Sessions\u003c/a> takes place Saturday, Feb. 21, in West Oakland. For tickets and specific event location, \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">RSVP here.\u003c/a> \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area artists have long mastered the art of partying for a purpose. On Saturday, the hip-hop ensemble \u003ca href=\"https://www.audiopharmacy.com/\">Audiopharmacy\u003c/a> will throw an event that’s a celebration — as well as a call to action.\u003c/p>\n\u003cp>For the second installment of group’s quarterly \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">BAMBU Sessions\u003c/a> series, sliding-scale admission will give attendees an evening of live music, an open mic and a Lunar New Year celebration to raise funds for a musician currently in custody of U.S. Immigration and Customs Enforcement.\u003c/p>\n\u003cp>Audiopharmacy founder \u003ca href=\"https://www.instagram.com/teaosense\">Teao Sense\u003c/a> adds that the evening comes with an underlying theme of using old-fashioned human creativity to combat the prevalence of artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13986899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13986899 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic.jpg\" alt=\"A collective of people performing on stage. \" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/AP-Summer-arts-Stage-pic-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audiopharmacy rocking the stage at Summer Arts & Music Fest 2024 in Redway, CA. \u003ccite>(David Saenz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The issue that I want to address, first and foremost,” Sense tells me during a recent call, “is that we don’t know what’s AI and what’s not AI.” In turn, Sense is turning to what he calls “HI” — human intelligence. A turntablist, producer and multi-instrumentalist, Sense adds that the music recorded during these live BAMBU Sessions events is mixed, mastered and shared with the world for free on \u003ca href=\"http://www.audiopharmacy.com.\">their website\u003c/a>.\u003c/p>\n\u003cp>For more than two decades, Audiopharmacy has recorded and performed around the Bay Area and across the globe. This past December, with financial support from \u003ca href=\"https://www.zoolabs.org/\">Zoo Labs\u003c/a> and \u003ca href=\"https://theintersection.org/\">Intersection for the Arts\u003c/a>, the group opened a new recording studio, arts incubator, performance and wellness space in West Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To christen their new space, known as BAMBU Pharm, they held a series of activations, including \u003ca href=\"https://www.youtube.com/watch?v=ViTeMcO8GZk\">their inaugural BAMBU Sessions\u003c/a> event.\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/ViTeMcO8GZk'\n title='//www.youtube.com/embed/ViTeMcO8GZk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The first jam session was organized and hosted by Teao Sense, jo love/speak cruz, Nikila Badua aka “MamaWisdom1,” as well as Gina Madrid, Sami See, Gema Cantu, Persia Blackwell, Seiji Oda, Aya Eid, Santos S.O.U.L., Marcos Odara, Rasul Grayson, Brass Medik, Amre Leon, Keith Ebbs., poko d., and JT Teodoro. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event also featured talented artists Ian Santillano, Jumakae, Emcee Soulati, Obrayan Calderon, Yrak Saenz, ELENAH, Dani Cornejo, Smiley C, MC Persia, TSAVO, Theresa Panyawai, Razteria, and Khalil Fantauzzi. \u003c/span>\u003c/p>\n\u003cp>Recalling the night with its live percussion, multiple string instruments and jazzy saxophone, \u003ca href=\"https://persia.bandcamp.com/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGntJVx23ZLi3Yq6LFCuSLb9qJWPIFFdUd_8Cm3ePB7F0Xe6dVngZoV8lABwv4_aem_4u74nzmK1Qg_3NbuRxZZ9w\">San Jose’s veteran lyricist MC Persia\u003c/a> says the vibe was so good, she was compelled to spit a few bars.\u003c/p>\n\u003cp>A rapper since her early teenage years, MC Persia began to experience “brain fog” in her late 30s, causing her to work more behind the scenes. Audiopharmacy’s events have aided her ambition to continue performing.\u003c/p>\n\u003cp>“For the past decade, every time I’ve stepped back on a stage it’s been because of Audiopharmacy,” she tells me. “What they are building isn’t just an event. It’s medicine. Every time I stand in it, I’m reminded why I started in the first place.”\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/GSWC0T9u2aM'\n title='//www.youtube.com/embed/GSWC0T9u2aM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That medicine extends beyond the music. “We’re generally raising funds for all the different things that we do,” says Sense, adding that the group regularly hosts workshops, ranging from art and music to Qigong and boxing.\u003c/p>\n\u003cp>This weekend, the group will raise funds for their friend, a Bay Area-based percussionist from Brazil named \u003ca href=\"https://www.gofundme.com/f/free-leo-from-ice-detention\">Leandro “Leo” Oliveira\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Dec. 4, 2025, Oliveira, while seeking asylum in the U.S., was leaving a scheduled immigration appointment in San Francisco when he was detained by ICE agents and subsequently incarcerated.\u003c/p>\n\u003cp>Oliveira, who plays percussion with Audiopharmacy, as well as the Bay Area Brazilian bands \u003ca href=\"https://www.instagram.com/bateriabatuki?igshid=Y2IzZGU1MTFhOQ%3D%3D\">Batuki\u003c/a> and\u003ca href=\"https://www.instagram.com/ndlband/\"> Namorados Da Lua (NDL)\u003c/a>, has reportedly been offered documents to self-deport, but isn’t signing. Now, Audiopharmacy is raising funds for their colleague’s legal representation through what cofounder jo love/speak cruz calls “radical joy” while doing “substantive work that supports our people.”\u003c/p>\n\u003cfigure id=\"attachment_13986898\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm.jpg\" alt=\"Eight people posing for a photo outside, in front of a building with a mural painted on it.\" width=\"2000\" height=\"2411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-768x926.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-1274x1536.jpg 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Audiopharm-1699x2048.jpg 1699w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Audiopharmacy (Nikila Badua aka MamaWisdom1, Santos S.O.U.L., Gina Madrid, jo love/speak cruz, Teao Sense, Obrayan Calderon, Marcos Odara, Ras K’ Dee) pose for a photo outside West Oakland’s mural and museum dedicated to the women of the Black Panther Party. \u003ccite>(Sade Adeyemi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The jam session and open mic will also honor the start of the Lunar New Year. jo love/speak cruz says they’ll celebrate the Year of the Fire Horse by gifting traditional red envelopes to attendees — as well as offering free boxing lessons from \u003ca href=\"https://www.jxtheo.net/bayanihanboxing\">Jean “Jxtheo” Teodoro, owner of Bayanihan Boxing\u003c/a> to ensure the community is artistically, politically and physically empowered.\u003c/p>\n\u003cp>The Year of the Fire Horse brings a “really bold, passionate, and purposeful energy,” jo love/speak cruz attests, adding that it’s important to harness this energy in a benevolent manner. “Beyond the individual,” she says, “it’s meant to really move the collective.”\u003c/p>\n\u003cp>With that in mind, Audiopharmacy will combine music and fresh Nepali cuisine with collective meditation and the intentional usage of certain colors. As they make art and party for a purpose, while kicking off a fresh Lunar New Year, jo love/speak cruz offers a reminder: “Fire is good,” she says. “We’ve got to melt the ice.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audiopharmacy’s second installment of the \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">BAMBU Sessions\u003c/a> takes place Saturday, Feb. 21, in West Oakland. For tickets and specific event location, \u003ca href=\"https://www.audiopharmacy.com/bambusessions\">RSVP here.\u003c/a> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Bruce Springsteen Is Coming Back to the Chase Center in April",
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"content": "\u003cp>Bruce Springsteen announced \u003ca href=\"https://brucespringsteen.net/tour/\">The Land of Hope and Dreams Tour\u003c/a> on Tuesday, with a stop at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/chase-center\">Chase Center\u003c/a> right around the corner — on Monday, April 13. Tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00644CF380D93D\">go on sale\u003c/a> Friday, Feb. 20 at noon, Pacific Time. \u003c/p>\n\u003cp>Marketing materials for the tour with the E Street Band make Springsteen’s intent plain, with a tagline reading “NO KINGS.” In a statement, Springsteen said the tour stood “in defense of America — American democracy, American freedom, our American Constitution and our sacred American dream — all of which are under attack by our wannabe king and his rogue government in Washington, D.C.”\u003c/p>\n\u003cp>Springsteen is currently riding a wave from a new anti-ICE protest song, “\u003ca href=\"https://youtu.be/LoOLc18uTw8?si=Gl5J1XnnC2fN-2zM\">Streets of Minneapolis\u003c/a>“; a recent \u003ca href=\"https://brucespringsteen.store/products/tracks-ii-the-lost-albums-7cd-box-set\">box set of unreleased albums\u003c/a>; and a \u003ca href=\"https://brucespringsteen.net/news/2025/land-of-hope-dreams-ep/\">live EP recorded in England\u003c/a> with sharp between-song criticism of the Trump administration’s attack on democracy and civil rights. He was also recently the subject of \u003ca href=\"https://www.kqed.org/arts/13982780/springsteen-deliver-me-from-nowhere-movie-review\">a Hollywood film\u003c/a>.\u003c/p>\n\u003cp>There are no special credit-card presales or phone-company presale codes for tickets to Bruce Springsteen’s San Francisco show — just a simple general onsale.\u003c/p>\n\u003cp>This may seem egalitarian, but consider that when Springsteen last played the Warriors’ home arena, with two back-to-back shows in 2024, his ticket sales were subject to “\u003ca href=\"https://www.insidehook.com/music/ticketmaster-dynamic-pricing\">dynamic pricing\u003c/a>,” and fluctuated by hundreds of dollars each in real time. (The backlash was so strong that after publishing for 43 years, the \u003ca href=\"https://www.theguardian.com/music/2023/feb/05/bruce-springsteen-fanzine-backstreets-shuts-down-ticket-prices\">Bruce fan newsletter Backstreets shut down in protest\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether dynamic pricing will be in effect on Friday remains to be seen. Notable is that there’s enough space on either side of his tour schedule to add another date, which could help with supply and demand. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets go on sale Friday, Feb. 20, at noon Pacific time \u003ca href=\"https://www.ticketmaster.com/event/1C00644CF380D93D\">right here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bruce Springsteen announced \u003ca href=\"https://brucespringsteen.net/tour/\">The Land of Hope and Dreams Tour\u003c/a> on Tuesday, with a stop at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/chase-center\">Chase Center\u003c/a> right around the corner — on Monday, April 13. Tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00644CF380D93D\">go on sale\u003c/a> Friday, Feb. 20 at noon, Pacific Time. \u003c/p>\n\u003cp>Marketing materials for the tour with the E Street Band make Springsteen’s intent plain, with a tagline reading “NO KINGS.” In a statement, Springsteen said the tour stood “in defense of America — American democracy, American freedom, our American Constitution and our sacred American dream — all of which are under attack by our wannabe king and his rogue government in Washington, D.C.”\u003c/p>\n\u003cp>Springsteen is currently riding a wave from a new anti-ICE protest song, “\u003ca href=\"https://youtu.be/LoOLc18uTw8?si=Gl5J1XnnC2fN-2zM\">Streets of Minneapolis\u003c/a>“; a recent \u003ca href=\"https://brucespringsteen.store/products/tracks-ii-the-lost-albums-7cd-box-set\">box set of unreleased albums\u003c/a>; and a \u003ca href=\"https://brucespringsteen.net/news/2025/land-of-hope-dreams-ep/\">live EP recorded in England\u003c/a> with sharp between-song criticism of the Trump administration’s attack on democracy and civil rights. He was also recently the subject of \u003ca href=\"https://www.kqed.org/arts/13982780/springsteen-deliver-me-from-nowhere-movie-review\">a Hollywood film\u003c/a>.\u003c/p>\n\u003cp>There are no special credit-card presales or phone-company presale codes for tickets to Bruce Springsteen’s San Francisco show — just a simple general onsale.\u003c/p>\n\u003cp>This may seem egalitarian, but consider that when Springsteen last played the Warriors’ home arena, with two back-to-back shows in 2024, his ticket sales were subject to “\u003ca href=\"https://www.insidehook.com/music/ticketmaster-dynamic-pricing\">dynamic pricing\u003c/a>,” and fluctuated by hundreds of dollars each in real time. (The backlash was so strong that after publishing for 43 years, the \u003ca href=\"https://www.theguardian.com/music/2023/feb/05/bruce-springsteen-fanzine-backstreets-shuts-down-ticket-prices\">Bruce fan newsletter Backstreets shut down in protest\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whether dynamic pricing will be in effect on Friday remains to be seen. Notable is that there’s enough space on either side of his tour schedule to add another date, which could help with supply and demand. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets go on sale Friday, Feb. 20, at noon Pacific time \u003ca href=\"https://www.ticketmaster.com/event/1C00644CF380D93D\">right here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’d been traveling down \u003ca href=\"https://www.kqed.org/news/tag/valencia-street\">Valencia Street\u003c/a> on Monday afternoon, you might have seen a 100-boomer-long procession snaking down the sidewalk in the light drizzle, its umbrella-toting occupants looking halfway like mourners. As one among the age 50-, 60- and 70-and-up gathered, I can verify: Our line was not for a funeral.\u003c/p>\n\u003cp>Rather, it was a celebration of a living legend. Van Morrison, with a touch of the deadpan, had chosen The Chapel — a former mortuary — as the site of an invite-only run-through of his new, blues-heavy album, \u003cem>Somebody Tried to Sell Me a Bridge\u003c/em>. He’s \u003ca href=\"https://www.palaceoffinearts.org/\">in town the rest of the week over at the Palace of Fine Arts\u003c/a>, and presumably, those five shows will yield more standard-issue sets.\u003c/p>\n\u003cp>[aside postID='arts_13847949']On Monday, though, between the setlist, the 400-capacity room and the 3 p.m. start time, well, this was a one-of-a-kind Van Morrison show. That much was evident after he took the stage and — just two minutes into set opener “Kidney Stew Blues” — Morrison turned to his seven-piece band, and … \u003cem>cracked a smile and laughed\u003c/em>?!?\u003c/p>\n\u003cp>If Polymarket or Kalshi, or \u003ca href=\"https://www.nytimes.com/2026/01/22/business/prediction-markets-polymarket-kalshi.html\">whatever the world’s crypto weirdos are into\u003c/a>, took bets on events to happen at a Van Morrison show, “smiling and laughing” would pay out 500 to 1. On record, he’s \u003ca href=\"https://en.wikipedia.org/wiki/What%27s_It_Gonna_Take%3F\">complained bitterly about COVID guidelines\u003c/a>; onstage, he sometimes gets compared to Oscar the Grouch. He has lodged himself in the showbiz grump hall of fame along with \u003ca href=\"https://www.youtube.com/watch?v=O3cBp_Bf43M\">Billy Joel when he is in Russia and it is the 1980s\u003c/a>.\u003c/p>\n\u003cp>But man, give the Irish guy a small club and a bunch of blues songs from Black American artists like Willie Dixon, Sonny Terry & Brownie McGhee and Eddie “Cleanhead” Vinson, and he loosens up like a rusty bolt blasted with WD-40.\u003c/p>\n\u003cfigure id=\"attachment_13986761\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg\" alt=\"Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. The singer performed songs from his 48th album, ‘Somebody Tried to Sell Me a Bridge,’ for an invite-only crowd.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. \u003ccite>(Kathy Henson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Madame Butterfly Blues,” he jokingly “fined” keyboardist Mitch Woods with five full-finger hand signals, \u003ca href=\"https://www.reddit.com/r/todayilearned/comments/k42u89/til_that_james_brown_would_impose_fines_on_his/\">James Brown-style\u003c/a>. After the rollicking “I’m Gonna Play the Honky Tonks,” an obscurity by blues singer Marie Adams, he \u003cem>arooooo-ed\u003c/em> and \u003cem>yip yip yip yip yip yip\u003c/em>ped into the mic like an excited hound or \u003ca href=\"https://www.instagram.com/p/DSAiDHqkeAH/\">an East Bay punk singer on drugs\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the set’s most transcendent moment, Morrison reinvented Fats Domino’s “Ain’t That a Shame,” introducing new phrasing, rhythm and melody to create something hallowed and tender. That’s Van the singer; there was also Van the music director, conducting his band piece by piece — a piano chord here, a cymbal crash there. Morrison ad-libbed the phrase “stop breaking down” 17 times in a row while the band crested its long crescendo, turning the air into gold.\u003c/p>\n\u003cp>When the music writer \u003ca href=\"https://www.joelselvin.com/\">Joel Selvin\u003c/a>, a proud part-time grump himself, included droplets in his \u003cem>San Francisco Chronicle\u003c/em> columns like “\u003ca href=\"https://www.sfgate.com/entertainment/article/grammy-nominations-a-snooze-3181907.php\">Truth be told, many people in the industry don’t like the music they are making. They go home and listen to old Van Morrison records like everyone else\u003c/a>” — this is the Van Morrison he meant.\u003c/p>\n\u003cfigure id=\"attachment_13986760\" class=\"wp-caption aligncenter\" style=\"max-width: 1046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg\" alt=\"\" width=\"1046\" height=\"697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg 1046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-768x512.jpg 768w\" sizes=\"auto, (max-width: 1046px) 100vw, 1046px\">\u003cfigcaption class=\"wp-caption-text\">A marquee outside the Chapel announces Van Morrison’s afternoon set. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, over the 80-minute set, some sections lagged, with the top-notch band applying formulaic arrangements to “I’m Ready,” “Can’t Help Myself” and “Social Climbing Scene,” the latter a Morrison original about the vapid quest for clout. During his other original composition, the complainy “Somebody Tried to Sell Me a Bridge,” Morrison hunched over his printed lyrics and sang them with only a few ounces of conviction.\u003c/p>\n\u003cp>Then there was Van the perfectionist, kicking off “Rock Me Baby” after two false starts: “Too fast,” he said. During the first verse, in an agreeable tempo, he looked toward Woods: “Play!” Woods ran up and down the keys. “Not that much!” Morrison said. “Cut it in half!”\u003c/p>\n\u003cp>But the man knows what he wants, and when he gets it, everything falls into place. After an encore of Sonny Boy Williamson’s “Help Me,” the familiar three chords of “Gloria” charged in, somehow both a surprise and a foregone conclusion. For a few minutes, the crowd forgot about the troubles outside, chanting with a collective uplift of \u003cem>G-L-O-R-I-A\u003c/em>, and Morrison was in his happy place of being in a bar band again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Van Morrison performs Feb. 17, 18, 19, 23 and 24 at the Palace of Fine Arts (3301 Lyon St., San Francisco). \u003ca href=\"https://www.palaceoffinearts.org/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’d been traveling down \u003ca href=\"https://www.kqed.org/news/tag/valencia-street\">Valencia Street\u003c/a> on Monday afternoon, you might have seen a 100-boomer-long procession snaking down the sidewalk in the light drizzle, its umbrella-toting occupants looking halfway like mourners. As one among the age 50-, 60- and 70-and-up gathered, I can verify: Our line was not for a funeral.\u003c/p>\n\u003cp>Rather, it was a celebration of a living legend. Van Morrison, with a touch of the deadpan, had chosen The Chapel — a former mortuary — as the site of an invite-only run-through of his new, blues-heavy album, \u003cem>Somebody Tried to Sell Me a Bridge\u003c/em>. He’s \u003ca href=\"https://www.palaceoffinearts.org/\">in town the rest of the week over at the Palace of Fine Arts\u003c/a>, and presumably, those five shows will yield more standard-issue sets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Monday, though, between the setlist, the 400-capacity room and the 3 p.m. start time, well, this was a one-of-a-kind Van Morrison show. That much was evident after he took the stage and — just two minutes into set opener “Kidney Stew Blues” — Morrison turned to his seven-piece band, and … \u003cem>cracked a smile and laughed\u003c/em>?!?\u003c/p>\n\u003cp>If Polymarket or Kalshi, or \u003ca href=\"https://www.nytimes.com/2026/01/22/business/prediction-markets-polymarket-kalshi.html\">whatever the world’s crypto weirdos are into\u003c/a>, took bets on events to happen at a Van Morrison show, “smiling and laughing” would pay out 500 to 1. On record, he’s \u003ca href=\"https://en.wikipedia.org/wiki/What%27s_It_Gonna_Take%3F\">complained bitterly about COVID guidelines\u003c/a>; onstage, he sometimes gets compared to Oscar the Grouch. He has lodged himself in the showbiz grump hall of fame along with \u003ca href=\"https://www.youtube.com/watch?v=O3cBp_Bf43M\">Billy Joel when he is in Russia and it is the 1980s\u003c/a>.\u003c/p>\n\u003cp>But man, give the Irish guy a small club and a bunch of blues songs from Black American artists like Willie Dixon, Sonny Terry & Brownie McGhee and Eddie “Cleanhead” Vinson, and he loosens up like a rusty bolt blasted with WD-40.\u003c/p>\n\u003cfigure id=\"attachment_13986761\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg\" alt=\"Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. The singer performed songs from his 48th album, ‘Somebody Tried to Sell Me a Bridge,’ for an invite-only crowd.\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_7021-1-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Van Morrison performs at The Chapel in San Francisco on Feb. 16, 2026. \u003ccite>(Kathy Henson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Madame Butterfly Blues,” he jokingly “fined” keyboardist Mitch Woods with five full-finger hand signals, \u003ca href=\"https://www.reddit.com/r/todayilearned/comments/k42u89/til_that_james_brown_would_impose_fines_on_his/\">James Brown-style\u003c/a>. After the rollicking “I’m Gonna Play the Honky Tonks,” an obscurity by blues singer Marie Adams, he \u003cem>arooooo-ed\u003c/em> and \u003cem>yip yip yip yip yip yip\u003c/em>ped into the mic like an excited hound or \u003ca href=\"https://www.instagram.com/p/DSAiDHqkeAH/\">an East Bay punk singer on drugs\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the set’s most transcendent moment, Morrison reinvented Fats Domino’s “Ain’t That a Shame,” introducing new phrasing, rhythm and melody to create something hallowed and tender. That’s Van the singer; there was also Van the music director, conducting his band piece by piece — a piano chord here, a cymbal crash there. Morrison ad-libbed the phrase “stop breaking down” 17 times in a row while the band crested its long crescendo, turning the air into gold.\u003c/p>\n\u003cp>When the music writer \u003ca href=\"https://www.joelselvin.com/\">Joel Selvin\u003c/a>, a proud part-time grump himself, included droplets in his \u003cem>San Francisco Chronicle\u003c/em> columns like “\u003ca href=\"https://www.sfgate.com/entertainment/article/grammy-nominations-a-snooze-3181907.php\">Truth be told, many people in the industry don’t like the music they are making. They go home and listen to old Van Morrison records like everyone else\u003c/a>” — this is the Van Morrison he meant.\u003c/p>\n\u003cfigure id=\"attachment_13986760\" class=\"wp-caption aligncenter\" style=\"max-width: 1046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg\" alt=\"\" width=\"1046\" height=\"697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037.jpg 1046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_1037-768x512.jpg 768w\" sizes=\"auto, (max-width: 1046px) 100vw, 1046px\">\u003cfigcaption class=\"wp-caption-text\">A marquee outside the Chapel announces Van Morrison’s afternoon set. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, over the 80-minute set, some sections lagged, with the top-notch band applying formulaic arrangements to “I’m Ready,” “Can’t Help Myself” and “Social Climbing Scene,” the latter a Morrison original about the vapid quest for clout. During his other original composition, the complainy “Somebody Tried to Sell Me a Bridge,” Morrison hunched over his printed lyrics and sang them with only a few ounces of conviction.\u003c/p>\n\u003cp>Then there was Van the perfectionist, kicking off “Rock Me Baby” after two false starts: “Too fast,” he said. During the first verse, in an agreeable tempo, he looked toward Woods: “Play!” Woods ran up and down the keys. “Not that much!” Morrison said. “Cut it in half!”\u003c/p>\n\u003cp>But the man knows what he wants, and when he gets it, everything falls into place. After an encore of Sonny Boy Williamson’s “Help Me,” the familiar three chords of “Gloria” charged in, somehow both a surprise and a foregone conclusion. For a few minutes, the crowd forgot about the troubles outside, chanting with a collective uplift of \u003cem>G-L-O-R-I-A\u003c/em>, and Morrison was in his happy place of being in a bar band again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Van Morrison performs Feb. 17, 18, 19, 23 and 24 at the Palace of Fine Arts (3301 Lyon St., San Francisco). \u003ca href=\"https://www.palaceoffinearts.org/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, for the 33rd year in a row, \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> will fill the Bay Area’s clubs, art spaces, concert halls and dive bars with live music, bringing together top-tier local artists with cult-favorite touring acts. The \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">homegrown festival\u003c/a> runs Feb. 19–March 1, and features over 150 bands at 20 different venues, with Tortoise, Stephen Malkmus, Wisp and Cupcakke at the top of the lineup.\u003c/p>\n\u003cp>Unlike weekend-long fests with hefty ticket prices, Noise Pop is what you make it. Fans can purchase affordable individual tickets to one-off shows, or choose to go all in with badges that allow access to multiple concerts throughout each night.\u003c/p>\n\u003cp>The festival’s producers also work with the city to put on \u003ca href=\"https://sfmusicweek.org/\">San Francisco Music Week\u003c/a>, running Feb. 23–March 1. It overlaps with Noise Pop and features concerts as well as an industry summit, talks and workshops.\u003c/p>\n\u003cp>During a year when San Francisco is losing two beloved independent venues — the \u003ca href=\"https://www.coyotemedia.org/san-francisco-club-bottom-of-the-hill-to-close-at-the-end-of-2026/\">Bottom of the Hill\u003c/a> and \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-punk-bar-parkside-close-21322202.php\">Thee Parkside\u003c/a> — it’s as important as ever to plug in and support your local scene. Below you’ll find five Bay Area acts not to miss at the festival.\u003c/p>\n\u003cp>https://youtu.be/LfRK51Rv7x4?si=afFZixjPdK7kc43Q\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/publicsf/events/giraffage-chrome-sparks-dj-presented-by-noise-pop-festival-public-works-165121\">Giraffage\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 21, 9:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Public Works, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Giraffage emerged a decade ago with head-in-the-cloud beats evoking a hazy daydream. His most recent music (especially in his duo with Ryan Hemsworth, Bodysync) is much less cerebral. The San Jose-born electronic musician goes in on feel-good, four-on-the-floor beats that vibrate with the adrenaline-fueled energy of a ’90s jock jam. Stretching and hydrating is a must before Giraffage’s sweat-inducing set at Public Works during Noise Pop’s first weekend.\u003c/p>\n\u003cp>https://youtu.be/TOVGTxqUd00?si=MEKHEg8dk76jDW_f\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/lyrics-born-171457\">Lyrics Born\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 8 p.m.\u003c/em>\u003cbr>\n\u003cem>Gray Area, San Francisco\u003c/em>\u003c/p>\n\u003cp>Over his 30-plus-year career, Lyrics Born has cemented himself as a laid-back wordsmith whose songs are as likely to get the dance floor moving as they are to hit listeners in the heart with pieces of life wisdom. His solo debut \u003ci>Later That Day\u003c/i> made \u003cem>Rolling Stone\u003c/em>’s list of the \u003ca href=\"https://www.rollingstone.com/music/music-lists/best-hip-hop-albums-1323916/\">200 Greatest Hip-Hop Albums of All Time\u003c/a>; he’s put out no shortage of funk-drenched bangers since, most recently his 2024 album \u003ci>Goodbye, Sticky Rice\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/h0-k7vW9Xek?si=nAUpg42z9I3yvfoZ\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theuctheatre.org/shows/clipping-27-feb\">clipping.\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 7 p.m.\u003cbr>\nUC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Before he starred in \u003ci>Hamilton\u003c/i> and \u003ci>Blindspotting\u003c/i>, Daveed Diggs came up in clipping., a hip-hop trio that pairs his tongue-twisting lyricism with jagged, experimental production by William Hutson and Jonathan Snipes. clipping.’s 2025 album \u003ci>Dead Channel Sky\u003c/i> pulses with the intensity of a warehouse rave, with industrial beats that match Diggs’ careening verses. This is an album for letting go, moving your body and, who knows, maybe even hopping into the mosh pit.\u003c/p>\n\u003cp>https://youtu.be/L8zILRiE5wk?si=tlQLa7XnoZlQd0WK\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/jay-som-168945\">Jay Som\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 6:30 p.m.\u003cbr>\nGray Area, San Francisco \u003c/em>\u003c/p>\n\u003cp>Jay Som began writing songs in her suburban East Bay bedroom, and her take on indie rock — punchy yet heartrending, catchy yet off-kilter enough to make you pause and ponder — has since caught the ear of big names like Paramore’s Hayley Williams, who features on Jay Som’s 2025 album \u003ci>Belong\u003c/i>. It’s Jay Som’s first release in six years, and Noise Pop will mark a welcome return to her hometown stage.\u003c/p>\n\u003cp>https://youtu.be/7gxHJnNYTAI?si=gKPTln8IXN2mDWzx\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/hugo-de-la-lune/\">Hugo De La Lune\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 7 and 8:30 p.m.\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hugo De La Lune calls themself African Dracula, and indeed, it’s not hard to imagine their haunting, sultry vocals echoing from a dark piano bar in \u003ci>Interview with a Vampire\u003c/i>. The emerging singer-songwriter has an arresting vocal range befitting of their high-drama storytelling, which is bound to captivate listeners during their two back-to-back shows at SFJAZZ.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, for the 33rd year in a row, \u003ca href=\"https://www.noisepopfest.com/\">Noise Pop\u003c/a> will fill the Bay Area’s clubs, art spaces, concert halls and dive bars with live music, bringing together top-tier local artists with cult-favorite touring acts. The \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">homegrown festival\u003c/a> runs Feb. 19–March 1, and features over 150 bands at 20 different venues, with Tortoise, Stephen Malkmus, Wisp and Cupcakke at the top of the lineup.\u003c/p>\n\u003cp>Unlike weekend-long fests with hefty ticket prices, Noise Pop is what you make it. Fans can purchase affordable individual tickets to one-off shows, or choose to go all in with badges that allow access to multiple concerts throughout each night.\u003c/p>\n\u003cp>The festival’s producers also work with the city to put on \u003ca href=\"https://sfmusicweek.org/\">San Francisco Music Week\u003c/a>, running Feb. 23–March 1. It overlaps with Noise Pop and features concerts as well as an industry summit, talks and workshops.\u003c/p>\n\u003cp>During a year when San Francisco is losing two beloved independent venues — the \u003ca href=\"https://www.coyotemedia.org/san-francisco-club-bottom-of-the-hill-to-close-at-the-end-of-2026/\">Bottom of the Hill\u003c/a> and \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-punk-bar-parkside-close-21322202.php\">Thee Parkside\u003c/a> — it’s as important as ever to plug in and support your local scene. Below you’ll find five Bay Area acts not to miss at the festival.\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/LfRK51Rv7x4'\n title='//www.youtube.com/embed/LfRK51Rv7x4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/publicsf/events/giraffage-chrome-sparks-dj-presented-by-noise-pop-festival-public-works-165121\">Giraffage\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 21, 9:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Public Works, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Giraffage emerged a decade ago with head-in-the-cloud beats evoking a hazy daydream. His most recent music (especially in his duo with Ryan Hemsworth, Bodysync) is much less cerebral. The San Jose-born electronic musician goes in on feel-good, four-on-the-floor beats that vibrate with the adrenaline-fueled energy of a ’90s jock jam. Stretching and hydrating is a must before Giraffage’s sweat-inducing set at Public Works during Noise Pop’s first weekend.\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/TOVGTxqUd00'\n title='//www.youtube.com/embed/TOVGTxqUd00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/lyrics-born-171457\">Lyrics Born\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 8 p.m.\u003c/em>\u003cbr>\n\u003cem>Gray Area, San Francisco\u003c/em>\u003c/p>\n\u003cp>Over his 30-plus-year career, Lyrics Born has cemented himself as a laid-back wordsmith whose songs are as likely to get the dance floor moving as they are to hit listeners in the heart with pieces of life wisdom. His solo debut \u003ci>Later That Day\u003c/i> made \u003cem>Rolling Stone\u003c/em>’s list of the \u003ca href=\"https://www.rollingstone.com/music/music-lists/best-hip-hop-albums-1323916/\">200 Greatest Hip-Hop Albums of All Time\u003c/a>; he’s put out no shortage of funk-drenched bangers since, most recently his 2024 album \u003ci>Goodbye, Sticky Rice\u003c/i>.\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/h0-k7vW9Xek'\n title='//www.youtube.com/embed/h0-k7vW9Xek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.theuctheatre.org/shows/clipping-27-feb\">clipping.\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 27, 7 p.m.\u003cbr>\nUC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Before he starred in \u003ci>Hamilton\u003c/i> and \u003ci>Blindspotting\u003c/i>, Daveed Diggs came up in clipping., a hip-hop trio that pairs his tongue-twisting lyricism with jagged, experimental production by William Hutson and Jonathan Snipes. clipping.’s 2025 album \u003ci>Dead Channel Sky\u003c/i> pulses with the intensity of a warehouse rave, with industrial beats that match Diggs’ careening verses. This is an album for letting go, moving your body and, who knows, maybe even hopping into the mosh pit.\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/L8zILRiE5wk'\n title='//www.youtube.com/embed/L8zILRiE5wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/noisepopfest/events/jay-som-168945\">Jay Som\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 6:30 p.m.\u003cbr>\nGray Area, San Francisco \u003c/em>\u003c/p>\n\u003cp>Jay Som began writing songs in her suburban East Bay bedroom, and her take on indie rock — punchy yet heartrending, catchy yet off-kilter enough to make you pause and ponder — has since caught the ear of big names like Paramore’s Hayley Williams, who features on Jay Som’s 2025 album \u003ci>Belong\u003c/i>. It’s Jay Som’s first release in six years, and Noise Pop will mark a welcome return to her hometown stage.\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/7gxHJnNYTAI'\n title='//www.youtube.com/embed/7gxHJnNYTAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/hugo-de-la-lune/\">Hugo De La Lune\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Feb. 28, 7 and 8:30 p.m.\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hugo De La Lune calls themself African Dracula, and indeed, it’s not hard to imagine their haunting, sultry vocals echoing from a dark piano bar in \u003ci>Interview with a Vampire\u003c/i>. The emerging singer-songwriter has an arresting vocal range befitting of their high-drama storytelling, which is bound to captivate listeners during their two back-to-back shows at SFJAZZ.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "anthony-ant-remembrance-starry-plough-trumpet-berkeley",
"title": "Remembering Anthony Ant, Trumpeter and Indefatigable Scene-Builder",
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"headTitle": "Remembering Anthony Ant, Trumpeter and Indefatigable Scene-Builder | KQED",
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"content": "\u003cp>Anthony Ant spent his adult life bringing the Bay Area music scene together. On Thursday night, the scene convened at the Starry Plough in South Berkeley to dance, shout, jam and comfort each other over the shocking and sudden loss of their friend, colleague and tireless champion.\u003c/p>\n\u003cp>A powerful trumpeter versed in funk, jazz, R&B and soul, Ant, 40, was a binding force in the region’s far-flung musical community, connecting hundreds of musicians through a succession of East Bay jam sessions. He also played countless club dates, corporate gigs, weddings and parties.\u003c/p>\n\u003cp>The news of his death — Ant was \u003ca href=\"https://www.kqed.org/news/12073025/man-fatally-shot-by-alameda-county-deputies-reportedly-had-a-pipe-not-a-gun\">shot by Alameda County sheriff’s deputies in an early Monday morning confrontation\u003c/a> outside his home in San Leandro — was still raw and undigested for many. The Starry Plough, where Ant produced the weekly Free Funk Glory Jam, had already seen impromptu vigils on Tuesday and Wednesday, but Thursday’s was officially organized by his family.\u003c/p>\n\u003cp>The response was legion. At 10 p.m., fed by a steady flow of newcomers, the crowd spilled out onto Shattuck Avenue, making the corner unpassable.\u003c/p>\n\u003cfigure id=\"attachment_13986714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg\" alt=\"The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside the packed club, guitarist Stu Silverman’s Stu Crew kicked off the music after leading a call-and-response declaring love for Ant. Shortly before taking the stage, he and his bandmates praised the trumpeter, who was born Anthony Anderson and grew up in Berkeley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He did more to connect people and create happiness than anyone I know,” Silverman said. “They should name a school after him.”\u003c/p>\n\u003cp>“He was a true community musician,” added saxophonist John Palowitch. “Anthony never looked to go out on tour. He was focused on here.”\u003c/p>\n\u003cp>Ant’s adopted name was apt. Like the diminutive picnic staple, he was ubiquitous on the Bay Area stages, impossible to miss at jam sessions and shows. But his most ant-like quality was an ability to lift dozens of times his weight, carrying an entire music scene on his back.\u003c/p>\n\u003cp>“He manually sent out text messages to hundreds of people every week, so everybody would have a chance to participate, for their voices to be heard,” said Kaila Love, who helped organize the tribute.\u003c/p>\n\u003cfigure id=\"attachment_13986715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg\" alt=\"Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ant’s primary vehicle for this roiling musical democracy was the jam session, starting at The Layover in downtown Oakland in the mid-aughts. “He took over from me when I went on tour,” said bassist Stephen Paul Godwin. “When I got back, the place was packed, like 200 people. It got too big for the club.”\u003c/p>\n\u003cp>Ant organized sessions at other Oakland joints, including Legionnaire and the Starline Social Club, before settling in at the Starry Plough. “He’s been building this for 15 years,” said trumpeter Mario Silva. “Early on, it was thin, but he refused to give up.”\u003c/p>\n\u003cp>Jam sessions can be treacherous. If a player is unfamiliar with chord changes, or falls a beat behind, or simply doesn’t exude confidence, they can feel a draft of dismissal. Ant was the antidote to getting vibed. As word of his death started to circulate on social media, dozens of musicians described Ant welcoming them onto the scene. Those stories were echoed by many at the Starry Plough.\u003c/p>\n\u003cfigure id=\"attachment_13986711\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg\" alt=\"A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a high school student in San Jose, Joy Hackett was an aspiring jazz keyboardist searching for a jam session, and “this was the one that everyone talked about,” she said. “I drove up with a friend, walked in the door and my mind was blown. It was shoulder-to-shoulder, and I hear Anthony on the mic: ‘The glory!’ I made it up and took my solo, and knew I found the place I need to be.”\u003c/p>\n\u003cp>Perhaps the greatest testament to Ant’s support of the local music scene is that he literally changed people’s lives. On Thursday night, Scott Chowning recalled how he’d played French horn in a Navy band, but gave it up, and had walked away from music.\u003c/p>\n\u003cp>“Anthony heard me noodling around on keyboard and called me for a gig, my first one in 10 years,” he recalled. “Now I’m a full-time musician.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Family members are planning a memorial for Anthony Ant, with details to be announced soon; a \u003ca href=\"https://www.gofundme.com/f/honoring-anthony-support-his-family-after-tragic-shooting\">GoFundMe page\u003c/a> to support his family and funeral expenses is live now. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anthony Ant spent his adult life bringing the Bay Area music scene together. On Thursday night, the scene convened at the Starry Plough in South Berkeley to dance, shout, jam and comfort each other over the shocking and sudden loss of their friend, colleague and tireless champion.\u003c/p>\n\u003cp>A powerful trumpeter versed in funk, jazz, R&B and soul, Ant, 40, was a binding force in the region’s far-flung musical community, connecting hundreds of musicians through a succession of East Bay jam sessions. He also played countless club dates, corporate gigs, weddings and parties.\u003c/p>\n\u003cp>The news of his death — Ant was \u003ca href=\"https://www.kqed.org/news/12073025/man-fatally-shot-by-alameda-county-deputies-reportedly-had-a-pipe-not-a-gun\">shot by Alameda County sheriff’s deputies in an early Monday morning confrontation\u003c/a> outside his home in San Leandro — was still raw and undigested for many. The Starry Plough, where Ant produced the weekly Free Funk Glory Jam, had already seen impromptu vigils on Tuesday and Wednesday, but Thursday’s was officially organized by his family.\u003c/p>\n\u003cp>The response was legion. At 10 p.m., fed by a steady flow of newcomers, the crowd spilled out onto Shattuck Avenue, making the corner unpassable.\u003c/p>\n\u003cfigure id=\"attachment_13986714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg\" alt=\"The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside the packed club, guitarist Stu Silverman’s Stu Crew kicked off the music after leading a call-and-response declaring love for Ant. Shortly before taking the stage, he and his bandmates praised the trumpeter, who was born Anthony Anderson and grew up in Berkeley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He did more to connect people and create happiness than anyone I know,” Silverman said. “They should name a school after him.”\u003c/p>\n\u003cp>“He was a true community musician,” added saxophonist John Palowitch. “Anthony never looked to go out on tour. He was focused on here.”\u003c/p>\n\u003cp>Ant’s adopted name was apt. Like the diminutive picnic staple, he was ubiquitous on the Bay Area stages, impossible to miss at jam sessions and shows. But his most ant-like quality was an ability to lift dozens of times his weight, carrying an entire music scene on his back.\u003c/p>\n\u003cp>“He manually sent out text messages to hundreds of people every week, so everybody would have a chance to participate, for their voices to be heard,” said Kaila Love, who helped organize the tribute.\u003c/p>\n\u003cfigure id=\"attachment_13986715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg\" alt=\"Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ant’s primary vehicle for this roiling musical democracy was the jam session, starting at The Layover in downtown Oakland in the mid-aughts. “He took over from me when I went on tour,” said bassist Stephen Paul Godwin. “When I got back, the place was packed, like 200 people. It got too big for the club.”\u003c/p>\n\u003cp>Ant organized sessions at other Oakland joints, including Legionnaire and the Starline Social Club, before settling in at the Starry Plough. “He’s been building this for 15 years,” said trumpeter Mario Silva. “Early on, it was thin, but he refused to give up.”\u003c/p>\n\u003cp>Jam sessions can be treacherous. If a player is unfamiliar with chord changes, or falls a beat behind, or simply doesn’t exude confidence, they can feel a draft of dismissal. Ant was the antidote to getting vibed. As word of his death started to circulate on social media, dozens of musicians described Ant welcoming them onto the scene. Those stories were echoed by many at the Starry Plough.\u003c/p>\n\u003cfigure id=\"attachment_13986711\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg\" alt=\"A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a high school student in San Jose, Joy Hackett was an aspiring jazz keyboardist searching for a jam session, and “this was the one that everyone talked about,” she said. “I drove up with a friend, walked in the door and my mind was blown. It was shoulder-to-shoulder, and I hear Anthony on the mic: ‘The glory!’ I made it up and took my solo, and knew I found the place I need to be.”\u003c/p>\n\u003cp>Perhaps the greatest testament to Ant’s support of the local music scene is that he literally changed people’s lives. On Thursday night, Scott Chowning recalled how he’d played French horn in a Navy band, but gave it up, and had walked away from music.\u003c/p>\n\u003cp>“Anthony heard me noodling around on keyboard and called me for a gig, my first one in 10 years,” he recalled. “Now I’m a full-time musician.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Family members are planning a memorial for Anthony Ant, with details to be announced soon; a \u003ca href=\"https://www.gofundme.com/f/honoring-anthony-support-his-family-after-tragic-shooting\">GoFundMe page\u003c/a> to support his family and funeral expenses is live now. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.laondafest.com/\">La Onda Festival\u003c/a> returns to Napa Valley Expo on May 30 and 31, this time with a stacked lineup headlined by Colombian reggaetonero J Balvin; Mexican mariacheño singer Christian Nodal; Mexican rock icons Maná and Californian música mexicana singer Ivan Cornejo.\u003c/p>\n\u003cp>One of the largest Latin music festivals in the Golden State, La Onda draws around 20,000 attendees per day to the same wine country fairgrounds that host \u003ca href=\"https://www.kqed.org/arts/13985337/bottlerock-lineup-foo-fighters-backstreet-boys-lorde-sombr-lcd-soundsystem-napa\">BottleRock the weekend prior\u003c/a>.\u003c/p>\n\u003cp>Mexican musical greats including Los Tucanes de Tijuana are prominent on the intergenerational lineup, but La Onda doesn’t limit itself to one sound or cultural niche. Also on the bill are Colombian salsa giants Grupo Niche; Cuban hip-hop group Orishas; Venezuelan rapper Danny Ocean; and El Gran Combo de Puerto Rico, whose “Un Verano en Nueva York” was sampled by \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> in his smash hit “NUEVAYoL.”\u003c/p>\n\u003cp>The remainder of the lineup includes Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, Molotov, Hermanos Espinoza, Chiquis, El Malilla, Los Primos del Este, Kinky, Ozomatli, Daniel, Me Estás Matando, Emmanuel Cortes, Pedro Sampaio, Julio Caesar, Arath Herce, eydrey, Frater Cosmic Beats, Delilah and Dreah.\u003c/p>\n\u003cp>La Onda features Latin American food and beverage offerings, artist vendors, lucha libre wrestling and more. \u003ca href=\"https://www.laondafest.com/tickets/\">Single-day and weekend tickets\u003c/a> go on sale Feb. 13 at noon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.laondafest.com/\">La Onda Festival\u003c/a> returns to Napa Valley Expo on May 30 and 31, this time with a stacked lineup headlined by Colombian reggaetonero J Balvin; Mexican mariacheño singer Christian Nodal; Mexican rock icons Maná and Californian música mexicana singer Ivan Cornejo.\u003c/p>\n\u003cp>One of the largest Latin music festivals in the Golden State, La Onda draws around 20,000 attendees per day to the same wine country fairgrounds that host \u003ca href=\"https://www.kqed.org/arts/13985337/bottlerock-lineup-foo-fighters-backstreet-boys-lorde-sombr-lcd-soundsystem-napa\">BottleRock the weekend prior\u003c/a>.\u003c/p>\n\u003cp>Mexican musical greats including Los Tucanes de Tijuana are prominent on the intergenerational lineup, but La Onda doesn’t limit itself to one sound or cultural niche. Also on the bill are Colombian salsa giants Grupo Niche; Cuban hip-hop group Orishas; Venezuelan rapper Danny Ocean; and El Gran Combo de Puerto Rico, whose “Un Verano en Nueva York” was sampled by \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> in his smash hit “NUEVAYoL.”\u003c/p>\n\u003cp>The remainder of the lineup includes Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, Molotov, Hermanos Espinoza, Chiquis, El Malilla, Los Primos del Este, Kinky, Ozomatli, Daniel, Me Estás Matando, Emmanuel Cortes, Pedro Sampaio, Julio Caesar, Arath Herce, eydrey, Frater Cosmic Beats, Delilah and Dreah.\u003c/p>\n\u003cp>La Onda features Latin American food and beverage offerings, artist vendors, lucha libre wrestling and more. \u003ca href=\"https://www.laondafest.com/tickets/\">Single-day and weekend tickets\u003c/a> go on sale Feb. 13 at noon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. [aside postid='arts_13986534']\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\u003c/p>\n\u003cp>https://youtu.be/B4uF9pfu_UM?si=IHhzPPZOvNoRvxAs\u003c/p>\n\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\u003c/p>\n\u003cp>https://youtu.be/1vqzFdoo-Tk?si=yWl9ZxkdlSLLdzI9\u003c/p>\n\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The free Valentine’s Day block party features bands, muralists, lowriders, kids’ activities and wellness offerings.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13986600\" class=\"wp-caption aligncenter\" style=\"max-width: 1703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg\" alt=\"\" width=\"1703\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-scaled.jpg 1703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-2000x3006.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/DSC_8258-1363x2048.jpg 1363w\" sizes=\"auto, (max-width: 1703px) 100vw, 1703px\">\u003cfigcaption class=\"wp-caption-text\">Lovers Lane is a grassroots festival put on by the artists and activists of San Francisco’s Mission District. \u003ccite>(Andrew Brobst)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Kookie Gonzalez was a teenager in San Francisco during the 1970s, the \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a> was bustling with block parties where local musicians would jam, lowriders would cruise and neighborhood activists would organize.\u003c/p>\n\u003cp>Decades later, Latinos in the Mission are fighting to keep their homes and cultural institutions intact in the face of rising rents and gentrification. But for Gonzalez and many others, events like \u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> are a much-needed source of joy and resilience.\u003c/p>\n\u003cp>“Lovers Lane continues the tradition of community unity,” he says.\u003c/p>\n\u003cp>The free Valentine’s Day block party gets underway on Feb. 14 in the area surrounding Balmy Alley. It offers a love letter to the Mission in the form of live music, kids’ activities, local vendors, an art gallery, live painting, custom cars and wellness services. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Gonzalez, who’s performing at Lovers Lane with his band Los OG Luv Daddys, gathering around art and culture feels essential this year. The Trump administration’s ICE operations are spreading fear through Latino neighborhoods across the country. Locally, the \u003ca href=\"https://missionlocal.org/2026/02/how-to-save-the-mission-cultural-center/\">abrupt closure of the 49-year-old Mission Cultural Center for Latino Arts\u003c/a> last month brought more grief and frustration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everything that was gained is now being taken away from us again,” Gonzalez says. “And especially with what’s going on with ICE … people are going to unite again.”\u003c/p>\n\u003cp>Now in its fifth year, Lovers Lane will feature performances from rapper Raquel, whose anti-gentrification banger “\u003ca href=\"https://www.instagram.com/_.raaqel._/reel/DRu2hrqEkfP/?hl=en\">2MNYTESLAS\u003c/a>” has been gaining traction; soul band Andre Cruz & the Black Diamond Rhythm Band; música Mexicana singer Mxka; and Palestinian rapper MC Abdul. Richard Bean of “Suavecito” hitmakers Malo will join Los OG Luv Daddys on stage.\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/B4uF9pfu_UM'\n title='//www.youtube.com/embed/B4uF9pfu_UM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The live painting lineup highlights some of the Bay’s most prolific muralists, including Vogue, Timothy B, Agana and Twin Walls Mural Company. Health offerings begin at 10 a.m. with a stretching class and continue with free massages, cupping, a blood-pressure check station and information tables from local health organizations. And families will have no shortage of options to keep kids occupied, including bounce houses, live reptiles, an arts-and-crafts station and even a skate ramp.\u003c/p>\n\u003cp>Singer Andre Cruz first attended Lovers Lane last year and knew it was his dream gig when he heard soul music blasting from every corner. “I’m Chicano and I’m Black. The second I walked in, I was like, ‘Oh, I’m home, this is it,’” he says. “I got involved basically by banging on the door, being like, ‘Yo, please, please let me bring my soul music. … Give me a little corner. We’ll do our thing.’”\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/1vqzFdoo-Tk'\n title='//www.youtube.com/embed/1vqzFdoo-Tk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Nataly Ortiz, who organizes the festival with founder and muralist Lucia Ippolito, says she often sees that type of enthusiasm from attendees, many of whom have signed up to help with the event. Sixty volunteers run the festival the day-of, and 30 more support planning throughout the year. Among those are local residents as well as born-and-raised San Franciscans who have since been priced out.\u003c/p>\n\u003cp>When Lovers Lane ran into permitting issues with the San Francisco Municipal Transportation Agency last year, dozens of neighbors showed up to a hearing to support the festival. “It was like one after the other in public comment,” Ortiz says. “Like, ‘We are here for it, we’re here for, we’re here for it.’ And a lot of love from different organizations, neighbors.”\u003c/p>\n\u003cp>By day Ortiz works at a family shelter and says many of the Lovers Lane volunteers also work in local nonprofits serving the community. She says her work often leaves her frustrated at the ways local governments and institutions leave behind society’s most vulnerable. For her and many others, Lovers Lane is the fuel that keeps them going.\u003c/p>\n\u003cp>“This is like art therapy in a festival,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/lovers-lane-2026-tickets-1979837225437?gclsrc=aw.ds&&utm_source=google&utm_medium=ebps&utm_campaign=PSNB_CUAL_PMK_PDO_0_US_SFC_BAU_0_GA05&utm_term=&aff=ebmkmxperformance&gad_source=1&gad_campaignid=21473931321&gbraid=0AAAAAo0IdU0eNfw5moP30SBXpe-2PyIhe&gclid=Cj0KCQiAy6vMBhDCARIsAK8rOgmJWohvHBvFIH83hD6XsgdJvSJmsnVi0l5fn8FIGAM8XeHruK_6UP8aAvkSEALw_wcB\">Lovers Lane\u003c/a> takes place on Harrison Street between 24th and 26th Streets, Balmy Alley and 25th Street from Harrison to Treat on Feb. 14, 2026, 10 a.m.–6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "kehlani-san-jose-block-party-grammy-wins-folded",
"title": "After Two Grammy Wins, Kehlani Does a ‘Victory Lap’ at a Sold-Out San José Block Party",
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"headTitle": "After Two Grammy Wins, Kehlani Does a ‘Victory Lap’ at a Sold-Out San José Block Party | KQED",
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"content": "\u003cp>You would’ve thought \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a> was hanging out with 10,000 of her besties from her laid-back, jokey mood at the sold-out Big Game Block Party at San José City Hall on Friday night.\u003c/p>\n\u003cp>“I’m always so grateful to be here when massive events get to happen in the Bay, and all these people come, and we get to host them, and they get to see how magical we are,” the Oakland-raised R&B star said breathlessly after opening her set with seven back-to-back anthems.\u003c/p>\n\u003cp>[aside postid='arts_13986328']With long hair billowing behind her in the heavy fog, Kehlani belted the flirty “Distraction” and cinematic “Gangsta” with supreme breath control, no backing track, while delivering taut, early-2000s-inspired choreo alongside her crew of athletic dancers.\u003c/p>\n\u003cp>“’Cause for so long, only we knew how magical we were,” she continued with a grin amid massive applause. “Now you get these big-ass fuckin’ events, everyone comes here, and we’re like, ‘Yeah, we’re fuckin’ cool, fuck y’all. But welcome!’”\u003c/p>\n\u003cfigure id=\"attachment_13986446\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986446\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000.jpg\" alt=\"large happy crowd\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd sings along during Kehlani’s Big Game Block Party at San José City Hall on Feb. 6, 2026. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Repping the Bay during Super Bowl weekend wasn’t the only cause for celebration. Just five days ago, after 10 years of Billboard Hot 100 hits and five previous Grammy nominations, Kehlani finally won not one but two awards for “Folded.” It’s a smart, sexy and highly danceable single where she makes a bid for reconciliation with a love interest by offering to fold her clothes, flipping the old cliche of tossing them out on the lawn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last month, “Folded” reached No. 6 on Billboard — the biggest hit of Kehlani’s career so far, even after previous collaborations with mega-stars like Cardi B and Justin Bieber. Its organic success arrives after Kehlani went through some notable setbacks: Last year, her criticisms of Israel led several concert promoters to cancel a spate of shows. She received death threats and moved out of her house because of safety concerns, she revealed in a recent \u003ca href=\"https://www.youtube.com/watch?v=zCzlxXLty-o\">Breakfast Club interview\u003c/a>.\u003c/p>\n\u003cp>Kehlani has arrived at a career apex without compromising her values. At last week’s Grammy Awards she implored her fellow artists to speak out against injustice and ended her \u003ca href=\"https://www.billboard.com/music/awards/kehlani-2026-grammys-acceptance-speech-ice-1236169276/\">acceptance speech\u003c/a> for Best R&B Performance with a resounding “fuck ICE.”\u003c/p>\n\u003cfigure id=\"attachment_13986449\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986449\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000.jpg\" alt=\"singer and two dancers on stage with crowd holding phones\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani was fresh off two Grammy wins for ‘Folded’ on Feb. 6, 2026. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In San José, however, Kehlani didn’t get into politics and leaned into the celebratory mood of the Super Bowl, which has Bay Area artists showing out at clubs, concerts and special events in the lead-up to \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a>’s halftime show performance (as well as the face-off between the Seattle Seahawks and New England Patriots).\u003c/p>\n\u003cp>“If y’all see me drunk, don’t say nothin’. It was AI,” she joked as she invited the audience to the afterparty at San Francisco’s 1015 Folsom.\u003c/p>\n\u003cp>After performing an intimate rendition of “Everything,” where she stood at the mic stand and let her voice drip with devotion, Kehlani teased a snippet of an unreleased song from her forthcoming album, another ode to all-consuming love with the refrain, “There’s no such thing as I love you too much.”\u003c/p>\n\u003cfigure id=\"attachment_13986447\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986447\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000.jpg\" alt=\"dimly lit performer with mic\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani closed the night with her hit ‘Folded.’ \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with the ballad “Out the Window,” whose music video shows Kehlani literally dropping to her knees in the rain, this section of the set highlighted how exquisitely her songwriting conveys the aching feeling of yearning. The thousands-deep crowd of mostly Latinas, Filipinas and Black women in stylish sportswear and Y2K glamour cathartically belted along to the hits and deep cuts alike.\u003c/p>\n\u003cp>[aside postid='arts_13986280']Then came the moment everyone was waiting for. “I won two Grammys for a song that came out two months ago, and I have to say I love you so much,” Kehlani gushed. “This is like a victory lap, and I wanna sing it with you guys.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the opening violin chords played, friends hugged, couples swayed and thousands of phones lit up in the air as the audience erupted into a joyous chorus: “I’ll let your body decide / if this is good enough for ya / already folding it for ya.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You would’ve thought \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a> was hanging out with 10,000 of her besties from her laid-back, jokey mood at the sold-out Big Game Block Party at San José City Hall on Friday night.\u003c/p>\n\u003cp>“I’m always so grateful to be here when massive events get to happen in the Bay, and all these people come, and we get to host them, and they get to see how magical we are,” the Oakland-raised R&B star said breathlessly after opening her set with seven back-to-back anthems.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With long hair billowing behind her in the heavy fog, Kehlani belted the flirty “Distraction” and cinematic “Gangsta” with supreme breath control, no backing track, while delivering taut, early-2000s-inspired choreo alongside her crew of athletic dancers.\u003c/p>\n\u003cp>“’Cause for so long, only we knew how magical we were,” she continued with a grin amid massive applause. “Now you get these big-ass fuckin’ events, everyone comes here, and we’re like, ‘Yeah, we’re fuckin’ cool, fuck y’all. But welcome!’”\u003c/p>\n\u003cfigure id=\"attachment_13986446\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986446\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000.jpg\" alt=\"large happy crowd\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd sings along during Kehlani’s Big Game Block Party at San José City Hall on Feb. 6, 2026. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Repping the Bay during Super Bowl weekend wasn’t the only cause for celebration. Just five days ago, after 10 years of Billboard Hot 100 hits and five previous Grammy nominations, Kehlani finally won not one but two awards for “Folded.” It’s a smart, sexy and highly danceable single where she makes a bid for reconciliation with a love interest by offering to fold her clothes, flipping the old cliche of tossing them out on the lawn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last month, “Folded” reached No. 6 on Billboard — the biggest hit of Kehlani’s career so far, even after previous collaborations with mega-stars like Cardi B and Justin Bieber. Its organic success arrives after Kehlani went through some notable setbacks: Last year, her criticisms of Israel led several concert promoters to cancel a spate of shows. She received death threats and moved out of her house because of safety concerns, she revealed in a recent \u003ca href=\"https://www.youtube.com/watch?v=zCzlxXLty-o\">Breakfast Club interview\u003c/a>.\u003c/p>\n\u003cp>Kehlani has arrived at a career apex without compromising her values. At last week’s Grammy Awards she implored her fellow artists to speak out against injustice and ended her \u003ca href=\"https://www.billboard.com/music/awards/kehlani-2026-grammys-acceptance-speech-ice-1236169276/\">acceptance speech\u003c/a> for Best R&B Performance with a resounding “fuck ICE.”\u003c/p>\n\u003cfigure id=\"attachment_13986449\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986449\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000.jpg\" alt=\"singer and two dancers on stage with crowd holding phones\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani was fresh off two Grammy wins for ‘Folded’ on Feb. 6, 2026. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In San José, however, Kehlani didn’t get into politics and leaned into the celebratory mood of the Super Bowl, which has Bay Area artists showing out at clubs, concerts and special events in the lead-up to \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a>’s halftime show performance (as well as the face-off between the Seattle Seahawks and New England Patriots).\u003c/p>\n\u003cp>“If y’all see me drunk, don’t say nothin’. It was AI,” she joked as she invited the audience to the afterparty at San Francisco’s 1015 Folsom.\u003c/p>\n\u003cp>After performing an intimate rendition of “Everything,” where she stood at the mic stand and let her voice drip with devotion, Kehlani teased a snippet of an unreleased song from her forthcoming album, another ode to all-consuming love with the refrain, “There’s no such thing as I love you too much.”\u003c/p>\n\u003cfigure id=\"attachment_13986447\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986447\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000.jpg\" alt=\"dimly lit performer with mic\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani closed the night with her hit ‘Folded.’ \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with the ballad “Out the Window,” whose music video shows Kehlani literally dropping to her knees in the rain, this section of the set highlighted how exquisitely her songwriting conveys the aching feeling of yearning. The thousands-deep crowd of mostly Latinas, Filipinas and Black women in stylish sportswear and Y2K glamour cathartically belted along to the hits and deep cuts alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then came the moment everyone was waiting for. “I won two Grammys for a song that came out two months ago, and I have to say I love you so much,” Kehlani gushed. “This is like a victory lap, and I wanna sing it with you guys.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the opening violin chords played, friends hugged, couples swayed and thousands of phones lit up in the air as the audience erupted into a joyous chorus: “I’ll let your body decide / if this is good enough for ya / already folding it for ya.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "1-umbrella-bay-area-rap-allblack-22ndjim-zaybang-lil-yee-lil-bean",
"title": "Five Top-Tier Bay Area Rappers Unite Under ‘1 Umbrella’",
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"content": "\u003cp>It’s a Thursday night in late January, and the members of the newly formed rap supergroup 1 Umbrella are scattered around an \u003ca href=\"https://www.empi.re/\">EMPIRE\u003c/a> recording studio in San Francisco.\u003c/p>\n\u003cp>Cameras and lights are mounted in one room. A TV showing a basketball game is on nearby. The crew is in that limbo native to recording studios: both working hard and somehow simultaneously chilling.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/22ndjim/\">22nd Jim\u003c/a> shakes my hand, casually walking past en route to change his outfit. Out back, \u003ca href=\"https://www.instagram.com/whoisallblack/\">ALLBLACK\u003c/a> gives me a big dap and a hug near people rolling Backwoods. Back inside, behind the bar, \u003ca href=\"https://www.instagram.com/zaybang/\">Zaybang\u003c/a> mixes a pitcher filled with Sprite and a few other liquids. I congratulate \u003ca href=\"https://www.instagram.com/yee/\">Lil Yee\u003c/a> on his latest solo project, \u003cem>LIFE AFTER DEATH\u003c/em>, inspired by surviving a recent shooting.\u003c/p>\n\u003cfigure id=\"attachment_13986383\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216.jpg\" alt=\"Six African American men sit in a circle while holding a conversation in a music studio \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Pendarvis Harshaw interviews the members of 1 Umbrella at an EMPIRE recording studio in San Francisco. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But we’re not here to talk about last year, nor solo projects. We’re discussing how these four artists, plus \u003ca href=\"https://www.instagram.com/lilbean/\">Lil Bean\u003c/a> (who’d arrive later), have sparked fire in the Bay with their new supergroup, \u003ca href=\"https://www.instagram.com/1umbrellaofficial/\">1 Umbrella\u003c/a>.\u003c/p>\n\u003cp>The group’s debut self-titled album drops Friday, Feb. 6, followed a \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-3090/\">record signing event the next day at Amoeba Music\u003c/a> in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13983236']Guests on \u003cem>1 Umbrella\u003c/em> include \u003ca href=\"https://www.kqed.org/arts/tag/larry-june\">Larry June\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/rexx-life-raj\">Rexx Life Raj\u003c/a>. With production from the likes of \u003ca href=\"https://www.instagram.com/reecebeats/\">Reece Beats\u003c/a>, \u003ca href=\"https://www.instagram.com/brutalmoney/\">Brutal Money\u003c/a> and\u003ca href=\"https://www.instagram.com/eazydrez/\"> EazyDrez\u003c/a>, the album will undoubtedly be played boisterously from the sound systems of fly cars for months to come.\u003c/p>\n\u003cp>To hear the group tell it, their music isn’t “gangsta rap” and it “fasho ain’t hyphy.” It’s lifestyle rap over heavy bass. It’s turf-repping, in-your-face bravado trash talking that comes from “diary entries” based on lived experiences. Above all, it’s a polished glimpse of modern rap from the Bay, made by artists who’ve amplified local street culture for many moons.\u003c/p>\n\u003cp>And to think, it all came together so organically.\u003c/p>\n\u003cfigure id=\"attachment_13986384\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250.jpg\" alt=\"Two African-American men sit and talk in a studio in San Francisco. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">1 Umbrella members and San Francisco representatives, Lil Bean (left) and Lil Yee (right) discuss the importance of working together to uplift the region as a whole. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I commented on his post, ‘1 umbrella,’” Lil Bean tells me as I sit down with the group’s five members. “That was a bar,” adds Zaybang of the comment that set this alliance in motion.\u003c/p>\n\u003cp>The members of the group, all with well-decorated solo careers, had already collaborated on one-off songs here and there. But late last year, when 22nd Jim released the video for the song “\u003ca href=\"https://www.youtube.com/watch?v=5Nae30ATotE\">Cash Sh*t\u003c/a>” (featuring Lil Yee and Lil Bean), Lil Bean added his comment to an Instagram post, and it was up from there.\u003c/p>\n\u003cp>While there’s been a handful of hip-hop supergroups in California alone — including Westside Connection, T.W.D.Y. and Mount Westmore — when asked who he’d compare the collective to, ALLBLACK pulls an even deeper reference.\u003c/p>\n\u003cp>“I listen to a lot of ’70s and ’80s R&B,” he says, leaning back in a folding chair while describing the groups cohesiveness. “I would say we’re the S.O.S. Band … [or] like the Stylistics, you know I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13986388\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13986388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-2000x1333.jpg\" alt=\"Three African-American men sit in a music studio while being interviewed.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zaybang (center), smiles as he’s flanked by fellow 1 Umbrella group members Lil Yee (left) and ALLBLACK (right). ‘If you put us anywhere, we’re gonna go crazy,’ says ALLBLACK. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Supergroups are often manufactured by a manager or label, says Zaybang, but 1 Umbrella came about naturally. “We frequent each other’s sessions,” says the Frisco lyricist, adding that even when they’re not on a track, they offer each other creative feedback.\u003c/p>\n\u003cp>[aside postid='arts_13986439']Assisting this effort is EMPIRE itself, and its studio. Zaybang says the project technically could have been possible without EMPIRE, but “having a space to come together without even thinking about it, it gives us a good environment where, you feel me, we’re chillin, there’s snacks, and we can just park our whips…”\u003c/p>\n\u003cp>Breaking it down in sports terms, Lil Yee interjects, “This is a layup, it’s accessible. Everything else would have been a three-pointer.”\u003c/p>\n\u003cp>To their point, Vallejo rapper \u003ca href=\"https://www.instagram.com/daboii/\">DaBoii\u003c/a>, who appears on one of the album’s singles, “\u003ca href=\"https://www.youtube.com/watch?v=1fZK9sOUoBo\">The Blueprint\u003c/a>,” sat in the next room as we talked.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1fZK9sOUoBo\u003c/p>\n\u003cp>A far reach from Bay Area gangsta rap of the late ’80s and early ’90s, but clearly influenced by the mobb music of the late ’90s, 1 Umbrella’s music comes from young men who grew up during the hyphy era of the early 2000s.\u003c/p>\n\u003cp>Asked what statement the project makes, Zaybang and Lil Yee reply in tandem, “It’s a new Bay.” 22nd Jim adds, “It’s a new wave, a new sound.”\u003c/p>\n\u003cp>“We give all respect to our legends,” says Lil Yee, naming artists he idolizes as predecessors like E-40, Messy Marv and the Jacka. “They put on for us.”\u003c/p>\n\u003cp>[aside postID='arts_13984638']Wearing a monochrome black outfit accented by a bulky Cuban link chain, Lil Yee refers to the hyphy era as the Bay’s collective past. “It’s like an ancestor to us,” he says — adding that it’s still in us, and, if provoked, “we can show you the real definition of hyphy.”\u003c/p>\n\u003cp>When I mention that the video for E-40’s “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\">Tell Me When To Go\u003c/a>” dropped exactly 20 years ago, 22nd Jim replies, “We was riding bikes in that video.”\u003c/p>\n\u003cp>But times have changed. Many young hip-hop heads in the Bay strive for high-end fashion and foreign cars, not Vans and scrapers. Summing it up in another sports metaphor, Lil Yee says, “Niggas don’t hoop in Chucks no more.”\u003c/p>\n\u003cfigure id=\"attachment_13986385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373.jpg\" alt=\"A group of men stand under bright lights with multiple cameras focused on them as they record a rap performance in a music studio.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Music is my diary,’ says ALLBLACK, in reference to his lyrics about pimp culture. ‘That was a part of my life.’ \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something to be said about the Bay being pigeonholed to a popular narrative from two decades ago, especially now.\u003c/p>\n\u003cp>The Bay’s influence in music — and popular culture as a whole — is arguably more prominent than it’s ever been, says 22nd Jim as he leans forward in his seat. “You got my nigga \u003ca href=\"https://www.kqed.org/arts/tag/ryan-coogler\">Ryan [Coogler]\u003c/a>, he got 16 Oscar [nominations],” he points out. “You got \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, you even got \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> doing what he’s doing.” Add to that the success of musicians \u003ca href=\"https://www.instagram.com/miles.minnick/\">Miles Minnick\u003c/a>, \u003ca href=\"https://www.bet.com/article/8pjb6y/the-rise-of-jane-handcock-death-rows-new-voice\">JANE HANDCOCK\u003c/a>, \u003ca href=\"https://www.billboard.com/music/rb-hip-hop/ovrkast-drake-rookie-month-1236024179/\">Ovrkast.\u003c/a> and actor \u003ca href=\"https://www.npr.org/2026/02/04/nx-s1-5698219/marvels-wonder-man-is-a-low-key-low-stakes-buddy-comedy\">Yahya Abdul-Mateen II\u003c/a>.\u003c/p>\n\u003cp>Wearing jet black sunglasses, a baseball hat and a huge chain with an even bigger “22nd” medallion, Jim adds, “There’s room for everyone to eat.”\u003c/p>\n\u003cp>With the table set, it’s clear that the 1 Umbrella ensemble is ready to feast.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A listening party and record signing event for 1 Umbrella takes place Saturday, Feb. 7, at \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-3090/\">Amoeba Records\u003c/a> (1855 Haight St., San Francisco). \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-3090/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a Thursday night in late January, and the members of the newly formed rap supergroup 1 Umbrella are scattered around an \u003ca href=\"https://www.empi.re/\">EMPIRE\u003c/a> recording studio in San Francisco.\u003c/p>\n\u003cp>Cameras and lights are mounted in one room. A TV showing a basketball game is on nearby. The crew is in that limbo native to recording studios: both working hard and somehow simultaneously chilling.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/22ndjim/\">22nd Jim\u003c/a> shakes my hand, casually walking past en route to change his outfit. Out back, \u003ca href=\"https://www.instagram.com/whoisallblack/\">ALLBLACK\u003c/a> gives me a big dap and a hug near people rolling Backwoods. Back inside, behind the bar, \u003ca href=\"https://www.instagram.com/zaybang/\">Zaybang\u003c/a> mixes a pitcher filled with Sprite and a few other liquids. I congratulate \u003ca href=\"https://www.instagram.com/yee/\">Lil Yee\u003c/a> on his latest solo project, \u003cem>LIFE AFTER DEATH\u003c/em>, inspired by surviving a recent shooting.\u003c/p>\n\u003cfigure id=\"attachment_13986383\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216.jpg\" alt=\"Six African American men sit in a circle while holding a conversation in a music studio \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Pendarvis Harshaw interviews the members of 1 Umbrella at an EMPIRE recording studio in San Francisco. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But we’re not here to talk about last year, nor solo projects. We’re discussing how these four artists, plus \u003ca href=\"https://www.instagram.com/lilbean/\">Lil Bean\u003c/a> (who’d arrive later), have sparked fire in the Bay with their new supergroup, \u003ca href=\"https://www.instagram.com/1umbrellaofficial/\">1 Umbrella\u003c/a>.\u003c/p>\n\u003cp>The group’s debut self-titled album drops Friday, Feb. 6, followed a \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-3090/\">record signing event the next day at Amoeba Music\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Guests on \u003cem>1 Umbrella\u003c/em> include \u003ca href=\"https://www.kqed.org/arts/tag/larry-june\">Larry June\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/rexx-life-raj\">Rexx Life Raj\u003c/a>. With production from the likes of \u003ca href=\"https://www.instagram.com/reecebeats/\">Reece Beats\u003c/a>, \u003ca href=\"https://www.instagram.com/brutalmoney/\">Brutal Money\u003c/a> and\u003ca href=\"https://www.instagram.com/eazydrez/\"> EazyDrez\u003c/a>, the album will undoubtedly be played boisterously from the sound systems of fly cars for months to come.\u003c/p>\n\u003cp>To hear the group tell it, their music isn’t “gangsta rap” and it “fasho ain’t hyphy.” It’s lifestyle rap over heavy bass. It’s turf-repping, in-your-face bravado trash talking that comes from “diary entries” based on lived experiences. Above all, it’s a polished glimpse of modern rap from the Bay, made by artists who’ve amplified local street culture for many moons.\u003c/p>\n\u003cp>And to think, it all came together so organically.\u003c/p>\n\u003cfigure id=\"attachment_13986384\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250.jpg\" alt=\"Two African-American men sit and talk in a studio in San Francisco. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">1 Umbrella members and San Francisco representatives, Lil Bean (left) and Lil Yee (right) discuss the importance of working together to uplift the region as a whole. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I commented on his post, ‘1 umbrella,’” Lil Bean tells me as I sit down with the group’s five members. “That was a bar,” adds Zaybang of the comment that set this alliance in motion.\u003c/p>\n\u003cp>The members of the group, all with well-decorated solo careers, had already collaborated on one-off songs here and there. But late last year, when 22nd Jim released the video for the song “\u003ca href=\"https://www.youtube.com/watch?v=5Nae30ATotE\">Cash Sh*t\u003c/a>” (featuring Lil Yee and Lil Bean), Lil Bean added his comment to an Instagram post, and it was up from there.\u003c/p>\n\u003cp>While there’s been a handful of hip-hop supergroups in California alone — including Westside Connection, T.W.D.Y. and Mount Westmore — when asked who he’d compare the collective to, ALLBLACK pulls an even deeper reference.\u003c/p>\n\u003cp>“I listen to a lot of ’70s and ’80s R&B,” he says, leaning back in a folding chair while describing the groups cohesiveness. “I would say we’re the S.O.S. Band … [or] like the Stylistics, you know I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13986388\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13986388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-2000x1333.jpg\" alt=\"Three African-American men sit in a music studio while being interviewed.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zaybang (center), smiles as he’s flanked by fellow 1 Umbrella group members Lil Yee (left) and ALLBLACK (right). ‘If you put us anywhere, we’re gonna go crazy,’ says ALLBLACK. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Supergroups are often manufactured by a manager or label, says Zaybang, but 1 Umbrella came about naturally. “We frequent each other’s sessions,” says the Frisco lyricist, adding that even when they’re not on a track, they offer each other creative feedback.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Assisting this effort is EMPIRE itself, and its studio. Zaybang says the project technically could have been possible without EMPIRE, but “having a space to come together without even thinking about it, it gives us a good environment where, you feel me, we’re chillin, there’s snacks, and we can just park our whips…”\u003c/p>\n\u003cp>Breaking it down in sports terms, Lil Yee interjects, “This is a layup, it’s accessible. Everything else would have been a three-pointer.”\u003c/p>\n\u003cp>To their point, Vallejo rapper \u003ca href=\"https://www.instagram.com/daboii/\">DaBoii\u003c/a>, who appears on one of the album’s singles, “\u003ca href=\"https://www.youtube.com/watch?v=1fZK9sOUoBo\">The Blueprint\u003c/a>,” sat in the next room as we talked.\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/1fZK9sOUoBo'\n title='//www.youtube.com/embed/1fZK9sOUoBo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A far reach from Bay Area gangsta rap of the late ’80s and early ’90s, but clearly influenced by the mobb music of the late ’90s, 1 Umbrella’s music comes from young men who grew up during the hyphy era of the early 2000s.\u003c/p>\n\u003cp>Asked what statement the project makes, Zaybang and Lil Yee reply in tandem, “It’s a new Bay.” 22nd Jim adds, “It’s a new wave, a new sound.”\u003c/p>\n\u003cp>“We give all respect to our legends,” says Lil Yee, naming artists he idolizes as predecessors like E-40, Messy Marv and the Jacka. “They put on for us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wearing a monochrome black outfit accented by a bulky Cuban link chain, Lil Yee refers to the hyphy era as the Bay’s collective past. “It’s like an ancestor to us,” he says — adding that it’s still in us, and, if provoked, “we can show you the real definition of hyphy.”\u003c/p>\n\u003cp>When I mention that the video for E-40’s “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\">Tell Me When To Go\u003c/a>” dropped exactly 20 years ago, 22nd Jim replies, “We was riding bikes in that video.”\u003c/p>\n\u003cp>But times have changed. Many young hip-hop heads in the Bay strive for high-end fashion and foreign cars, not Vans and scrapers. Summing it up in another sports metaphor, Lil Yee says, “Niggas don’t hoop in Chucks no more.”\u003c/p>\n\u003cfigure id=\"attachment_13986385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373.jpg\" alt=\"A group of men stand under bright lights with multiple cameras focused on them as they record a rap performance in a music studio.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Music is my diary,’ says ALLBLACK, in reference to his lyrics about pimp culture. ‘That was a part of my life.’ \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something to be said about the Bay being pigeonholed to a popular narrative from two decades ago, especially now.\u003c/p>\n\u003cp>The Bay’s influence in music — and popular culture as a whole — is arguably more prominent than it’s ever been, says 22nd Jim as he leans forward in his seat. “You got my nigga \u003ca href=\"https://www.kqed.org/arts/tag/ryan-coogler\">Ryan [Coogler]\u003c/a>, he got 16 Oscar [nominations],” he points out. “You got \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, you even got \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> doing what he’s doing.” Add to that the success of musicians \u003ca href=\"https://www.instagram.com/miles.minnick/\">Miles Minnick\u003c/a>, \u003ca href=\"https://www.bet.com/article/8pjb6y/the-rise-of-jane-handcock-death-rows-new-voice\">JANE HANDCOCK\u003c/a>, \u003ca href=\"https://www.billboard.com/music/rb-hip-hop/ovrkast-drake-rookie-month-1236024179/\">Ovrkast.\u003c/a> and actor \u003ca href=\"https://www.npr.org/2026/02/04/nx-s1-5698219/marvels-wonder-man-is-a-low-key-low-stakes-buddy-comedy\">Yahya Abdul-Mateen II\u003c/a>.\u003c/p>\n\u003cp>Wearing jet black sunglasses, a baseball hat and a huge chain with an even bigger “22nd” medallion, Jim adds, “There’s room for everyone to eat.”\u003c/p>\n\u003cp>With the table set, it’s clear that the 1 Umbrella ensemble is ready to feast.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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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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