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Here are four of the most memorable moments that have stayed with me.\u003c/p>\n\u003ch2>LaRussell’s healing powers at SFMOMA\u003c/h2>\n\u003cp>When a friend invited me to the San Francisco Museum of Modern Art for its members-only preview night celebrating the new \u003cem>Kaws: Family\u003c/em> exhibit, I jumped at the chance — not because of the \u003ca href=\"https://www.kqed.org/arts/13983879/guide-after-thanksgiving-bay-area-museums-art-family-friendly\">TikTok-ready sculptures\u003c/a>, but because LaRussell was slated to play a live set on the fifth floor terrace. As luck would have it, I tripped and fell on my walk from the Muni station to the museum, giving myself a gnarly wound, but I wasn’t going to let that set me back.\u003c/p>\n\u003cfigure id=\"attachment_13984527\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos.png\" alt=\"\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos.png 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-768x512.png 768w\" sizes=\"auto, (max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at the San Francisco Museum of Modern Art on Nov. 14, 2025. \u003ccite>(Ugur Dursun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the slight chill of a November evening, I soaked in the positive energy the Vallejo rapper carries with him everywhere he performs, briefly forgetting the physical pain I was in. As he played one Bay Area banger after another, the crowd loosened up, bodies moving in unison to Mac Dre’s “Thizzle Dance” and more. In between songs, he made sure to engage with the fans, old and new, who packed up the terrace to its full capacity. [aside postid='arts_13984148']\u003c/p>\n\u003cp>But my favorite moment was when LaRussell asked for a free SFMOMA membership after talking about how inaccessible events like this seemed to him previously, cracking a joke about the evergreen issues of affordability and elitism in the art world.\u003c/p>\n\u003cp>LaRussell made us laugh, dance and think. And for that, I was thankful.\u003c/p>\n\u003ch2>An epic Destiny’s Child reunion at the Raiders’ new home\u003c/h2>\n\u003cfigure id=\"attachment_13984528\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13984528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2000x1453.jpg\" alt=\"\" width=\"2000\" height=\"1453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2000x1453.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2048x1488.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Williams, Beyoncé and Kelly Rowland on stage at Allegiant Stadium on July 26, 2025. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I already wrote about \u003ca href=\"https://www.kqed.org/arts/13975458/beyonce-cowboy-carter-tour-sofi-stadium-los-angeles-review\">my experience\u003c/a> flying to Los Angeles to catch the opening night of Beyoncé’s Cowboy Carter Tour in April. It was an epic show with a clear message, honoring the Black American roots of country music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In July, when I traveled to Las Vegas to catch the last show of the tour, I could not have imagined the surprise Queen Bey had in store for her fans: a Destiny’s Child guest appearance featuring Kelly Rowland and Michelle Williams, marking their first public performance together since their Coachella reunion in 2018.\u003c/p>\n\u003cp>The silhouette of the trio emerging from the stage lift was enough to send the crowd into a frenzy. My personal response was turning to my friend and screaming “NO!” repeatedly in disbelief.\u003c/p>\n\u003cp>The group quickly left the stage after performing “Lose My Breath” and “Bootylicious,” but I haven’t stopped thinking about that night since.\u003c/p>\n\u003ch2>Everybody fainted at the sight of Reneé Rapp\u003c/h2>\n\u003cfigure id=\"attachment_13984535\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2.png\" alt=\"\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2.png 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2-768x512.png 768w\" sizes=\"auto, (max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Reneé Rapp performs at Bill Graham Civic Auditorium on Oct. 15, 2025. \u003ccite>(Ugur Dursun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look, I’ve been to enough shows in my life to know that a person fainting at a concert is not newsworthy in itself. But what transpired at pop music up-and-comer Reneé Rapp’s tour stop at Bill Graham Civic Auditorium was more unusual.\u003c/p>\n\u003cp>Several times throughout her show, at least three distinct moments I can recall, the singer was forced to pause her performance to assist passed-out fans in the audience and call on venue staff to provide support. I have never seen another show that was disrupted so many times for the same reason. [aside postid='arts_13984468']\u003c/p>\n\u003cp>My guess is that some of Rapp’s more rabid fans might have neglected to hydrate and eat in favor of securing their spot near the front barricade. What can I say, San Francisco showed out for the lesbian icon-in-the-making!\u003c/p>\n\u003cp>Despite the interruptions, Reneé Rapp’s strong vocal performance and catalog full of earworms were enough to satisfy those of us who were still conscious at the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13936936\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED.jpg\" alt=\"Two people greet each other in an outdoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo greets guests during the rapper and producer’s Very Good Food Tour at Señor Sisig in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo brought out Too $hort at the Bay FC Game\u003c/h2>\n\u003cp>2025 was the year I fell in love with following women’s sports — and I know I’m not the only one feeling this way. When Bay FC, the Bay Area’s women’s soccer team, announced that they would play a game at San Francisco’s Oracle Park over the summer, a friend of mine quickly arranged for a dozen of us to pull up to the game.\u003c/p>\n\u003cp>What we didn’t know was that the game would be one for the history books. With over 40,000 fans in attendance, that afternoon set a new record for the largest audience in the National Women’s Soccer League history.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The halftime show included a stellar performance by East Bay rapper \u003ca href=\"http://instagram.com/reel/DNyJYkpYhBg/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ==\">P-Lo\u003c/a>, but his special guest, Too $hort, stole the show with “Blow the Whistle.” Never have I ever felt safer screaming the words to that song (“What’s my favorite word? / Biiiiiiiiitch”) than in the presence of 40,000 women’s sports fans.\u003c/p>\n\n",
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"excerpt": "A Destiny’s Child reunion, LaRussell at SFMOMA and other shows reminded me that music heals.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music is powerful. Avid concertgoers know that a live show can do more than just entertain — it can move you, teach you and even patch up a wounded soul (or knee!). This year, I’ve had the pleasure of seeing some incredible local artists like \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a>, budding pop starlets like Reneé Rapp and Addison Rae, and global icons like Kylie Minogue and \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> in concert. Here are four of the most memorable moments that have stayed with me.\u003c/p>\n\u003ch2>LaRussell’s healing powers at SFMOMA\u003c/h2>\n\u003cp>When a friend invited me to the San Francisco Museum of Modern Art for its members-only preview night celebrating the new \u003cem>Kaws: Family\u003c/em> exhibit, I jumped at the chance — not because of the \u003ca href=\"https://www.kqed.org/arts/13983879/guide-after-thanksgiving-bay-area-museums-art-family-friendly\">TikTok-ready sculptures\u003c/a>, but because LaRussell was slated to play a live set on the fifth floor terrace. As luck would have it, I tripped and fell on my walk from the Muni station to the museum, giving myself a gnarly wound, but I wasn’t going to let that set me back.\u003c/p>\n\u003cfigure id=\"attachment_13984527\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos.png\" alt=\"\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos.png 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-768x512.png 768w\" sizes=\"auto, (max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at the San Francisco Museum of Modern Art on Nov. 14, 2025. \u003ccite>(Ugur Dursun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the slight chill of a November evening, I soaked in the positive energy the Vallejo rapper carries with him everywhere he performs, briefly forgetting the physical pain I was in. As he played one Bay Area banger after another, the crowd loosened up, bodies moving in unison to Mac Dre’s “Thizzle Dance” and more. In between songs, he made sure to engage with the fans, old and new, who packed up the terrace to its full capacity. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But my favorite moment was when LaRussell asked for a free SFMOMA membership after talking about how inaccessible events like this seemed to him previously, cracking a joke about the evergreen issues of affordability and elitism in the art world.\u003c/p>\n\u003cp>LaRussell made us laugh, dance and think. And for that, I was thankful.\u003c/p>\n\u003ch2>An epic Destiny’s Child reunion at the Raiders’ new home\u003c/h2>\n\u003cfigure id=\"attachment_13984528\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13984528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2000x1453.jpg\" alt=\"\" width=\"2000\" height=\"1453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2000x1453.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2048x1488.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Williams, Beyoncé and Kelly Rowland on stage at Allegiant Stadium on July 26, 2025. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I already wrote about \u003ca href=\"https://www.kqed.org/arts/13975458/beyonce-cowboy-carter-tour-sofi-stadium-los-angeles-review\">my experience\u003c/a> flying to Los Angeles to catch the opening night of Beyoncé’s Cowboy Carter Tour in April. It was an epic show with a clear message, honoring the Black American roots of country music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In July, when I traveled to Las Vegas to catch the last show of the tour, I could not have imagined the surprise Queen Bey had in store for her fans: a Destiny’s Child guest appearance featuring Kelly Rowland and Michelle Williams, marking their first public performance together since their Coachella reunion in 2018.\u003c/p>\n\u003cp>The silhouette of the trio emerging from the stage lift was enough to send the crowd into a frenzy. My personal response was turning to my friend and screaming “NO!” repeatedly in disbelief.\u003c/p>\n\u003cp>The group quickly left the stage after performing “Lose My Breath” and “Bootylicious,” but I haven’t stopped thinking about that night since.\u003c/p>\n\u003ch2>Everybody fainted at the sight of Reneé Rapp\u003c/h2>\n\u003cfigure id=\"attachment_13984535\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2.png\" alt=\"\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2.png 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2-768x512.png 768w\" sizes=\"auto, (max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Reneé Rapp performs at Bill Graham Civic Auditorium on Oct. 15, 2025. \u003ccite>(Ugur Dursun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look, I’ve been to enough shows in my life to know that a person fainting at a concert is not newsworthy in itself. But what transpired at pop music up-and-comer Reneé Rapp’s tour stop at Bill Graham Civic Auditorium was more unusual.\u003c/p>\n\u003cp>Several times throughout her show, at least three distinct moments I can recall, the singer was forced to pause her performance to assist passed-out fans in the audience and call on venue staff to provide support. I have never seen another show that was disrupted so many times for the same reason. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My guess is that some of Rapp’s more rabid fans might have neglected to hydrate and eat in favor of securing their spot near the front barricade. What can I say, San Francisco showed out for the lesbian icon-in-the-making!\u003c/p>\n\u003cp>Despite the interruptions, Reneé Rapp’s strong vocal performance and catalog full of earworms were enough to satisfy those of us who were still conscious at the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13936936\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED.jpg\" alt=\"Two people greet each other in an outdoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo greets guests during the rapper and producer’s Very Good Food Tour at Señor Sisig in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo brought out Too $hort at the Bay FC Game\u003c/h2>\n\u003cp>2025 was the year I fell in love with following women’s sports — and I know I’m not the only one feeling this way. When Bay FC, the Bay Area’s women’s soccer team, announced that they would play a game at San Francisco’s Oracle Park over the summer, a friend of mine quickly arranged for a dozen of us to pull up to the game.\u003c/p>\n\u003cp>What we didn’t know was that the game would be one for the history books. With over 40,000 fans in attendance, that afternoon set a new record for the largest audience in the National Women’s Soccer League history.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The halftime show included a stellar performance by East Bay rapper \u003ca href=\"http://instagram.com/reel/DNyJYkpYhBg/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ==\">P-Lo\u003c/a>, but his special guest, Too $hort, stole the show with “Blow the Whistle.” Never have I ever felt safer screaming the words to that song (“What’s my favorite word? / Biiiiiiiiitch”) than in the presence of 40,000 women’s sports fans.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "berkeley-jazzschool-lisa-mezzacappa-executive-director",
"title": "Berkeley’s Jazzschool Appoints Lisa Mezzacappa as Executive Director",
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"content": "\u003cp>Berkeley-based community education institution \u003ca href=\"https://jazzschool.org/\">The Jazzschool\u003c/a> on Tuesday announced Bay Area composer, educator and bassist \u003ca href=\"https://www.lisamezzacappa.com/bio.html\">Lisa Mezzacappa\u003c/a> as its new executive director.\u003c/p>\n\u003cp>“I’m feeling great, excited, nervous and thrilled,” says Mezzacappa, reached by phone.\u003c/p>\n\u003cp>Mezzacappa plans to listen to the needs of students to add to the “magical” environment that already exists at the school — a place she said she’s fallen in love with over the past five years as an educator at the institution.\u003c/p>\n\u003cfigure id=\"attachment_13984505\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa.jpeg\" alt=\"A candid shot of two people playing jazz on stage. \" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-1536x1025.jpeg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bassist Lisa Mezzacappa with vibraphonist Mark Clifford, one of many local musicians she’s worked with throughout her career. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you’re teaching there at night,” she says, “the place is just so alive and activated by so many different kinds of people, who are kind of giddy with playing music together.”\u003c/p>\n\u003cp>Mezzacappa refers to the school, housed in a basement in downtown Berkeley, as a “subterranean realm” full of music and community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There are drummers looking for cymbals and swapping out their gear,” she says, painting a picture of the place on any given night. “There are people looking for cables, moving amplifiers around, getting vibraphones wheeled in, finding percussion.”\u003c/p>\n\u003cp>Founded in 1997 by music scholar and jazz pianist \u003ca href=\"https://jazzschool.org/people/susan-muscarella/\">Susan Muscarella\u003c/a>, the Jazzschool was previously connected to the California Jazz Conservatory (CJC), which offered a program for students to earn bachelors degrees in music. That program \u003ca href=\"https://www.kqed.org/arts/13969281/california-jazz-conservatory-degree-program-ending\">came to an end last year.\u003c/a>\u003c/p>\n\u003cp>Mezzacappa, who has also performed at the Jazzschool, says the driving force behind the institution’s appeal — beyond music — is its outstanding staff and the community of artists who gravitate to its classrooms.\u003c/p>\n\u003cfigure id=\"attachment_13984507\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2.jpg\" alt=\"A group of people stand on stage playing jazz together.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer, bandleader and bassist Lisa Mezzacappa (second from right) and her ensemble Five(ish) performing in the Bay Area. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With year-round classes offered on a quarterly basis for both adults and youth, the school teaches various styles, from Latin jazz to Brazilian funk.\u003c/p>\n\u003cp>Beyond acquiring technical expertise, Mezzacappa describes an added draw of the school: people often spend years at the Jazzschool, and connect “on that really interpersonal level through music.”\u003c/p>\n\u003cp>An avant-garde jazz artist who has a long resumé of playing gigs all over the Bay Area and beyond, Mezzacappa holds nothing back when it comes advocating for the art form.\u003c/p>\n\u003cp>[aside postID='arts_13981396']“I think jazz should be part of every conversation,” she says, noting that she’s even open to exploring the ways technological advancements are impacting one of this country’s oldest genres of music. “We can’t run away from new technology,” she attests. “We have to see what students are interested in.”\u003c/p>\n\u003cp>Her first assignment, as she takes the helm of the nearly thirty year-old institution, is the school’s fall \u003ca href=\"https://concerts.jazzschool.org/\">Youth & Adult Student Performance Series\u003c/a>. An annual showcase that runs Dec. 5–16, it features nearly 400 students from different levels, playing different styles of jazz.\u003c/p>\n\u003cp>The showcase doubles as a way of expanding community. Many people bring friends and loved ones, Mezzacappa said, who may eventually get involved and become part of a new crop of talented musicians.\u003c/p>\n\u003cp>“If you’re curious about dusting off your guitar, or the keyboard that’s been in your garage,” offers Mezzacappa, “and you’re like, ‘Maybe I wanna take a class,’ it’s a good chance to see what happens here.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jazzschool’s \u003ca href=\"https://concerts.jazzschool.org/\">Fall Youth & Adult Student Performance Series\u003c/a> features several free concerts from Dec. 5–16 at the Jazzschool (2087 Addison Street, Berkeley). \u003ca href=\"https://concerts.jazzschool.org/\">More event information here.\u003c/a> \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley-based community education institution \u003ca href=\"https://jazzschool.org/\">The Jazzschool\u003c/a> on Tuesday announced Bay Area composer, educator and bassist \u003ca href=\"https://www.lisamezzacappa.com/bio.html\">Lisa Mezzacappa\u003c/a> as its new executive director.\u003c/p>\n\u003cp>“I’m feeling great, excited, nervous and thrilled,” says Mezzacappa, reached by phone.\u003c/p>\n\u003cp>Mezzacappa plans to listen to the needs of students to add to the “magical” environment that already exists at the school — a place she said she’s fallen in love with over the past five years as an educator at the institution.\u003c/p>\n\u003cfigure id=\"attachment_13984505\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa.jpeg\" alt=\"A candid shot of two people playing jazz on stage. \" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-1536x1025.jpeg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bassist Lisa Mezzacappa with vibraphonist Mark Clifford, one of many local musicians she’s worked with throughout her career. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you’re teaching there at night,” she says, “the place is just so alive and activated by so many different kinds of people, who are kind of giddy with playing music together.”\u003c/p>\n\u003cp>Mezzacappa refers to the school, housed in a basement in downtown Berkeley, as a “subterranean realm” full of music and community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There are drummers looking for cymbals and swapping out their gear,” she says, painting a picture of the place on any given night. “There are people looking for cables, moving amplifiers around, getting vibraphones wheeled in, finding percussion.”\u003c/p>\n\u003cp>Founded in 1997 by music scholar and jazz pianist \u003ca href=\"https://jazzschool.org/people/susan-muscarella/\">Susan Muscarella\u003c/a>, the Jazzschool was previously connected to the California Jazz Conservatory (CJC), which offered a program for students to earn bachelors degrees in music. That program \u003ca href=\"https://www.kqed.org/arts/13969281/california-jazz-conservatory-degree-program-ending\">came to an end last year.\u003c/a>\u003c/p>\n\u003cp>Mezzacappa, who has also performed at the Jazzschool, says the driving force behind the institution’s appeal — beyond music — is its outstanding staff and the community of artists who gravitate to its classrooms.\u003c/p>\n\u003cfigure id=\"attachment_13984507\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2.jpg\" alt=\"A group of people stand on stage playing jazz together.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer, bandleader and bassist Lisa Mezzacappa (second from right) and her ensemble Five(ish) performing in the Bay Area. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With year-round classes offered on a quarterly basis for both adults and youth, the school teaches various styles, from Latin jazz to Brazilian funk.\u003c/p>\n\u003cp>Beyond acquiring technical expertise, Mezzacappa describes an added draw of the school: people often spend years at the Jazzschool, and connect “on that really interpersonal level through music.”\u003c/p>\n\u003cp>An avant-garde jazz artist who has a long resumé of playing gigs all over the Bay Area and beyond, Mezzacappa holds nothing back when it comes advocating for the art form.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think jazz should be part of every conversation,” she says, noting that she’s even open to exploring the ways technological advancements are impacting one of this country’s oldest genres of music. “We can’t run away from new technology,” she attests. “We have to see what students are interested in.”\u003c/p>\n\u003cp>Her first assignment, as she takes the helm of the nearly thirty year-old institution, is the school’s fall \u003ca href=\"https://concerts.jazzschool.org/\">Youth & Adult Student Performance Series\u003c/a>. An annual showcase that runs Dec. 5–16, it features nearly 400 students from different levels, playing different styles of jazz.\u003c/p>\n\u003cp>The showcase doubles as a way of expanding community. Many people bring friends and loved ones, Mezzacappa said, who may eventually get involved and become part of a new crop of talented musicians.\u003c/p>\n\u003cp>“If you’re curious about dusting off your guitar, or the keyboard that’s been in your garage,” offers Mezzacappa, “and you’re like, ‘Maybe I wanna take a class,’ it’s a good chance to see what happens here.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jazzschool’s \u003ca href=\"https://concerts.jazzschool.org/\">Fall Youth & Adult Student Performance Series\u003c/a> features several free concerts from Dec. 5–16 at the Jazzschool (2087 Addison Street, Berkeley). \u003ca href=\"https://concerts.jazzschool.org/\">More event information here.\u003c/a> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-concerts-2025-bay-area-live-music",
"title": "The 25 Best Concerts That Got Me Through 2025",
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"headTitle": "The 25 Best Concerts That Got Me Through 2025 | KQED",
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"content": "\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>If it wasn’t the \u003ca href=\"https://www.kqed.org/news/12065196/3-out-of-4-california-families-with-young-kids-cant-afford-at-least-one-basic-need\">rising cost of living\u003c/a>, or the deaths of \u003ca href=\"https://www.kqed.org/arts/13970397/david-lynch-visionary-filmmaker-behind-twin-peaks-and-mulholland-drive-dies-at-78\">David Lynch\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13982372/dangelo-dies-at-51-soul-r-and-b-music-dead-oakland\">D’Angelo\u003c/a>, it was the \u003ca href=\"https://www.kqed.org/news/tag/donald-trump\">authoritarian regime\u003c/a>. This year brought daily reasons to bury oneself in music, this miraculous thing that’s been \u003ca href=\"https://www.kqed.org/arts/13978141/deerhoof-quits-spotify-daniel-ek-700-million-military-ai-investment\">sapped of its monetary value by parasitic streaming services in order to fund AI warfare\u003c/a> but which still provides transcendence and joy, especially in a live setting.\u003c/p>\n\u003cp>I went to 38 shows in 2025, and \u003ca href=\"https://www.kqed.org/author/gmeline\">only reviewed some of them\u003c/a> for KQED. (After 30 years of writing about music, it’s a form of self-care to \u003ca href=\"https://www.kqed.org/arts/13969081/best-live-music-bay-area-2024\">go to a show as a fan\u003c/a>, and not for work.) So here — reviewed in just one sentence each, complete with bad photos from my phone — are 25 concerts that got me through the year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM.jpg\" alt=\"\" width=\"1114\" height=\"1114\" class=\"aligncenter size-full wp-image-13984442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1114px) 100vw, 1114px\">\u003c/p>\n\u003cp>\u003cb>Noelle & the Deserters\u003c/b>\u003cbr>\n\u003ci>Feb. 18, Brick and Mortar Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The best country song about a city will forever be Waylon Jennings’ “\u003ca href=\"https://youtu.be/fJIFt9AsjqE?si=4Qwmvv7mlf3DT1iY\">Luckenbach, Texas\u003c/a>,” but when Noelle started singing “Taos,” her ode to the New Mexico town, I had to rearrange a mental list of runners-up. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM.jpg\" alt=\"\" width=\"1010\" height=\"1010\" class=\"aligncenter size-full wp-image-13984441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1010px) 100vw, 1010px\">\u003c/p>\n\u003cp>\u003cb>Gillian Welch & David Rawlings\u003c/b>\u003cbr>\n\u003ci>March 12, The Masonic, San Francisco\u003c/i> \u003c/p>\n\u003cp>Every Gillian Welch fan has their favorite songs, and while she and cosmic-folk guitarist extraordinaire David Rawlings didn’t play mine (“\u003ca href=\"https://youtu.be/MljrD0-DzqQ?si=rHSSMdb-ImhVvxES\">Wrecking Ball\u003c/a>,” a beautiful autobiography of life in 1980s Santa Cruz), their set at the Masonic still felt like a big, warm embrace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM.jpg\" alt=\"\" width=\"1178\" height=\"1178\" class=\"aligncenter size-full wp-image-13984440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>Subhumans\u003c/b>\u003cbr>\n\u003ci>April 18, 924 Gilman, Berkeley\u003c/i>\u003c/p>\n\u003cp>Somehow Greg Ginn is getting a ton of press for taking a half-baked “Black Flag” on the road with a bunch of new, young replacements, while the actually newsworthy punk-band lineup story is that the Subhumans have been playing with \u003ci>the same members since 1983!\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM.jpg\" alt=\"\" width=\"956\" height=\"956\" class=\"aligncenter size-full wp-image-13984444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM.jpg 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 956px) 100vw, 956px\">\u003c/p>\n\u003cp>\u003cb>A Flock of Seagulls\u003c/b>\u003cbr>\n\u003ci>June 11, Courthouse Square, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>To answer your only two questions: no, he does not still have that haircut, and yes, they played “I Ran” (twice).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp.jpg\" alt=\"\" width=\"1294\" height=\"1294\" class=\"aligncenter size-full wp-image-13984469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp-768x768.jpg 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003c/p>\n\u003cp>\u003cb>Pulp\u003c/b>\u003cbr>\n\u003ci>June 14, O2 Arena, London\u003c/i>\u003c/p>\n\u003cp>I was content to ignore the Oasis reunion this year and instead celebrate the true victors of 1990s Britpop, and on their home turf no less, a much splashier experience than \u003ca href=\"https://www.kqed.org/arts/13969081/best-live-music-bay-area-2024\">seeing them in downtown San Francisco last year for nine bucks\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM.jpg\" alt=\"\" width=\"1582\" height=\"1350\" class=\"aligncenter size-full wp-image-13984460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM.jpg 1582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-1536x1311.jpg 1536w\" sizes=\"auto, (max-width: 1582px) 100vw, 1582px\">\u003c/p>\n\u003cp>\u003cb>Rob Clearfield Quartet \u003c/b>\u003cbr>\n\u003ci>June 17, Le Duc les Lombards, Paris\u003c/i>\u003c/p>\n\u003cp>Jazz pianist Bud Powell famously left New York for Paris in 1959, at the height of jazz’s commercial heights; 60 years later, jazz pianist Rob Clearfield similarly left Chicago during its jazz renaissance for Paris, where at this small-club show the audience was very attentive and reverent. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM.jpg\" alt=\"\" width=\"1178\" height=\"1178\" class=\"aligncenter size-full wp-image-13984465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>Beyoncé\u003c/b>\u003cbr>\n\u003ci>June 19, Stad de France, Paris\u003c/i>\u003c/p>\n\u003cp>In what’s been the worst year in my lifetime for feeling optimistic about America, I underwent a rare and sustained swell of hope while witnessing Beyoncé’s ambitious tour about our beautiful, injured country in the middle of a rapt European crowd.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Ice-T\u003c/b>\u003cbr>\n\u003ci>June 27, Great American Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>Types of Guys You See at an Ice-T show in 2025: guy in the balcony sucking down blunt after blunt nonstop; guy holding up a chess board throughout the entire show; guy wearing a Prince medallion who goes to Paisley Park twice a year; Rappin’ 4-Tay, in better health, thankfully; Santa Claus-looking guy, trying to pick fights; Jello Biafra, on stage, curtsying for the crowd; guy in full-on pimp wardrobe, long coat, matching hat, jewels and a cane; guy on stage with a cane who was not a pimp but just old; guy walking up O’Farrell Street drunkenly reciting “6 In the Mornin’” until interrupted by the sight of the Mitchell Brothers Theatre, which inspired a speech about Nina Hartley; guy wearing an authentic vanity license plate around his neck reading “ICE T SF”; and the guy standing front row center, whom Ice-T eventually just pulled up on stage to be his hype man for the last six songs. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM.jpg\" alt=\"\" width=\"1182\" height=\"1182\" class=\"aligncenter size-full wp-image-13984456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1182px) 100vw, 1182px\">\u003c/p>\n\u003cp>\u003cb>Robert Earl Keen\u003c/b>\u003cbr>\n\u003ci>July 16, Hopmonk Tavern, Novato\u003c/i> \u003c/p>\n\u003cp>This one time in Corpus Christi at age 19 I walked a few blocks down to the bay, drank a Shiner Bock, stared at the water — one of those moments when time slows down a little — and wouldn’t you know it, years later in the backyard of a home for the blind I saw Robert Earl Keen play “\u003ca href=\"https://youtu.be/hAvONDXOgxc?si=tAP0HK4etyUsCvb0\">Corpus Christi Bay\u003c/a>,” a perfect song, and my life has not been the same since. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Mix Master Mike, Qbert and D-Styles \u003c/b>\u003cbr>\n\u003ci>July 19, SF Hip-Hop Festival, San Francisco\u003c/i>\u003c/p>\n\u003cp>I can’t shake the feeling that the geniuses who make up the \u003ca href=\"https://www.kqed.org/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history\">Invisibl Skratch Piklz\u003c/a>, individually and collectively, will go down in history as visionaries who were ahead of their time, space and galaxy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Devo\u003c/b>\u003cbr>\n\u003ci>July 19, from outside the fence, Oakland \u003c/i>\u003c/p>\n\u003cp>Once a year, one should \u003ca href=\"https://bohemian.com/listening-to-huey-lewis-outside-the-fence-at-the-sonoma-county-fair-isnt-all-that-bad/\">listen to a show from outside a fence\u003c/a>, in the back alley or through the side door, like that “\u003ca href=\"https://mashable.com/article/in-the-bathroom-at-a-party-edits\">in the bathroom at a party\u003c/a>” TikTok trend from 2020.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM.jpg\" alt=\"\" width=\"1174\" height=\"918\" class=\"aligncenter size-full wp-image-13984467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM-768x601.jpg 768w\" sizes=\"auto, (max-width: 1174px) 100vw, 1174px\">\u003c/p>\n\u003cp>\u003cb>Kreayshawn\u003c/b>\u003cbr>\n\u003ci>July 20, Mosswood Park, Oakland\u003c/i>\u003c/p>\n\u003cp>It’s a good thing that, by and large, everyone in the Bay gives love to Kreayshawn, who weathered a rotten deal in both the media and the record industry only to emerge at Mosswood Meltdown after a 10-year hiatus stronger and tighter and funnier than ever.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM.jpg\" alt=\"\" width=\"1178\" height=\"1224\" class=\"aligncenter size-full wp-image-13984461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM-768x798.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>La Gente\u003c/b>\u003cbr>\n\u003ci>July 27, Juilliard Park, Santa Rosa \u003c/i>\u003c/p>\n\u003cp>It’s hard to beat free music in the park, especially when you get Rafa Sarria Bustamante freestyling in Spanish about the Mission District over a live-band version of “I Got 5 On It.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>False Flag\u003c/b>\u003cbr>\n\u003ci>July 30, Castro Theater, San Francisco \u003c/i>\u003c/p>\n\u003cp>The punks took over the sidewalk in front of the Castro Theater, and confused and enchanted random passers-by while a crowd of 50 or so smoked weed, drank beer and started small pits under the marquee of the beloved ex-movie palace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Nine Inch Nails\u003c/b>\u003cbr>\n\u003ci>Aug. 6, Oakland Arena, Oakland\u003c/i> \u003c/p>\n\u003cp>When I am elected president, I will sign an anti-oversaturation bill limiting Trent Reznor and Atticus Ross to one motion picture score per year (with more time for Nine Inch Nails tours as a welcome byproduct).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>The Jets\u003c/b>\u003cbr>\n\u003ci>Aug. 15, Golden 1 Center, Sacramento \u003c/i>\u003c/p>\n\u003cp>Each every-decade-or-so wave of the ’80s revival has unfairly passed up the Jets, who performed “\u003ca href=\"https://youtu.be/8a2GfvPF0_8?si=0RIYJFzbOvR9NFSu\">Crush On You\u003c/a>,” “\u003ca href=\"https://youtu.be/Dr1pZHPExlE?si=l3D2DKyQ-yAGQutJ\">You Got It All\u003c/a>,” “\u003ca href=\"https://youtu.be/UhrqvTUZQLo?si=pombtxW5WRUNPMEJ\">Cross My Broken Heart\u003c/a>” and “\u003ca href=\"https://youtu.be/K8LLF-46FN8?si=rNMQqNLBbVZUXYg5\">Make It Real\u003c/a>” as if no time has passed whatsoever in a nostalgia revue alongside performances by Lisa Lisa, Exposé, the Mary Jane Girls, J.J. Fad, Tag Team and one guy from Color Me Badd.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Con Funk Shun\u003c/b>\u003cbr>\n\u003ci>Sept. 6, Mare Island, Vallejo\u003c/i>\u003c/p>\n\u003cp>Felton Pilate, the \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">secret bridge between Bay Area funk and Bay Area rap\u003c/a>, led his tight-as-hell, five-decades-strong band in a jubilant hometown set after receiving an honorary street renaming.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547.jpg\" alt=\"\" width=\"1920\" height=\"2560\" class=\"aligncenter size-full wp-image-13984462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Louisiana Symphony Orchestra\u003c/b>\u003cbr>\n\u003ci>Sept. 11, New Marigny Theatre, New Orleans\u003c/i>\u003c/p>\n\u003cp>Performing on the floor of a small church to five rows of folding chairs (Davies Symphony Hall, how we take thee for granted), this skilled and adventurous ensemble tackled two world premieres, a Florence Price piece, a tango and a Britten suite with gusto.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Kermit Ruffins\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003ci>Sept. 12, The Blue Nile, New Orleans \u003c/i>\u003c/p>\n\u003cp>“On the Sunny Side of the Street,” “Lovely Day,” “If I Only Had a Brain,” “What a Wonderful Word” — the hometown trumpet legend’s setlist was simply tremendous, complete with an oddly moving “Someday My Prince Will Come” that morphed into “The Star-Spangled Banner.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863.jpg\" alt=\"\" width=\"2378\" height=\"2378\" class=\"aligncenter size-full wp-image-13984455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863.jpg 2378w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-2000x2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 2378px) 100vw, 2378px\">\u003c/p>\n\u003cp>\u003cb>Buffalo Nichols\u003c/b>\u003cbr>\n\u003ci>Sept. 14, House of Blues, New Orleans \u003c/i>\u003c/p>\n\u003cp>I’d lost my mind the day before, \u003ca href=\"https://www.kqed.org/arts/13983190/juke-joint-sinners-filming-location-louisiana\">wandering through tall jungleland looking for the juke joint from \u003ci>Sinners\u003c/i>\u003c/a>; Nichols singing “How to Love” helped me find it again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>The New Trust\u003c/b>\u003cbr>\n\u003ci>Sept. 26, Henhouse Brewing Co., Santa Rosa\u003c/i> \u003c/p>\n\u003cp>Here’s to local bands that stay together for over 20 years and \u003ca href=\"https://thenewtrust.bandcamp.com/\">keep turning out exuberant songs\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Lucinda Williams\u003c/b>\u003cbr>\n\u003ci>Oct. 5, Golden Gate Park, San Francisco \u003c/i>\u003c/p>\n\u003cp>The edges of Lucinda’s voice are increasingly chiseled with a sawblade, and yet she still readily conjures an immediate peaceful bliss with \u003ca href=\"https://youtu.be/9MVRXBftMxM?si=XZLT1yrXL9FOUSF-\">just the first three notes\u003c/a> of a song.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Andre Nickatina\u003c/b>\u003cbr>\n\u003ci>Oct. 16, Great American Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>Smokin’, drinkin’, dancin’ — Nickatina’s fanbase is among the most unpretentious in the Bay, and the opener was a blues-playing former pimp from East Palo Alto with an out-of-tune acoustic guitar who sang songs about how we should all love one another.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-full wp-image-13984466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0-160x160.jpg 160w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>Dijon\u003c/b>\u003cbr>\n\u003ci>Nov. 6, Fox Theater, Oakland \u003c/i>\u003c/p>\n\u003cp>I love Dijon’s album \u003ci>Baby\u003c/i>, and was warmed to see that he assembled a nine-piece band to recreate its strange brokenness, with a semicircle-and-sitting-down stage setup reminiscent of Miles Davis’ 1970s shows. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-full wp-image-13984446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2-160x160.jpg 160w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>Too Short\u003c/b>\u003cbr>\n\u003ci>Nov. 9, History of the Bay, San Francisco\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After an epic hour-and-a-half-hour panel discussion between Short, Spice 1, Rappin’ 4-Tay, CMG, B-Legit, D-Shot, Mistah FAB, Lord Rab, Dregs One and Davey D about the early years of Bay Area rap, DJ Cutso dropped “\u003ca href=\"https://youtu.be/OrUfz0AhQP0?si=pQDR3H7vnRii6x5Y\">Dope Fiend Beat\u003c/a>” for a perfect coda: Short delivering the nearly 40-year-old song and a stage full of peers-slash-fans, rapping along. \u003c/p>\n\n",
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"excerpt": "Live music provided transcendence and joy this year, as shown by Gabe Meline's steady calendar of shows.",
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"title": "The 25 Best Concerts That Got Me Through 2025 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>If it wasn’t the \u003ca href=\"https://www.kqed.org/news/12065196/3-out-of-4-california-families-with-young-kids-cant-afford-at-least-one-basic-need\">rising cost of living\u003c/a>, or the deaths of \u003ca href=\"https://www.kqed.org/arts/13970397/david-lynch-visionary-filmmaker-behind-twin-peaks-and-mulholland-drive-dies-at-78\">David Lynch\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13982372/dangelo-dies-at-51-soul-r-and-b-music-dead-oakland\">D’Angelo\u003c/a>, it was the \u003ca href=\"https://www.kqed.org/news/tag/donald-trump\">authoritarian regime\u003c/a>. This year brought daily reasons to bury oneself in music, this miraculous thing that’s been \u003ca href=\"https://www.kqed.org/arts/13978141/deerhoof-quits-spotify-daniel-ek-700-million-military-ai-investment\">sapped of its monetary value by parasitic streaming services in order to fund AI warfare\u003c/a> but which still provides transcendence and joy, especially in a live setting.\u003c/p>\n\u003cp>I went to 38 shows in 2025, and \u003ca href=\"https://www.kqed.org/author/gmeline\">only reviewed some of them\u003c/a> for KQED. (After 30 years of writing about music, it’s a form of self-care to \u003ca href=\"https://www.kqed.org/arts/13969081/best-live-music-bay-area-2024\">go to a show as a fan\u003c/a>, and not for work.) So here — reviewed in just one sentence each, complete with bad photos from my phone — are 25 concerts that got me through the year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM.jpg\" alt=\"\" width=\"1114\" height=\"1114\" class=\"aligncenter size-full wp-image-13984442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.31.48-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1114px) 100vw, 1114px\">\u003c/p>\n\u003cp>\u003cb>Noelle & the Deserters\u003c/b>\u003cbr>\n\u003ci>Feb. 18, Brick and Mortar Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The best country song about a city will forever be Waylon Jennings’ “\u003ca href=\"https://youtu.be/fJIFt9AsjqE?si=4Qwmvv7mlf3DT1iY\">Luckenbach, Texas\u003c/a>,” but when Noelle started singing “Taos,” her ode to the New Mexico town, I had to rearrange a mental list of runners-up. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM.jpg\" alt=\"\" width=\"1010\" height=\"1010\" class=\"aligncenter size-full wp-image-13984441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.32.43-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1010px) 100vw, 1010px\">\u003c/p>\n\u003cp>\u003cb>Gillian Welch & David Rawlings\u003c/b>\u003cbr>\n\u003ci>March 12, The Masonic, San Francisco\u003c/i> \u003c/p>\n\u003cp>Every Gillian Welch fan has their favorite songs, and while she and cosmic-folk guitarist extraordinaire David Rawlings didn’t play mine (“\u003ca href=\"https://youtu.be/MljrD0-DzqQ?si=rHSSMdb-ImhVvxES\">Wrecking Ball\u003c/a>,” a beautiful autobiography of life in 1980s Santa Cruz), their set at the Masonic still felt like a big, warm embrace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM.jpg\" alt=\"\" width=\"1178\" height=\"1178\" class=\"aligncenter size-full wp-image-13984440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.39.30-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>Subhumans\u003c/b>\u003cbr>\n\u003ci>April 18, 924 Gilman, Berkeley\u003c/i>\u003c/p>\n\u003cp>Somehow Greg Ginn is getting a ton of press for taking a half-baked “Black Flag” on the road with a bunch of new, young replacements, while the actually newsworthy punk-band lineup story is that the Subhumans have been playing with \u003ci>the same members since 1983!\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM.jpg\" alt=\"\" width=\"956\" height=\"956\" class=\"aligncenter size-full wp-image-13984444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM.jpg 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.50.39-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 956px) 100vw, 956px\">\u003c/p>\n\u003cp>\u003cb>A Flock of Seagulls\u003c/b>\u003cbr>\n\u003ci>June 11, Courthouse Square, Santa Rosa\u003c/i>\u003c/p>\n\u003cp>To answer your only two questions: no, he does not still have that haircut, and yes, they played “I Ran” (twice).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp.jpg\" alt=\"\" width=\"1294\" height=\"1294\" class=\"aligncenter size-full wp-image-13984469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/pulp-768x768.jpg 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003c/p>\n\u003cp>\u003cb>Pulp\u003c/b>\u003cbr>\n\u003ci>June 14, O2 Arena, London\u003c/i>\u003c/p>\n\u003cp>I was content to ignore the Oasis reunion this year and instead celebrate the true victors of 1990s Britpop, and on their home turf no less, a much splashier experience than \u003ca href=\"https://www.kqed.org/arts/13969081/best-live-music-bay-area-2024\">seeing them in downtown San Francisco last year for nine bucks\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM.jpg\" alt=\"\" width=\"1582\" height=\"1350\" class=\"aligncenter size-full wp-image-13984460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM.jpg 1582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-768x655.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.47.34-PM-1536x1311.jpg 1536w\" sizes=\"auto, (max-width: 1582px) 100vw, 1582px\">\u003c/p>\n\u003cp>\u003cb>Rob Clearfield Quartet \u003c/b>\u003cbr>\n\u003ci>June 17, Le Duc les Lombards, Paris\u003c/i>\u003c/p>\n\u003cp>Jazz pianist Bud Powell famously left New York for Paris in 1959, at the height of jazz’s commercial heights; 60 years later, jazz pianist Rob Clearfield similarly left Chicago during its jazz renaissance for Paris, where at this small-club show the audience was very attentive and reverent. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM.jpg\" alt=\"\" width=\"1178\" height=\"1178\" class=\"aligncenter size-full wp-image-13984465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.46.37-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>Beyoncé\u003c/b>\u003cbr>\n\u003ci>June 19, Stad de France, Paris\u003c/i>\u003c/p>\n\u003cp>In what’s been the worst year in my lifetime for feeling optimistic about America, I underwent a rare and sustained swell of hope while witnessing Beyoncé’s ambitious tour about our beautiful, injured country in the middle of a rapt European crowd.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_5857-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Ice-T\u003c/b>\u003cbr>\n\u003ci>June 27, Great American Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>Types of Guys You See at an Ice-T show in 2025: guy in the balcony sucking down blunt after blunt nonstop; guy holding up a chess board throughout the entire show; guy wearing a Prince medallion who goes to Paisley Park twice a year; Rappin’ 4-Tay, in better health, thankfully; Santa Claus-looking guy, trying to pick fights; Jello Biafra, on stage, curtsying for the crowd; guy in full-on pimp wardrobe, long coat, matching hat, jewels and a cane; guy on stage with a cane who was not a pimp but just old; guy walking up O’Farrell Street drunkenly reciting “6 In the Mornin’” until interrupted by the sight of the Mitchell Brothers Theatre, which inspired a speech about Nina Hartley; guy wearing an authentic vanity license plate around his neck reading “ICE T SF”; and the guy standing front row center, whom Ice-T eventually just pulled up on stage to be his hype man for the last six songs. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM.jpg\" alt=\"\" width=\"1182\" height=\"1182\" class=\"aligncenter size-full wp-image-13984456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.48.58-PM-768x768.jpg 768w\" sizes=\"auto, (max-width: 1182px) 100vw, 1182px\">\u003c/p>\n\u003cp>\u003cb>Robert Earl Keen\u003c/b>\u003cbr>\n\u003ci>July 16, Hopmonk Tavern, Novato\u003c/i> \u003c/p>\n\u003cp>This one time in Corpus Christi at age 19 I walked a few blocks down to the bay, drank a Shiner Bock, stared at the water — one of those moments when time slows down a little — and wouldn’t you know it, years later in the backyard of a home for the blind I saw Robert Earl Keen play “\u003ca href=\"https://youtu.be/hAvONDXOgxc?si=tAP0HK4etyUsCvb0\">Corpus Christi Bay\u003c/a>,” a perfect song, and my life has not been the same since. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6263-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Mix Master Mike, Qbert and D-Styles \u003c/b>\u003cbr>\n\u003ci>July 19, SF Hip-Hop Festival, San Francisco\u003c/i>\u003c/p>\n\u003cp>I can’t shake the feeling that the geniuses who make up the \u003ca href=\"https://www.kqed.org/arts/13952208/invisibl-skratch-piklz-filipino-djs-daly-city-san-francisco-turntablism-history\">Invisibl Skratch Piklz\u003c/a>, individually and collectively, will go down in history as visionaries who were ahead of their time, space and galaxy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6282-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Devo\u003c/b>\u003cbr>\n\u003ci>July 19, from outside the fence, Oakland \u003c/i>\u003c/p>\n\u003cp>Once a year, one should \u003ca href=\"https://bohemian.com/listening-to-huey-lewis-outside-the-fence-at-the-sonoma-county-fair-isnt-all-that-bad/\">listen to a show from outside a fence\u003c/a>, in the back alley or through the side door, like that “\u003ca href=\"https://mashable.com/article/in-the-bathroom-at-a-party-edits\">in the bathroom at a party\u003c/a>” TikTok trend from 2020.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM.jpg\" alt=\"\" width=\"1174\" height=\"918\" class=\"aligncenter size-full wp-image-13984467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.54.57-PM-768x601.jpg 768w\" sizes=\"auto, (max-width: 1174px) 100vw, 1174px\">\u003c/p>\n\u003cp>\u003cb>Kreayshawn\u003c/b>\u003cbr>\n\u003ci>July 20, Mosswood Park, Oakland\u003c/i>\u003c/p>\n\u003cp>It’s a good thing that, by and large, everyone in the Bay gives love to Kreayshawn, who weathered a rotten deal in both the media and the record industry only to emerge at Mosswood Meltdown after a 10-year hiatus stronger and tighter and funnier than ever.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM.jpg\" alt=\"\" width=\"1178\" height=\"1224\" class=\"aligncenter size-full wp-image-13984461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM.jpg 1178w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-03-at-9.55.58-PM-768x798.jpg 768w\" sizes=\"auto, (max-width: 1178px) 100vw, 1178px\">\u003c/p>\n\u003cp>\u003cb>La Gente\u003c/b>\u003cbr>\n\u003ci>July 27, Juilliard Park, Santa Rosa \u003c/i>\u003c/p>\n\u003cp>It’s hard to beat free music in the park, especially when you get Rafa Sarria Bustamante freestyling in Spanish about the Mission District over a live-band version of “I Got 5 On It.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6598-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>False Flag\u003c/b>\u003cbr>\n\u003ci>July 30, Castro Theater, San Francisco \u003c/i>\u003c/p>\n\u003cp>The punks took over the sidewalk in front of the Castro Theater, and confused and enchanted random passers-by while a crowd of 50 or so smoked weed, drank beer and started small pits under the marquee of the beloved ex-movie palace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6829-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Nine Inch Nails\u003c/b>\u003cbr>\n\u003ci>Aug. 6, Oakland Arena, Oakland\u003c/i> \u003c/p>\n\u003cp>When I am elected president, I will sign an anti-oversaturation bill limiting Trent Reznor and Atticus Ross to one motion picture score per year (with more time for Nine Inch Nails tours as a welcome byproduct).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_6977-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>The Jets\u003c/b>\u003cbr>\n\u003ci>Aug. 15, Golden 1 Center, Sacramento \u003c/i>\u003c/p>\n\u003cp>Each every-decade-or-so wave of the ’80s revival has unfairly passed up the Jets, who performed “\u003ca href=\"https://youtu.be/8a2GfvPF0_8?si=0RIYJFzbOvR9NFSu\">Crush On You\u003c/a>,” “\u003ca href=\"https://youtu.be/Dr1pZHPExlE?si=l3D2DKyQ-yAGQutJ\">You Got It All\u003c/a>,” “\u003ca href=\"https://youtu.be/UhrqvTUZQLo?si=pombtxW5WRUNPMEJ\">Cross My Broken Heart\u003c/a>” and “\u003ca href=\"https://youtu.be/K8LLF-46FN8?si=rNMQqNLBbVZUXYg5\">Make It Real\u003c/a>” as if no time has passed whatsoever in a nostalgia revue alongside performances by Lisa Lisa, Exposé, the Mary Jane Girls, J.J. Fad, Tag Team and one guy from Color Me Badd.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7375-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Con Funk Shun\u003c/b>\u003cbr>\n\u003ci>Sept. 6, Mare Island, Vallejo\u003c/i>\u003c/p>\n\u003cp>Felton Pilate, the \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">secret bridge between Bay Area funk and Bay Area rap\u003c/a>, led his tight-as-hell, five-decades-strong band in a jubilant hometown set after receiving an honorary street renaming.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547.jpg\" alt=\"\" width=\"1920\" height=\"2560\" class=\"aligncenter size-full wp-image-13984462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7547-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Louisiana Symphony Orchestra\u003c/b>\u003cbr>\n\u003ci>Sept. 11, New Marigny Theatre, New Orleans\u003c/i>\u003c/p>\n\u003cp>Performing on the floor of a small church to five rows of folding chairs (Davies Symphony Hall, how we take thee for granted), this skilled and adventurous ensemble tackled two world premieres, a Florence Price piece, a tango and a Britten suite with gusto.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"aligncenter size-full wp-image-13984453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7656-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Kermit Ruffins\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003ci>Sept. 12, The Blue Nile, New Orleans \u003c/i>\u003c/p>\n\u003cp>“On the Sunny Side of the Street,” “Lovely Day,” “If I Only Had a Brain,” “What a Wonderful Word” — the hometown trumpet legend’s setlist was simply tremendous, complete with an oddly moving “Someday My Prince Will Come” that morphed into “The Star-Spangled Banner.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863.jpg\" alt=\"\" width=\"2378\" height=\"2378\" class=\"aligncenter size-full wp-image-13984455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863.jpg 2378w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-2000x2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_7863-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 2378px) 100vw, 2378px\">\u003c/p>\n\u003cp>\u003cb>Buffalo Nichols\u003c/b>\u003cbr>\n\u003ci>Sept. 14, House of Blues, New Orleans \u003c/i>\u003c/p>\n\u003cp>I’d lost my mind the day before, \u003ca href=\"https://www.kqed.org/arts/13983190/juke-joint-sinners-filming-location-louisiana\">wandering through tall jungleland looking for the juke joint from \u003ci>Sinners\u003c/i>\u003c/a>; Nichols singing “How to Love” helped me find it again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8147-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>The New Trust\u003c/b>\u003cbr>\n\u003ci>Sept. 26, Henhouse Brewing Co., Santa Rosa\u003c/i> \u003c/p>\n\u003cp>Here’s to local bands that stay together for over 20 years and \u003ca href=\"https://thenewtrust.bandcamp.com/\">keep turning out exuberant songs\u003c/a>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8280-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Lucinda Williams\u003c/b>\u003cbr>\n\u003ci>Oct. 5, Golden Gate Park, San Francisco \u003c/i>\u003c/p>\n\u003cp>The edges of Lucinda’s voice are increasingly chiseled with a sawblade, and yet she still readily conjures an immediate peaceful bliss with \u003ca href=\"https://youtu.be/9MVRXBftMxM?si=XZLT1yrXL9FOUSF-\">just the first three notes\u003c/a> of a song.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"aligncenter size-full wp-image-13984452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/IMG_8633-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Andre Nickatina\u003c/b>\u003cbr>\n\u003ci>Oct. 16, Great American Music Hall, San Francisco \u003c/i>\u003c/p>\n\u003cp>Smokin’, drinkin’, dancin’ — Nickatina’s fanbase is among the most unpretentious in the Bay, and the opener was a blues-playing former pimp from East Palo Alto with an out-of-tune acoustic guitar who sang songs about how we should all love one another.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-full wp-image-13984466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image0-160x160.jpg 160w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>Dijon\u003c/b>\u003cbr>\n\u003ci>Nov. 6, Fox Theater, Oakland \u003c/i>\u003c/p>\n\u003cp>I love Dijon’s album \u003ci>Baby\u003c/i>, and was warmed to see that he assembled a nine-piece band to recreate its strange brokenness, with a semicircle-and-sitting-down stage setup reminiscent of Miles Davis’ 1970s shows. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-full wp-image-13984446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/image2-160x160.jpg 160w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>Too Short\u003c/b>\u003cbr>\n\u003ci>Nov. 9, History of the Bay, San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After an epic hour-and-a-half-hour panel discussion between Short, Spice 1, Rappin’ 4-Tay, CMG, B-Legit, D-Shot, Mistah FAB, Lord Rab, Dregs One and Davey D about the early years of Bay Area rap, DJ Cutso dropped “\u003ca href=\"https://youtu.be/OrUfz0AhQP0?si=pQDR3H7vnRii6x5Y\">Dope Fiend Beat\u003c/a>” for a perfect coda: Short delivering the nearly 40-year-old song and a stage full of peers-slash-fans, rapping along. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Unsigned and Hella Broke: The East Bay’s Dirt-Hustling 1990s Hip-Hop Subculture",
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"content": "\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, an ongoing KQED series about \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>“I’ll never lose that spirit, but I don’t miss being on the street from morning to night,” says Corey “Sunspot Jonz” Johnson.\u003c/p>\n\u003cp>Johnson is talking about his years of “dirt hustling,” when he sold stapled and Xeroxed copies of his zine \u003ci>Unsigned and Hella Broke \u003c/i>and cassette tapes by his rap group Mystik Journeymen on Telegraph Avenue in Berkeley. Anyone who either attended UC Berkeley in the 1990s or frequented heavily trafficked storefronts like Blondie’s Pizza and Leopold’s Music undoubtedly has memories of being approached by a friendly teenager who moonlit as a rapper and tried to sell you a homemade tape. It was very nearly a rite of passage during an era now romanticized for birthing the Bay Area’s underground hip-hop scene.\u003c/p>\n\u003cp>Sunspot Jonz may have given the Unsigned and Hella Broke era its name, but he wasn’t the only one on Telegraph Avenue. Others who gathered there to sell their wares included the Berkeley duo Fundamentals, Kirby Dominant, Fremont rapper/producer “Walt Liquor” Taylor and his group Mixed Practice, the Cytoplasmz crew, Queen Nefra, and Hobo Junction, the crew led by the dextrous rapper \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">Saafir\u003c/a>. They duplicated their songs onto blank cassette tapes, added modestly illustrated J-cards and sold them wherever they could, from sidewalks along Telegraph and outside of local concert venues to newly launched message boards on the nascent internet.\u003c/p>\n\u003cfigure id=\"attachment_13984377\" class=\"wp-caption aligncenter\" style=\"max-width: 1079px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/R-3874152-1371056865-1515.jpg\" alt=\"\" width=\"1079\" height=\"550\" class=\"size-full wp-image-13984377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/R-3874152-1371056865-1515.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/R-3874152-1371056865-1515-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/R-3874152-1371056865-1515-768x391.jpg 768w\" sizes=\"auto, (max-width: 1079px) 100vw, 1079px\">\u003cfigcaption class=\"wp-caption-text\">Cassettes sold hand-to-hand in the Bay Area’s independent hip-hop scene included the Dereliks’ ‘A Turn on the Wheel Is Worth More Than a Record Deal,’ Hobo Junction’s ‘Limited Edition’ and Bored Stiff’s ‘Explainin’.’\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, the sound of the Bay Area underground was typified by warm and muddy tones generated by basic four-track recording equipment, with deliberately abstract lyrics. Its homespun quality stood in defiantly uncommercial contrast to the slick “gangsta” style that defined mainstream rap after the arrival of Dr. Dre’s 1992 opus \u003ci>The Chronic\u003c/i>. Its ethos posited hip-hop as not just a popular musical genre, but a vocation that required personal commitment and sacrifice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nobody in Living Legends had a job. Nobody had kids at the time. Nobody had anything but to do \u003ci>this \u003c/i>every day,” says Sunspot, who rapped and produced beats in Mystik Journeymen alongside L.A. transplant Tommy “Luckyiam” Woolfolk.\u003c/p>\n\u003cp>Mystik Journeymen eventually built a modest yet far-flung cult following, traveling overseas and laying the groundwork for an international DIY touring circuit that others would duplicate. In 1996, the duo co-founded the group Living Legends, alongside Berkeley rapper The Grouch, L.A. rappers Murs and Eligh; San Jose State student Scarab; Fresno rapper Asop and DJ/producer Bicasso, a graduate of Cal Poly Humboldt. (Arata was briefly a member before returning home to Japan.) On Dec. 5 at the UC Theater in Berkeley, they headline \u003ca href=\"https://www.theuctheatre.org/shows/how-the-grouch-stole-christmas-tour-living-legends-05-dec\">How the Grouch Stole Christmas\u003c/a>, an annual concert tour organized by The Grouch since 2007; Oakland icons Souls of Mischief and Kentucky trio Cunninlynguists support.\u003c/p>\n\u003cfigure id=\"attachment_13984360\" class=\"wp-caption aligncenter\" style=\"max-width: 2390px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS.jpg\" alt=\"\" width=\"2390\" height=\"1875\" class=\"size-full wp-image-13984360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS.jpg 2390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS-2000x1569.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS-1536x1205.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS-2048x1607.jpg 2048w\" sizes=\"auto, (max-width: 2390px) 100vw, 2390px\">\u003cfigcaption class=\"wp-caption-text\">Various members of Living Legends gather outside a show in the 1990s. \u003ccite>(Courtesy Sunspot Jonz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for Sunspot, reminiscing about his formative years on Telegraph Avenue elicits complicated feelings. His drive and passion back then put “a battery pack in our asses,” as Fundamentals rapper/producer Jonathan “King Koncepts” Sklute appreciatively notes. Yet it also was an extreme result of surviving as a starving artist.\u003c/p>\n\u003cp>“Do I miss being on the street?” asks Sunspot, whose many 2025 projects include releasing a solo album (\u003ci>\u003ca href=\"https://youtu.be/tOmlruvkQak?si=o4fR_64__VH1E-xY\">Bad to the Bonez\u003c/a>\u003c/i>), organizing his annual “Hip Hop Fairyland” back-to-school bazaar at Children’s Fairyland through his Hip-Hop Scholastics nonprofit, and publishing a children’s book he wrote and illustrated (\u003ca href=\"https://www.amazon.com/dp/B0G1YL39RL\">\u003ci>Werewolves Want the Moon for Christmas\u003c/i>\u003c/a>). “I would literally wake up, scrape together money I had to get on the bus or BART from East Oakland to Berkeley, and unless I sold a tape, I wasn’t getting two things: I wasn’t getting lunch, and I wasn’t getting a ride home, because I needed to make enough for the bus fare home.\u003c/p>\n\u003cp>“I am done with those days.” \u003c/p>\n\u003cfigure id=\"attachment_13984165\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00132_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00132_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00132_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00132_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00132_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bret Alexander Sweet poses for a portrait on Telegraph Avenue, where he used to sell his own cassette tapes in the 1990s as part of the Bay Area’s independent hip-hop scene. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From high school to the Avenue\u003c/h2>\n\u003cp>The roots of Telegraph Avenue as a brief yet memorable hub for local hip-hop entrepreneurs lie in the University of California, Berkeley. Located at the northernmost end of Telegraph, it’s an unofficial gateway for students to the rest of the Bay Area. At the dawn of the 1990s, as the culture blossomed both locally and nationally, small groups of youth in ciphers joined the annoyingly loud drum circles and couples furiously making out on park benches that typified the daily Sproul Plaza backdrop.\u003c/p>\n\u003cp>Back then, “[Telegraph was] the magnetism point of the entire Bay Area, of something for young people to go and do,” says Bret “Karma” Sweet of Fundamentals. “If you went to Telegraph next week and you would see all the streets are blocked off because there’s [a street festival] where they can sell things for Black Friday, that’s how Telegraph used to be \u003ci>every day\u003c/i>, especially weekends from 1993 to 2001.”\u003c/p>\n\u003cp>[aside postID='arts_13979349']Amid a confluence of developments around the Bay, from Oakland’s Digital Underground on KMEL-FM and \u003ci>Billboard \u003c/i>charts to \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival at the Lake\u003c/a> in Lake Merritt, there was the emergence of\u003ca href=\"https://bsc.coop/housing/our-houses-apartments/african-american-theme-house\"> The Afro House\u003c/a>, a South Berkeley student co-op established in 1977, as a spot for house parties. And there was the Justice League, a crew of 20-30 DJs and MCs that included Beni B (who formed the prominent independent label ABB Records in 1997) as well as UC Berkeley students Hodari “Dr. Bomb” Davis, \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#college-radio-makes-its-mark\">Davey D\u003c/a>, and Defari and Superstar Quamallah (the latter two became ABB artists).\u003c/p>\n\u003cp>A year after Davis graduated in 1991, he began teaching at Berkeley High, and drew national attention for leading its African American studies department. He was \u003ca href=\"https://youtu.be/RZJxp4iFSK0?si=9PNjzJsSPOQZYVoF&t=1144\">prominently featured in the controversial 1994 PBS \u003ci>Frontline \u003c/i>documentary \u003ci>School Colors\u003c/i>\u003c/a>, which led media outlets such as the \u003ci>New York Times \u003c/i>to \u003ca href=\"https://www.nytimes.com/1994/10/18/arts/television-review-school-s-integration-falling-short-of-ideal.html\">blithely criticize his activism on integration and race relations\u003c/a>. But Davis also launched Live Lyricist Society, an academic club where students could practice hip-hop elements such as DJing, B-boy dancing, and MC’ing. (Its name was inspired by the Robin Williams movie \u003ci>Dead Poets Society\u003c/i>.)\u003c/p>\n\u003cfigure id=\"attachment_13984375\" class=\"wp-caption aligncenter\" style=\"max-width: 1455px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-02-at-9.45.22%E2%80%AFPM.jpg\" alt=\"\" width=\"1455\" height=\"1120\" class=\"size-full wp-image-13984375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-02-at-9.45.22 PM.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-02-at-9.45.22 PM-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-02-at-9.45.22 PM-768x591.jpg 768w\" sizes=\"auto, (max-width: 1455px) 100vw, 1455px\">\u003cfigcaption class=\"wp-caption-text\">Hodari Davis in the 1994 PBS documentary ‘School Colors.’ \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1992, “I’m walking across campus on Berkeley High School, and I noticed that these kids are freestyling on the courtyard. … They’re doing it in the middle of the day, which was a problem for other teachers, because it meant that whole groups of people would be late to class,” says Davis. Eventually, he offered his classroom as a space for the students to practice their craft. “We never kicked anybody out because they were weak. The point was to get people’s skills up,” he adds.\u003c/p>\n\u003cp>As students in the Live Lyricist Society club, Fundamentals’ King Koncepts and Karma fondly recall campus visits by rap stars that Davis invited, like Outkast and the Wu-Tang Clan (with help from Justice League crew like Davey D, by then a well-known journalist and radio host). \u003c/p>\n\u003cp>“When Wu-Tang came, it was damn near a riot. [The organizers] had to do it outside because there wasn’t any indoor space that could accommodate that amount of people. They had to do a signing and a talk in the courtyard,” remembers Koncepts. “But the only people who knew Outkast at that time were people who were clued in. … We were ciphering with them in the hallway.”\u003c/p>\n\u003ch2>Broke-ass parties at the East Oakland warehouse\u003c/h2>\n\u003cp>Meanwhile in East Oakland, Sunspot formed Mystik Journeymen, after spending two years at college in Hawaii. He cycled through various collaborators before meeting Luckyiam on a trip to L.A. “Tom always has my back, no matter how psycho and stupid and childish my ideas would be,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13984364\" class=\"wp-caption aligncenter\" style=\"max-width: 1806px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-ELIGH-MURS-AUSTRALIA-FLIER_0001.jpg\" alt=\"\" width=\"1806\" height=\"1204\" class=\"size-full wp-image-13984364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-ELIGH-MURS-AUSTRALIA-FLIER_0001.jpg 1806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-ELIGH-MURS-AUSTRALIA-FLIER_0001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-ELIGH-MURS-AUSTRALIA-FLIER_0001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-ELIGH-MURS-AUSTRALIA-FLIER_0001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1806px) 100vw, 1806px\">\u003cfigcaption class=\"wp-caption-text\">Mystik Journeymen in the studio. \u003ccite>(Courtesy Sunspot Jonz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mystik Journeymen opened for the likes of Broun Fellinis and Conscious Daughters, earned a “Demo Tape of the Week” nod in the \u003ci>San Francisco Bay Guardian\u003c/i>, and were mentored by \u003ca href=\"https://www.kqed.org/arts/13914311/rono-tse-disposable-heroes-hiphoprisy-michael-franti\">Rono Tse of Disposable Heroes of HipHoprisy\u003c/a>. As the Journeymen’s local reputation ascended, Tse helped the duo get a publishing deal at Polygram, which allowed them to buy equipment and studio time at Hyde Street Studios in San Francisco. The deal should’ve led to a London Records contract. Instead, Sunspot says, “Polygram was, like, ‘We don’t know what to do with you,’” and released the group from its contract. “We weren’t ready. The way we were going to make it wasn’t gonna be by making songs all perfect for the radio. The way we were going to make it is by making songs from our heart.”\u003c/p>\n\u003cp>Tse also found the duo a unit at 4001 San Leandro Street, a warehouse in East Oakland. Sunspot and Luckyiam began throwing “Unsigned and Hella Broke” parties to pay the bills. Famously, they charged $3 and a package of Top Ramen noodles for entry. “They had no money. That’s how they were feeding themselves,” says Koncepts, who remembers “literally being at 4001 eating Top Ramen. Like, somebody would cook it up.”\u003c/p>\n\u003cp>As the 4001 San Leandro Street parties grew and, later, moved to Jackson Street Studios, the Journeymen attracted acolytes. One of them was Corey “The Grouch” Scoffern, an Oakland youth hungering to network with fellow hip-hop enthusiasts. He met the group during one of its performances at Yo Mama’s Kitchen.\u003c/p>\n\u003cp>“Hip-hop was like a subculture at the time that was growing and becoming what it is today. But it wasn’t there yet,” says The Grouch. “I didn’t hear of any unsigned artists following their dreams and putting their music in the world out on their own. And that’s what I discovered when I was introduced to Mystik Journeymen.”\u003c/p>\n\u003cfigure id=\"attachment_13984367\" class=\"wp-caption aligncenter\" style=\"max-width: 1140px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2023-09-05-at-2.48.06-PM.jpg\" alt=\"\" width=\"1140\" height=\"1464\" class=\"size-full wp-image-13984367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2023-09-05-at-2.48.06-PM.jpg 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2023-09-05-at-2.48.06-PM-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2023-09-05-at-2.48.06-PM-768x986.jpg 768w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\">\u003cfigcaption class=\"wp-caption-text\">A collage of underground hip-hop artist names from an issue of ‘Unsigned and Hella Broke.’ \u003ccite>(King Koncepts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1995 proved to be a breakthrough year for local underground rap. Mystik Journeymen dropped their first official project the previous year, \u003ci>4001: The Stolen Legacy\u003c/i>, then followed with \u003ci>Walkmen Invaders\u003c/i>, both on their Outhouse imprint. Walt Liquor’s group Mixed Practice dropped \u003ci>Homegrown: The EP\u003c/i>. Hobo Junction dropped \u003ci>Limited Edition\u003c/i>, which generated an unexpected national hit in Whoridas’ “Shot Callin’ and Big Ballin’” after L.A. label Southpaw Records picked it up for distribution. (According to Bas-1 of Cytoplasmz, it was Hobo Junction rapper Eyecue who coined the phrase “dirt hustling.”)\u003c/p>\n\u003cp>The Grouch completed his debut, \u003ci>Don’t Talk to Me\u003c/i>, after Sunspot jokingly threatened to “beat him up” if he didn’t finish it. The Journeymen captured the energy of it all in \u003ci>Unsigned and Hella Broke\u003c/i>, a photocopied zine they assembled on an occasional basis between 1993 and 1996.\u003c/p>\n\u003cp>[aside postID='arts_13937489']At its inception, this byzantine movement drew middling industry support. For rap fans that associated “Yay Area” rap with street-oriented mobb music like the Luniz’ “I Got 5 on It” and E-40’s “Sprinkle Me,” these indie acts must’ve seemed like the kind of local yokels that follow in the wake of bigger artists’ success, and whose art seemed insubstantial by comparison.\u003c/p>\n\u003cp>“I met MC Hammer at this [SF mastering studio] called the Rocket Lab,” remembers Sunspot, “and he was, like, ‘Who you guys signed to?’ And I was, like, ‘No one. We’re just doing it ourselves.’ And he was, like, ‘Okay, y’all ain’t doing nothin’.’ And I was, like, \u003ci>whoa\u003c/i>. These motherfuckers really discount us because we’re not trying to be hoe-ed or slaved out to some label.”\u003c/p>\n\u003cfigure id=\"attachment_13984368\" class=\"wp-caption aligncenter\" style=\"max-width: 1463px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/KemeticSuns.jpg\" alt=\"\" width=\"1463\" height=\"335\" class=\"size-full wp-image-13984368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/KemeticSuns.jpg 1463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/KemeticSuns-160x37.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/KemeticSuns-768x176.jpg 768w\" sizes=\"auto, (max-width: 1463px) 100vw, 1463px\">\u003cfigcaption class=\"wp-caption-text\">Fundamentals members King Koncepts and Karma (L–R, center) and other members of the Kemetic Suns crew. \u003ccite>(Courtesy Bret Sweet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Resourceful creativity meets police harassment\u003c/h2>\n\u003cp>But for those who took the time to listen, the Journeymen’s tapes as well as similar releases by San Francisco’s Bored Stiff (\u003ci>\u003ca href=\"https://www.youtube.com/watch?v=UsUHUp69VXg&list=PLO5qzC_OCrlhnKRpQLJdcVjvKoiBRPwH7\">Explainin’\u003c/a>\u003c/i>), the South Bay’s Dereliks (\u003ci>\u003ca href=\"https://youtu.be/7GaAj4M90Vs?si=8l0PbB_0ZWaSWMB8\">A Turn on the Wheel Is Worth More Than a Record Deal\u003c/a>\u003c/i>) and others were soulful, imaginative, and engrossing. On tracks like “\u003ca href=\"https://youtu.be/yDM7BBFleVk?si=ksxgjNvrUWYD3xqA\">Call Ov Da Wild\u003c/a>” and “\u003ca href=\"https://youtu.be/G52NArlILxs?si=QrZMXvjtxcpugjT8\">Runnin’ Through the Swamps\u003c/a>,” the Journeymen explored their inner mind’s eye with bracing honesty, and earnestly questioned the meaning of life with ruddy melodies and slangy verses. Their music captivated thousands of local youth that couldn’t relate to the G-funk beats and thugged-out dramatics dominating mainstream rap and were inquisitive enough to seek out alternatives.\u003c/p>\n\u003cp>Fundamentals’ Koncepts — who also enjoyed the likes of E-40 and DJ Quik — had just graduated from Berkeley High when he and Karma made \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=ZVuBYizoeUc\">Thirty Daze and a Plane Ticket\u003c/a>\u003c/i>, a title inspired by Koncepts’ impending move to New York to attend NYU. “I used to find it real cringey, because I’m baring my soul from the perspective of a 17 year-old kid,” says Koncepts, who now works in the music industry and runs a label, Key System Recordings. (Full disclosure: I contributed liner notes to a Key System project.) “But I think it’s really sweet. My whole life was about to change.”\u003c/p>\n\u003cp>With little in the way of media attention, save for brief items in magazines like \u003ci>Rap Pages, 4080, \u003c/i>and \u003ci>URB \u003c/i>or alt-weeklies like the \u003ci>Bay Guardian\u003c/i> that didn’t capture the scene’s growing depth, Telegraph Avenue seemed like a great place to boost much-needed awareness. It was a near-daily open bazaar, with crowds of students, tourists, and even the occasional naked person navigating streets filled with shops and street vendors. The best spot was on the corner of Durant and Telegraph, right next to Leopold’s Records before it closed in 1996.\u003c/p>\n\u003cfigure id=\"attachment_13984163\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00044_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00044_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00044_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00044_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00044_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bret Alexander Sweet’s tapes, CD, and record, rest on a divider on Telegraph Avenue, where he sold his own tapes in the 1990s. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is the economics of it,” says Walt Liquor, who sold copies of his group Mixed Practice’s \u003ci>\u003ca href=\"https://youtu.be/YrzxuuVqzwU?si=WL5JhFfefhagUKyM\">Homegrown\u003c/a>\u003c/i>. Today, he’s a soundtrack producer and artist manager with several IMDB credits, most recently the Lifetime Channel movie \u003ci>Terry McMillan Presents: Preach, Pray, Love\u003c/i>. “I would go to Costco and get a whole brick of 90-minute TDK tapes for 100 bucks. Let’s say I get 100 tapes. I’d just sit there and dub them shits. I’d record them in my bedroom, having fun with my homies … and selling them for $10 a pop.”\u003c/p>\n\u003cp>As Black youth solicited passersby, formed impromptu ciphers, took food breaks at Blondie’s and hung out all day outside on the street, police scrutiny inevitably followed.\u003c/p>\n\u003cp>[aside postID='arts_13914311']Before he passed away this year on August 18, Living Legends’ Asop recalled how the police harassed him for selling copies of his tapes \u003ci>\u003ca href=\"https://youtu.be/HydxuPEguR4?si=ajVNkDNIKEYq-NyP\">Who Are U\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://youtu.be/TGsnYFjn9h8?si=2wu1k3pc-a4RU8yO\">Demonstration\u003c/a>\u003c/i>. “I remember the police started running us off Telegraph Avenue,” he told me in a 2001 \u003ci>URB\u003c/i> magazine story. “I had a box of tapes once and some money in my pocket, and it was just like I had dope. They handcuffed me, took my stuff and my money and let me go.”\u003c/p>\n\u003cp>Karma of Fundamentals was also arrested, thrown in jail, and forced to go to court and pay a fine. “The reason why they would do that is because the other vendors who were selling tie-dyed shirts or necklaces or whatever would go, like, ‘Hey, these guys don’t have a permit,’” he says. \u003c/p>\n\u003cp>Despite the hassles, Karma says he eventually sold thousands of tapes on Telegraph as well as on the internet, a grind that earned him a measure of respect. “Imagine being these kids who keep dreaming that one day they’ll know our name,” he says. “Even the guys who used to pick on you in high school are rolling down [the street and seeing you] and bumping your music. And they’re playing it for \u003ci>you\u003c/i>.”\u003c/p>\n\u003cfigure id=\"attachment_13984168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251125-sunspotjonz00286_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251125-sunspotjonz00286_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251125-sunspotjonz00286_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251125-sunspotjonz00286_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251125-sunspotjonz00286_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sunspot Jonz shows off his hat representing Oakland on Telegraph Avenue in Berkeley on November 25, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We couldn’t be eating ramen forever’\u003c/h2>\n\u003cp>The formation of Living Legends in 1996 symbolized the scene’s emerging professionalism, moving from word-of-mouth house parties to more official event venues like La Peña Cultural Center. The Grouch, for one, welcomed the growth. “I feel like it’s natural. I feel like we couldn’t be eating ramen forever,” he says.\u003c/p>\n\u003cp>However, the music changed as well, shifting from the murky production and raw lyrics of the mid-’90s tapes to the clean keyboard bounce and DJ Premier-like chops that typified indie-rap toward the end of the decade, as evoked by standout Legends projects like The Grouch’s 1997 album \u003ci>\u003ca href=\"https://youtu.be/0IBntZWJdvU?si=4UVygiMN-HIhURHw\">Success Is Destiny\u003c/a>\u003c/i> and Mystik Journeymen’s 1998 album \u003ci>\u003ca href=\"https://youtu.be/t2-Y236gllo?si=VoPh_3ApPeN3jcY5\">Worldwide Underground\u003c/a>\u003c/i>. Local companies like TRC Distribution catered to the rising tide, allowing local acts to press 12-inch vinyl and CDs with finished artwork — a marked upgrade from Maxell blank cassettes and hand-drawn covers. With more industry structure, the number of artists calling themselves “underground” and “indie” multiplied.\u003c/p>\n\u003cp>“That’s when I learned that saturation isn’t always great,” says Sunspot. “If we’re going to be underground, we need to be underground \u003ci>superstars\u003c/i>. We need to be next-level underground.” That led the Legends to pursue larger venues like San Francisco’s Maritime Hall and, later in the 2000s, the national Rock the Bells festival. Still, his older fans often yearned for the “Top Ramen” glory days. \u003c/p>\n\u003cp>“I had an ex-girlfriend tell me, ‘Please never do a show in an arena.’ When it’s sacred, people only want you for \u003ci>them\u003c/i>. They don’t care what that means for your career, or your longevity. They want you to be in the same box you always stayed. But the thing is, we are all artists, and we’re gonna evolve,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13984363\" class=\"wp-caption aligncenter\" style=\"max-width: 1802px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-VARIOUS_0001.jpg\" alt=\"\" width=\"1802\" height=\"1224\" class=\"size-full wp-image-13984363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-VARIOUS_0001.jpg 1802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-VARIOUS_0001-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-VARIOUS_0001-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-VARIOUS_0001-1536x1043.jpg 1536w\" sizes=\"auto, (max-width: 1802px) 100vw, 1802px\">\u003cfigcaption class=\"wp-caption-text\">Out of the warehouse and onto the stage: Mystik Journeymen live. \u003ccite>(Courtesy Sunspot Jonz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, original copies of Mystik Journeymen’s sundry demo tapes, Fundamentals’ \u003ci>Thirty Daze and a Plane Ticket\u003c/i> and Hobo Junction’s \u003ci>Limited Edition\u003c/i> trade for up to hundreds of dollars. For collectors and rap scholars, the Bay’s underground era yielded a rich source of creativity. However, its cult status means that many people don’t know or appreciate how much those artists contributed to local music history. \u003c/p>\n\u003cp>“When I look back on it from 30 years, every single hip-hop household name has been built by a major label, and if there’s one or two exceptions like \u003ca href=\"https://www.kqed.org/arts/13967904/watch-larussell-pay-tribute-to-the-bay-during-his-tiny-desk-concert\">LaRussell\u003c/a>, that speaks to my point,” says The Grouch, who rues that the streaming economy tends to reward major label stars. “We were not able to touch on a household name level, and so that affects business, and the power you have in the industry.”\u003c/p>\n\u003cp>Perhaps it’s ironic that the heroes of the Bay Area underground, who once valued their distance from the music industry, now struggle to be taken seriously as artists because of it. But it’s also an opportunity: the ’90s Bay Area hip-hop underground is now ripe for discovery by anyone looking for an alternative to the rap mainstream. As the Grouch puts it, “I still say we’re the most underground, independent crew to ever do it, you know?”\u003c/p>\n\u003cp>As for Sunspot, who now operates as a multi-disciplinary artist and cultural strategist, he continues to carry the ethos he honed on Telegraph Avenue, applying the same formula to his current projects.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’ll never lose that spirit,” he says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, an ongoing KQED series about \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>“I’ll never lose that spirit, but I don’t miss being on the street from morning to night,” says Corey “Sunspot Jonz” Johnson.\u003c/p>\n\u003cp>Johnson is talking about his years of “dirt hustling,” when he sold stapled and Xeroxed copies of his zine \u003ci>Unsigned and Hella Broke \u003c/i>and cassette tapes by his rap group Mystik Journeymen on Telegraph Avenue in Berkeley. Anyone who either attended UC Berkeley in the 1990s or frequented heavily trafficked storefronts like Blondie’s Pizza and Leopold’s Music undoubtedly has memories of being approached by a friendly teenager who moonlit as a rapper and tried to sell you a homemade tape. It was very nearly a rite of passage during an era now romanticized for birthing the Bay Area’s underground hip-hop scene.\u003c/p>\n\u003cp>Sunspot Jonz may have given the Unsigned and Hella Broke era its name, but he wasn’t the only one on Telegraph Avenue. Others who gathered there to sell their wares included the Berkeley duo Fundamentals, Kirby Dominant, Fremont rapper/producer “Walt Liquor” Taylor and his group Mixed Practice, the Cytoplasmz crew, Queen Nefra, and Hobo Junction, the crew led by the dextrous rapper \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">Saafir\u003c/a>. They duplicated their songs onto blank cassette tapes, added modestly illustrated J-cards and sold them wherever they could, from sidewalks along Telegraph and outside of local concert venues to newly launched message boards on the nascent internet.\u003c/p>\n\u003cfigure id=\"attachment_13984377\" class=\"wp-caption aligncenter\" style=\"max-width: 1079px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/R-3874152-1371056865-1515.jpg\" alt=\"\" width=\"1079\" height=\"550\" class=\"size-full wp-image-13984377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/R-3874152-1371056865-1515.jpg 1079w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/R-3874152-1371056865-1515-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/R-3874152-1371056865-1515-768x391.jpg 768w\" sizes=\"auto, (max-width: 1079px) 100vw, 1079px\">\u003cfigcaption class=\"wp-caption-text\">Cassettes sold hand-to-hand in the Bay Area’s independent hip-hop scene included the Dereliks’ ‘A Turn on the Wheel Is Worth More Than a Record Deal,’ Hobo Junction’s ‘Limited Edition’ and Bored Stiff’s ‘Explainin’.’\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, the sound of the Bay Area underground was typified by warm and muddy tones generated by basic four-track recording equipment, with deliberately abstract lyrics. Its homespun quality stood in defiantly uncommercial contrast to the slick “gangsta” style that defined mainstream rap after the arrival of Dr. Dre’s 1992 opus \u003ci>The Chronic\u003c/i>. Its ethos posited hip-hop as not just a popular musical genre, but a vocation that required personal commitment and sacrifice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Nobody in Living Legends had a job. Nobody had kids at the time. Nobody had anything but to do \u003ci>this \u003c/i>every day,” says Sunspot, who rapped and produced beats in Mystik Journeymen alongside L.A. transplant Tommy “Luckyiam” Woolfolk.\u003c/p>\n\u003cp>Mystik Journeymen eventually built a modest yet far-flung cult following, traveling overseas and laying the groundwork for an international DIY touring circuit that others would duplicate. In 1996, the duo co-founded the group Living Legends, alongside Berkeley rapper The Grouch, L.A. rappers Murs and Eligh; San Jose State student Scarab; Fresno rapper Asop and DJ/producer Bicasso, a graduate of Cal Poly Humboldt. (Arata was briefly a member before returning home to Japan.) On Dec. 5 at the UC Theater in Berkeley, they headline \u003ca href=\"https://www.theuctheatre.org/shows/how-the-grouch-stole-christmas-tour-living-legends-05-dec\">How the Grouch Stole Christmas\u003c/a>, an annual concert tour organized by The Grouch since 2007; Oakland icons Souls of Mischief and Kentucky trio Cunninlynguists support.\u003c/p>\n\u003cfigure id=\"attachment_13984360\" class=\"wp-caption aligncenter\" style=\"max-width: 2390px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS.jpg\" alt=\"\" width=\"2390\" height=\"1875\" class=\"size-full wp-image-13984360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS.jpg 2390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS-2000x1569.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS-1536x1205.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LL-VARIOUS-2048x1607.jpg 2048w\" sizes=\"auto, (max-width: 2390px) 100vw, 2390px\">\u003cfigcaption class=\"wp-caption-text\">Various members of Living Legends gather outside a show in the 1990s. \u003ccite>(Courtesy Sunspot Jonz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for Sunspot, reminiscing about his formative years on Telegraph Avenue elicits complicated feelings. His drive and passion back then put “a battery pack in our asses,” as Fundamentals rapper/producer Jonathan “King Koncepts” Sklute appreciatively notes. Yet it also was an extreme result of surviving as a starving artist.\u003c/p>\n\u003cp>“Do I miss being on the street?” asks Sunspot, whose many 2025 projects include releasing a solo album (\u003ci>\u003ca href=\"https://youtu.be/tOmlruvkQak?si=o4fR_64__VH1E-xY\">Bad to the Bonez\u003c/a>\u003c/i>), organizing his annual “Hip Hop Fairyland” back-to-school bazaar at Children’s Fairyland through his Hip-Hop Scholastics nonprofit, and publishing a children’s book he wrote and illustrated (\u003ca href=\"https://www.amazon.com/dp/B0G1YL39RL\">\u003ci>Werewolves Want the Moon for Christmas\u003c/i>\u003c/a>). “I would literally wake up, scrape together money I had to get on the bus or BART from East Oakland to Berkeley, and unless I sold a tape, I wasn’t getting two things: I wasn’t getting lunch, and I wasn’t getting a ride home, because I needed to make enough for the bus fare home.\u003c/p>\n\u003cp>“I am done with those days.” \u003c/p>\n\u003cfigure id=\"attachment_13984165\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00132_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00132_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00132_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00132_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00132_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bret Alexander Sweet poses for a portrait on Telegraph Avenue, where he used to sell his own cassette tapes in the 1990s as part of the Bay Area’s independent hip-hop scene. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From high school to the Avenue\u003c/h2>\n\u003cp>The roots of Telegraph Avenue as a brief yet memorable hub for local hip-hop entrepreneurs lie in the University of California, Berkeley. Located at the northernmost end of Telegraph, it’s an unofficial gateway for students to the rest of the Bay Area. At the dawn of the 1990s, as the culture blossomed both locally and nationally, small groups of youth in ciphers joined the annoyingly loud drum circles and couples furiously making out on park benches that typified the daily Sproul Plaza backdrop.\u003c/p>\n\u003cp>Back then, “[Telegraph was] the magnetism point of the entire Bay Area, of something for young people to go and do,” says Bret “Karma” Sweet of Fundamentals. “If you went to Telegraph next week and you would see all the streets are blocked off because there’s [a street festival] where they can sell things for Black Friday, that’s how Telegraph used to be \u003ci>every day\u003c/i>, especially weekends from 1993 to 2001.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Amid a confluence of developments around the Bay, from Oakland’s Digital Underground on KMEL-FM and \u003ci>Billboard \u003c/i>charts to \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival at the Lake\u003c/a> in Lake Merritt, there was the emergence of\u003ca href=\"https://bsc.coop/housing/our-houses-apartments/african-american-theme-house\"> The Afro House\u003c/a>, a South Berkeley student co-op established in 1977, as a spot for house parties. And there was the Justice League, a crew of 20-30 DJs and MCs that included Beni B (who formed the prominent independent label ABB Records in 1997) as well as UC Berkeley students Hodari “Dr. Bomb” Davis, \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#college-radio-makes-its-mark\">Davey D\u003c/a>, and Defari and Superstar Quamallah (the latter two became ABB artists).\u003c/p>\n\u003cp>A year after Davis graduated in 1991, he began teaching at Berkeley High, and drew national attention for leading its African American studies department. He was \u003ca href=\"https://youtu.be/RZJxp4iFSK0?si=9PNjzJsSPOQZYVoF&t=1144\">prominently featured in the controversial 1994 PBS \u003ci>Frontline \u003c/i>documentary \u003ci>School Colors\u003c/i>\u003c/a>, which led media outlets such as the \u003ci>New York Times \u003c/i>to \u003ca href=\"https://www.nytimes.com/1994/10/18/arts/television-review-school-s-integration-falling-short-of-ideal.html\">blithely criticize his activism on integration and race relations\u003c/a>. But Davis also launched Live Lyricist Society, an academic club where students could practice hip-hop elements such as DJing, B-boy dancing, and MC’ing. (Its name was inspired by the Robin Williams movie \u003ci>Dead Poets Society\u003c/i>.)\u003c/p>\n\u003cfigure id=\"attachment_13984375\" class=\"wp-caption aligncenter\" style=\"max-width: 1455px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-02-at-9.45.22%E2%80%AFPM.jpg\" alt=\"\" width=\"1455\" height=\"1120\" class=\"size-full wp-image-13984375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-02-at-9.45.22 PM.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-02-at-9.45.22 PM-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2025-12-02-at-9.45.22 PM-768x591.jpg 768w\" sizes=\"auto, (max-width: 1455px) 100vw, 1455px\">\u003cfigcaption class=\"wp-caption-text\">Hodari Davis in the 1994 PBS documentary ‘School Colors.’ \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1992, “I’m walking across campus on Berkeley High School, and I noticed that these kids are freestyling on the courtyard. … They’re doing it in the middle of the day, which was a problem for other teachers, because it meant that whole groups of people would be late to class,” says Davis. Eventually, he offered his classroom as a space for the students to practice their craft. “We never kicked anybody out because they were weak. The point was to get people’s skills up,” he adds.\u003c/p>\n\u003cp>As students in the Live Lyricist Society club, Fundamentals’ King Koncepts and Karma fondly recall campus visits by rap stars that Davis invited, like Outkast and the Wu-Tang Clan (with help from Justice League crew like Davey D, by then a well-known journalist and radio host). \u003c/p>\n\u003cp>“When Wu-Tang came, it was damn near a riot. [The organizers] had to do it outside because there wasn’t any indoor space that could accommodate that amount of people. They had to do a signing and a talk in the courtyard,” remembers Koncepts. “But the only people who knew Outkast at that time were people who were clued in. … We were ciphering with them in the hallway.”\u003c/p>\n\u003ch2>Broke-ass parties at the East Oakland warehouse\u003c/h2>\n\u003cp>Meanwhile in East Oakland, Sunspot formed Mystik Journeymen, after spending two years at college in Hawaii. He cycled through various collaborators before meeting Luckyiam on a trip to L.A. “Tom always has my back, no matter how psycho and stupid and childish my ideas would be,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13984364\" class=\"wp-caption aligncenter\" style=\"max-width: 1806px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-ELIGH-MURS-AUSTRALIA-FLIER_0001.jpg\" alt=\"\" width=\"1806\" height=\"1204\" class=\"size-full wp-image-13984364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-ELIGH-MURS-AUSTRALIA-FLIER_0001.jpg 1806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-ELIGH-MURS-AUSTRALIA-FLIER_0001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-ELIGH-MURS-AUSTRALIA-FLIER_0001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-ELIGH-MURS-AUSTRALIA-FLIER_0001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1806px) 100vw, 1806px\">\u003cfigcaption class=\"wp-caption-text\">Mystik Journeymen in the studio. \u003ccite>(Courtesy Sunspot Jonz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mystik Journeymen opened for the likes of Broun Fellinis and Conscious Daughters, earned a “Demo Tape of the Week” nod in the \u003ci>San Francisco Bay Guardian\u003c/i>, and were mentored by \u003ca href=\"https://www.kqed.org/arts/13914311/rono-tse-disposable-heroes-hiphoprisy-michael-franti\">Rono Tse of Disposable Heroes of HipHoprisy\u003c/a>. As the Journeymen’s local reputation ascended, Tse helped the duo get a publishing deal at Polygram, which allowed them to buy equipment and studio time at Hyde Street Studios in San Francisco. The deal should’ve led to a London Records contract. Instead, Sunspot says, “Polygram was, like, ‘We don’t know what to do with you,’” and released the group from its contract. “We weren’t ready. The way we were going to make it wasn’t gonna be by making songs all perfect for the radio. The way we were going to make it is by making songs from our heart.”\u003c/p>\n\u003cp>Tse also found the duo a unit at 4001 San Leandro Street, a warehouse in East Oakland. Sunspot and Luckyiam began throwing “Unsigned and Hella Broke” parties to pay the bills. Famously, they charged $3 and a package of Top Ramen noodles for entry. “They had no money. That’s how they were feeding themselves,” says Koncepts, who remembers “literally being at 4001 eating Top Ramen. Like, somebody would cook it up.”\u003c/p>\n\u003cp>As the 4001 San Leandro Street parties grew and, later, moved to Jackson Street Studios, the Journeymen attracted acolytes. One of them was Corey “The Grouch” Scoffern, an Oakland youth hungering to network with fellow hip-hop enthusiasts. He met the group during one of its performances at Yo Mama’s Kitchen.\u003c/p>\n\u003cp>“Hip-hop was like a subculture at the time that was growing and becoming what it is today. But it wasn’t there yet,” says The Grouch. “I didn’t hear of any unsigned artists following their dreams and putting their music in the world out on their own. And that’s what I discovered when I was introduced to Mystik Journeymen.”\u003c/p>\n\u003cfigure id=\"attachment_13984367\" class=\"wp-caption aligncenter\" style=\"max-width: 1140px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2023-09-05-at-2.48.06-PM.jpg\" alt=\"\" width=\"1140\" height=\"1464\" class=\"size-full wp-image-13984367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2023-09-05-at-2.48.06-PM.jpg 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2023-09-05-at-2.48.06-PM-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Screenshot-2023-09-05-at-2.48.06-PM-768x986.jpg 768w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\">\u003cfigcaption class=\"wp-caption-text\">A collage of underground hip-hop artist names from an issue of ‘Unsigned and Hella Broke.’ \u003ccite>(King Koncepts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1995 proved to be a breakthrough year for local underground rap. Mystik Journeymen dropped their first official project the previous year, \u003ci>4001: The Stolen Legacy\u003c/i>, then followed with \u003ci>Walkmen Invaders\u003c/i>, both on their Outhouse imprint. Walt Liquor’s group Mixed Practice dropped \u003ci>Homegrown: The EP\u003c/i>. Hobo Junction dropped \u003ci>Limited Edition\u003c/i>, which generated an unexpected national hit in Whoridas’ “Shot Callin’ and Big Ballin’” after L.A. label Southpaw Records picked it up for distribution. (According to Bas-1 of Cytoplasmz, it was Hobo Junction rapper Eyecue who coined the phrase “dirt hustling.”)\u003c/p>\n\u003cp>The Grouch completed his debut, \u003ci>Don’t Talk to Me\u003c/i>, after Sunspot jokingly threatened to “beat him up” if he didn’t finish it. The Journeymen captured the energy of it all in \u003ci>Unsigned and Hella Broke\u003c/i>, a photocopied zine they assembled on an occasional basis between 1993 and 1996.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At its inception, this byzantine movement drew middling industry support. For rap fans that associated “Yay Area” rap with street-oriented mobb music like the Luniz’ “I Got 5 on It” and E-40’s “Sprinkle Me,” these indie acts must’ve seemed like the kind of local yokels that follow in the wake of bigger artists’ success, and whose art seemed insubstantial by comparison.\u003c/p>\n\u003cp>“I met MC Hammer at this [SF mastering studio] called the Rocket Lab,” remembers Sunspot, “and he was, like, ‘Who you guys signed to?’ And I was, like, ‘No one. We’re just doing it ourselves.’ And he was, like, ‘Okay, y’all ain’t doing nothin’.’ And I was, like, \u003ci>whoa\u003c/i>. These motherfuckers really discount us because we’re not trying to be hoe-ed or slaved out to some label.”\u003c/p>\n\u003cfigure id=\"attachment_13984368\" class=\"wp-caption aligncenter\" style=\"max-width: 1463px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/KemeticSuns.jpg\" alt=\"\" width=\"1463\" height=\"335\" class=\"size-full wp-image-13984368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/KemeticSuns.jpg 1463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/KemeticSuns-160x37.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/KemeticSuns-768x176.jpg 768w\" sizes=\"auto, (max-width: 1463px) 100vw, 1463px\">\u003cfigcaption class=\"wp-caption-text\">Fundamentals members King Koncepts and Karma (L–R, center) and other members of the Kemetic Suns crew. \u003ccite>(Courtesy Bret Sweet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Resourceful creativity meets police harassment\u003c/h2>\n\u003cp>But for those who took the time to listen, the Journeymen’s tapes as well as similar releases by San Francisco’s Bored Stiff (\u003ci>\u003ca href=\"https://www.youtube.com/watch?v=UsUHUp69VXg&list=PLO5qzC_OCrlhnKRpQLJdcVjvKoiBRPwH7\">Explainin’\u003c/a>\u003c/i>), the South Bay’s Dereliks (\u003ci>\u003ca href=\"https://youtu.be/7GaAj4M90Vs?si=8l0PbB_0ZWaSWMB8\">A Turn on the Wheel Is Worth More Than a Record Deal\u003c/a>\u003c/i>) and others were soulful, imaginative, and engrossing. On tracks like “\u003ca href=\"https://youtu.be/yDM7BBFleVk?si=ksxgjNvrUWYD3xqA\">Call Ov Da Wild\u003c/a>” and “\u003ca href=\"https://youtu.be/G52NArlILxs?si=QrZMXvjtxcpugjT8\">Runnin’ Through the Swamps\u003c/a>,” the Journeymen explored their inner mind’s eye with bracing honesty, and earnestly questioned the meaning of life with ruddy melodies and slangy verses. Their music captivated thousands of local youth that couldn’t relate to the G-funk beats and thugged-out dramatics dominating mainstream rap and were inquisitive enough to seek out alternatives.\u003c/p>\n\u003cp>Fundamentals’ Koncepts — who also enjoyed the likes of E-40 and DJ Quik — had just graduated from Berkeley High when he and Karma made \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=ZVuBYizoeUc\">Thirty Daze and a Plane Ticket\u003c/a>\u003c/i>, a title inspired by Koncepts’ impending move to New York to attend NYU. “I used to find it real cringey, because I’m baring my soul from the perspective of a 17 year-old kid,” says Koncepts, who now works in the music industry and runs a label, Key System Recordings. (Full disclosure: I contributed liner notes to a Key System project.) “But I think it’s really sweet. My whole life was about to change.”\u003c/p>\n\u003cp>With little in the way of media attention, save for brief items in magazines like \u003ci>Rap Pages, 4080, \u003c/i>and \u003ci>URB \u003c/i>or alt-weeklies like the \u003ci>Bay Guardian\u003c/i> that didn’t capture the scene’s growing depth, Telegraph Avenue seemed like a great place to boost much-needed awareness. It was a near-daily open bazaar, with crowds of students, tourists, and even the occasional naked person navigating streets filled with shops and street vendors. The best spot was on the corner of Durant and Telegraph, right next to Leopold’s Records before it closed in 1996.\u003c/p>\n\u003cfigure id=\"attachment_13984163\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00044_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00044_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00044_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00044_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251124-bretalexanderswet00044_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bret Alexander Sweet’s tapes, CD, and record, rest on a divider on Telegraph Avenue, where he sold his own tapes in the 1990s. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is the economics of it,” says Walt Liquor, who sold copies of his group Mixed Practice’s \u003ci>\u003ca href=\"https://youtu.be/YrzxuuVqzwU?si=WL5JhFfefhagUKyM\">Homegrown\u003c/a>\u003c/i>. Today, he’s a soundtrack producer and artist manager with several IMDB credits, most recently the Lifetime Channel movie \u003ci>Terry McMillan Presents: Preach, Pray, Love\u003c/i>. “I would go to Costco and get a whole brick of 90-minute TDK tapes for 100 bucks. Let’s say I get 100 tapes. I’d just sit there and dub them shits. I’d record them in my bedroom, having fun with my homies … and selling them for $10 a pop.”\u003c/p>\n\u003cp>As Black youth solicited passersby, formed impromptu ciphers, took food breaks at Blondie’s and hung out all day outside on the street, police scrutiny inevitably followed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before he passed away this year on August 18, Living Legends’ Asop recalled how the police harassed him for selling copies of his tapes \u003ci>\u003ca href=\"https://youtu.be/HydxuPEguR4?si=ajVNkDNIKEYq-NyP\">Who Are U\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://youtu.be/TGsnYFjn9h8?si=2wu1k3pc-a4RU8yO\">Demonstration\u003c/a>\u003c/i>. “I remember the police started running us off Telegraph Avenue,” he told me in a 2001 \u003ci>URB\u003c/i> magazine story. “I had a box of tapes once and some money in my pocket, and it was just like I had dope. They handcuffed me, took my stuff and my money and let me go.”\u003c/p>\n\u003cp>Karma of Fundamentals was also arrested, thrown in jail, and forced to go to court and pay a fine. “The reason why they would do that is because the other vendors who were selling tie-dyed shirts or necklaces or whatever would go, like, ‘Hey, these guys don’t have a permit,’” he says. \u003c/p>\n\u003cp>Despite the hassles, Karma says he eventually sold thousands of tapes on Telegraph as well as on the internet, a grind that earned him a measure of respect. “Imagine being these kids who keep dreaming that one day they’ll know our name,” he says. “Even the guys who used to pick on you in high school are rolling down [the street and seeing you] and bumping your music. And they’re playing it for \u003ci>you\u003c/i>.”\u003c/p>\n\u003cfigure id=\"attachment_13984168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251125-sunspotjonz00286_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251125-sunspotjonz00286_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251125-sunspotjonz00286_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251125-sunspotjonz00286_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251125-sunspotjonz00286_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sunspot Jonz shows off his hat representing Oakland on Telegraph Avenue in Berkeley on November 25, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We couldn’t be eating ramen forever’\u003c/h2>\n\u003cp>The formation of Living Legends in 1996 symbolized the scene’s emerging professionalism, moving from word-of-mouth house parties to more official event venues like La Peña Cultural Center. The Grouch, for one, welcomed the growth. “I feel like it’s natural. I feel like we couldn’t be eating ramen forever,” he says.\u003c/p>\n\u003cp>However, the music changed as well, shifting from the murky production and raw lyrics of the mid-’90s tapes to the clean keyboard bounce and DJ Premier-like chops that typified indie-rap toward the end of the decade, as evoked by standout Legends projects like The Grouch’s 1997 album \u003ci>\u003ca href=\"https://youtu.be/0IBntZWJdvU?si=4UVygiMN-HIhURHw\">Success Is Destiny\u003c/a>\u003c/i> and Mystik Journeymen’s 1998 album \u003ci>\u003ca href=\"https://youtu.be/t2-Y236gllo?si=VoPh_3ApPeN3jcY5\">Worldwide Underground\u003c/a>\u003c/i>. Local companies like TRC Distribution catered to the rising tide, allowing local acts to press 12-inch vinyl and CDs with finished artwork — a marked upgrade from Maxell blank cassettes and hand-drawn covers. With more industry structure, the number of artists calling themselves “underground” and “indie” multiplied.\u003c/p>\n\u003cp>“That’s when I learned that saturation isn’t always great,” says Sunspot. “If we’re going to be underground, we need to be underground \u003ci>superstars\u003c/i>. We need to be next-level underground.” That led the Legends to pursue larger venues like San Francisco’s Maritime Hall and, later in the 2000s, the national Rock the Bells festival. Still, his older fans often yearned for the “Top Ramen” glory days. \u003c/p>\n\u003cp>“I had an ex-girlfriend tell me, ‘Please never do a show in an arena.’ When it’s sacred, people only want you for \u003ci>them\u003c/i>. They don’t care what that means for your career, or your longevity. They want you to be in the same box you always stayed. But the thing is, we are all artists, and we’re gonna evolve,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13984363\" class=\"wp-caption aligncenter\" style=\"max-width: 1802px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-VARIOUS_0001.jpg\" alt=\"\" width=\"1802\" height=\"1224\" class=\"size-full wp-image-13984363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-VARIOUS_0001.jpg 1802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-VARIOUS_0001-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-VARIOUS_0001-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MJ-VARIOUS_0001-1536x1043.jpg 1536w\" sizes=\"auto, (max-width: 1802px) 100vw, 1802px\">\u003cfigcaption class=\"wp-caption-text\">Out of the warehouse and onto the stage: Mystik Journeymen live. \u003ccite>(Courtesy Sunspot Jonz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, original copies of Mystik Journeymen’s sundry demo tapes, Fundamentals’ \u003ci>Thirty Daze and a Plane Ticket\u003c/i> and Hobo Junction’s \u003ci>Limited Edition\u003c/i> trade for up to hundreds of dollars. For collectors and rap scholars, the Bay’s underground era yielded a rich source of creativity. However, its cult status means that many people don’t know or appreciate how much those artists contributed to local music history. \u003c/p>\n\u003cp>“When I look back on it from 30 years, every single hip-hop household name has been built by a major label, and if there’s one or two exceptions like \u003ca href=\"https://www.kqed.org/arts/13967904/watch-larussell-pay-tribute-to-the-bay-during-his-tiny-desk-concert\">LaRussell\u003c/a>, that speaks to my point,” says The Grouch, who rues that the streaming economy tends to reward major label stars. “We were not able to touch on a household name level, and so that affects business, and the power you have in the industry.”\u003c/p>\n\u003cp>Perhaps it’s ironic that the heroes of the Bay Area underground, who once valued their distance from the music industry, now struggle to be taken seriously as artists because of it. But it’s also an opportunity: the ’90s Bay Area hip-hop underground is now ripe for discovery by anyone looking for an alternative to the rap mainstream. As the Grouch puts it, “I still say we’re the most underground, independent crew to ever do it, you know?”\u003c/p>\n\u003cp>As for Sunspot, who now operates as a multi-disciplinary artist and cultural strategist, he continues to carry the ethos he honed on Telegraph Avenue, applying the same formula to his current projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ll never lose that spirit,” he says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-best-bay-area-albums-of-2025",
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"content": "\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The year is almost over, and we’re working on our resolutions. Out: passively listening to algorithm-driven, \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-infested playlists\u003c/a>. In: letting the talented artists in your community move, surprise and even challenge you, restoring your faith in humanity.\u003c/p>\n\u003cp>Whether making hip-hop, punk, salsa or spiritual jazz, Bay Area artists didn’t disappoint this year. The KQED Arts & Culture team and contributors combed through 2025’s releases to bring you our favorite local music of the year. Turn up the volume and hit play. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6fiG4ui62dDneZQjMFh8ha?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jamel Griot, \u003cem>Sincerely, Jamel \u003c/em>(Remain Family Oriented Records)\u003c/h2>\n\u003cp>On \u003cem>Sincerely, Jamel\u003c/em>, Oakland rapper Jamel Griot invites us to witness his dark night of the soul, when grief cracks him open and forces him face himself, honestly and unflinchingly. Griot punctuates hard-hitting verses over contemplative, jazzy beats with diary entries, revealing how serial one-night stands turned into a coping mechanism, and how partying has disconnected him from his purpose. “Although you a self-centered n—, you aren’t selfish enough. Because a selfish person loves themselves,” he reads aloud from his journal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To find his way back to himself, Griot unpacks childhood trauma with a courageous vulnerability. His lyrics illuminate a new path forward, one that invites listeners to lovingly tend to their own scars. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2YjTKpjohCKRlShBvgWHqQ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Rabiah Kabir, \u003cem>Jezebel: Rewritten \u003c/em>(Self-released)\u003c/h2>\n\u003cp>The song “Flute / Overture,” opens Rabiah Kabir’s \u003cem>Jezebel: Rewritten\u003c/em> with a jazzy thesis statement. Birds chirp, shakers shake and keys resonate as the flute’s flow intertwines with comments about the historical importance of the instrument and the artist’s work to dispel sexist notions about flutists.\u003c/p>\n\u003cp>With the support of a full band, Oakland’s Kabir shows a range of a flute’s sonic capabilities. The song “Fin.” showcases the wind instrument’s mysticism. “The ReZident” offers a taste of flute funk. And the dark keys and heavy drums at the start of “I Crashed My Car” create an anxious tone that is ultimately resolved, climaxing in a flute run that’s as relaxing as a field of fresh lavender. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4149894761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kathryn Mohr, \u003cem>Waiting Room\u003c/em> (The Flenser)\u003c/h2>\n\u003cp>A bell’s hollow rings echo through a room. Static builds. Radio noise chatters in the distance. Sea waves crash. Someone (or something) scribbles. The field recordings that populate Kathryn Mohr’s \u003cem>Waiting Room\u003c/em> — self-recorded in an abandoned fish factory in Iceland — give a sense of isolation and melancholy, capturing the anxiety of anticipation.\u003c/p>\n\u003cp>Mohr builds on those recordings using an analog synth and aching vocals, creating subtle, pinpoint-precise melodies. Following the oneiric opener “Diver,” dissonant tracks weave between guitar-driven, ’90s grunge-inspired pieces. In “Petrified,” gentle vocals evoke violent visuals that dance above finger-plucked guitar. Mohr’s full-length debut asks its listeners to find beauty in decay, to sit in feelings of discomfort without the promise of catharsis. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1MTodq6IqzqFEav64mt1Jg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Michael Sneed, \u003cem>floaters at the buzzer!\u003c/em> (Michael Sneed/Create Music Group)\u003c/h2>\n\u003cp>Attention spans might be shrinking because of TikTok and Instagram, but rapper and producer Michael Sneed’s \u003cem>floaters at the buzzer!\u003c/em> beckons to be heard from start to finish. “I’ll be your guide, I got you,” Sneed croons on the opening track. From there he puffs out his chest on “blend*” featuring Bay Area trailblazer P-Lo.\u003c/p>\n\u003cp>On “town sh!t 4ever!,” Sneed and P-Lo reinterpret a classic by sampling Mistah F.A.B.’s legendary “N.E.W. Oakland.” The song features Ovrkast. and wrestles with the tension of being pushed out of your hometown yet still trying to love it despite the struggles. This contradiction crescendos with “still ain’t die!,” a trumpet-laced proclamation of the life Sneed and his kin insist on, in spite of the forces conspiring against their thriving. \u003cem>— Sarah O’Neal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=106152191/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>John Elliott, \u003cem>I Am John Mayer\u003c/em> (Self-released)\u003c/h2>\n\u003cp>When John Michael Mayer started making music in the Y2K era, he faced a problem: There was another musician on the internet named John Mayer. Vowing to battle for name recognition and acclaim in the public arena, he released song after song, none as schlocky as “Your Body Is a Wonderland,” and lost the fight. Now, the San Francisco musician forced to rechristen himself John Elliott has told the story in a catchy, cleverly written title track, “I Am John Mayer.”\u003c/p>\n\u003cp>Possessed of a Jonathan Richman sincerity and a John Darnielle expressiveness, Elliott’s a wide-eyed everyman who soaks up and sings about the world’s joys and pains alike. (Recall his \u003ca href=\"https://www.kqed.org/arts/13912499/song-jfk-drive-car-free-board-of-supervisors-sf\">one-minute song to elected officials about keeping JFK Drive car-free\u003c/a>.) On \u003cem>I Am John Mayer\u003c/em> (currently only available \u003ca href=\"https://www.thehereafterishere.com/store/p/i-am-john-mayer-digital-download\">through his website\u003c/a>, and coming soon to streaming), he’s in top form, including the heartstring-pulling “Out Here,” a plea to an unborn child hesitant to enter the world. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2rPy6g5DGQBsb7g96xXFGI?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jane Handcock, \u003cem>It’s Me, Not You \u003c/em>(Death Row Records/gamma.)\u003c/h2>\n\u003cp>\u003cem>It’s Me, Not You\u003c/em> marks a well-deserved ascent for Jane Handcock, the mega-talented Richmond-raised vocalist who’s spent years behind the scenes, penning lyrics for R&B and hip-hop greats like Kelly Rowland, Rick Ross, Tyrese and Teddy Riley. Now signed to the venerable Death Row Records, Handcock delivered a finely crafted album for the grown-and-sexy lover girls.\u003c/p>\n\u003cp>The effervescent mood of “Stare At Me” featuring Anderson .Paak feels like eclectic sliding through the clouds. The funky, horn-driven “Can’t Let Go” drips with sex appeal, and on “For the Views” — a missive to social-media lurkers — Handcock conjures the atmosphere of a smoke-filled lounge where one might exchange a furtive glance over the rim of a martini glass. \u003cem>It’s Me, Not You\u003c/em> proves Handcock has earned her spotlight and will continue to hold our attention for a long time. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=97838322/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spiritual Cramp, \u003ci>Rude\u003c/i> (Blue Grape Music)\u003c/h2>\n\u003cp>“What if I went back home to the Bay where I belong? / In the heart of San Francisco, just an hour away from home,” Spiritual Cramp’s Michael Bingham sings on “True Love (Is Hard To Find).” It’s the premise for \u003cem>Rude\u003c/em>, an eloquent new-wave punk love letter to the city that still holds the keys to his soul, even though he’s moved away.\u003c/p>\n\u003cp>Produced by the accomplished John Congleton, \u003cem>Rude\u003c/em> wears that heart on its sleeve at every turn, from the tantalizing melodies of “Automatic” to the endearingly self-deprecating “At My Funeral.” Sharon Van Etten guests on the gleaming “You’ve Got My Number,” a highlight within what should go down as a breakout effort for Spiritual Cramp, who are primed for big things in 2026. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2XeGkDrU1IX9hlqEId3GS3?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> (Patois Records)\u003c/h2>\n\u003cp>It’s rare indeed when an album makes you rethink the history of a genre, but by focusing on female salsa and Latin jazz artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> offers a deeply informed alternative view of the evolution of Latin music in the Bay Area. Without a dominant group to shape the rhythmic currents, the Bay Area Latin music scene has always cast a wide net. This two-disc anthology shows that same pan-Latin forces at work, showcasing excellent work by women from Venezuela, Cuba, Chile and Colombia and the U.S.\u003c/p>\n\u003cp>Both discs open with new music showcasing a brilliant cross-section of women players, many of whom lead their own bands. But it’s tracks like “Cosmo” by the Blazing Redheads, an all-female septet that coalesced at the end of the 1980s with a dance-inducing combination of jazz, funk and Latin beats, that make \u003cem>Renegade Queens\u003c/em> a continual source of delight. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/22nSF43OqkoSheKO58Fie1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Lil Yee, \u003cem>Life After Death\u003c/em> (G-Affair/Empire)\u003c/h2>\n\u003cp>“They say death is a deep sleep / Wake me up, it ain’t my time,” says San Francisco’s Lil Yee on \u003cem>Life After Death\u003c/em>. After being shot in March of this year, Yee’s latest project illustrates his pain, his family’s love and his devotion to a higher power.\u003c/p>\n\u003cp>He brings the audience into the hospital on “ICU” as he describes the feeling of flatlining. Yee yearns for romantic love on “Love Me FRFR,” and he stunts on tracks with Veeze, 22nd Jim and EBK Jaaybo. On “Chopper Zone,” Yee paints the perils of his community. “Wicked Man” is a blues song about sinister things happening to benevolent people. And on “Sunday Morning,” Yee shares his resilient mindstate after the shooting, and how he’s persevering through it all. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2185729243/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spellling, \u003cem>Portrait of My Heart\u003c/em> (Sacred Bones)\u003c/h2>\n\u003cp>On \u003cem>Portrait of My Heart\u003c/em>, Oakland art-pop luminary Spellling strips away ornate theatricality for punchy guitar rock that speaks straight into the soul of anyone who’s ever felt like an outcast: “I don’t belong here,” she wails on the title track, which simmers with inner turmoil before boiling over into a cathartic crescendo.\u003c/p>\n\u003cp>The sharply written album is a cinematic ride through alienation and grief. Spellling pushes the limits of her voice to belt, whisper and growl as she delicately unravels thorny emotions such as shame and fear, letting herself bleed as she narrates her internal battles. Guitarist Wyatt Overson’s distortion-heavy riffs and anthemic solos add weight to the gut punch of Spellling’s lyrical intensity. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2577981795/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Arts and Crafts, \u003cem>1000 Dancing Devils\u003c/em> (Self-released)\u003c/h2>\n\u003cp>Prog jazz meets math rock meets influences from South Asia and North Africa in Arts and Crafts’ \u003cem>1000 Dancing Devils\u003c/em>. Guitarist Noam Teyssier, bassist Nadia Aquil and drummer Jeff Klein \u003ca href=\"https://www.linkedin.com/pulse/arts-crafts-1000-dancing-devils-review-ngo-core-2q9oc/\">say their inspirations span\u003c/a> Moroccan ouds, Bollywood films and the band Phish — specifically for the track “Roti,” the three-over-four rhythm from Phish’s “Buried Alive.”\u003c/p>\n\u003cp>The sounds originate from the San Francisco and Oakland band’s own communities and diasporas, combining and transmuting to form the groovy, upbeat album: Psychedelic opener “Oö” gives way to the cymbal crashes and pulsing surf rock of “Sidi Bouzid.” Named after a Moroccan city of Teyssier’s childhood, that track ends with a sample of the very musicians who played at Teyssier’s wedding. It’s personal and universal and wholly Bay Area. Blast the album during a winding car ride along the California coast, and you’ll find your head nodding, fingers reaching out of the open window to tap along. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2693444777/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Andrés Miguel Cervantes, \u003cem>Songs for the Seance\u003c/em> (Speakeasy Studios SF)\u003c/h2>\n\u003cp>Andrés Miguel Cervantes is a Western desperado whose journeys through the Sonoran and Mojave deserts and up the coast are at the crux of his latest album. \u003cem>Songs for the Seance\u003c/em> sounds like Hermanos Gutierrez backing Sturgill Simpson, and this is rarified air for a Bay Area artist.\u003c/p>\n\u003cp>Recorded on eight-track tape, sinister guitar, omnipresent pedal steel and twangy violin, garnished with harmonica, guide Cervantes’ rugged baritone staccato. “I saw the devil’s eyes in me,” the Oaklander laments on the title track, pleading to marauding spirits that he’s passionately trying to harness. It’s one of many wonderfully constructed tunes on an album that reveals Cervantes’ gifts as an essential emerging storyteller. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1253547124/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Cole Pulice, \u003cem>Land’s End Eternal \u003c/em>(Leaving Records)\u003c/h2>\n\u003cp>Cole Pulice’s work this decade showed improvisers all over the world a way forward for Coltrane-inspired spiritual-jazz saxophone, culminating in the pitch-shifted frenzy of 2023’s longform odyssey “If I Don’t See You in the Future, I’ll See You in the Pasture.” On their new album \u003cem>Land’s End Eternal\u003c/em>, the Oakland improviser takes a breather, pairing the first scratchings of their journey as a guitarist with gentle saxophone leads that snake across the stereo field like the cliff-hugging trails of the album’s namesake park.\u003c/p>\n\u003cp>Pulice cited Bay Area art-music legends Pauline Oliveros and Terry Riley as inspirations for their meditative approach on this record, but it’s guided just as much by the ineffable something that rolls in with the fog every night. \u003cem>— Daniel Bromfield\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1fHEmXGVuCHiRI10E9gybP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kevin Allen, \u003cem>Mr. Nobody\u003c/em> (Grand Nationxl/Create Music Group)\u003c/h2>\n\u003cp>“Fuck the middleman, I had to do it myself.” So begins Kevin Allen’s \u003cem>Mr. Nobody\u003c/em>, a 10-song manifesto from one of the Bay’s most prolific and underrated rappers. At this stage in his career, Allen’s got nothing more to prove, evidenced by the risk-taking on the breezy, exploratory R&B of his 2024 album \u003cem>Don’t Overthink It\u003c/em>.\u003c/p>\n\u003cp>This time around, Allen’s the grown lyricist claiming his spot at the Bay Area table, with a well-earned chip on his shoulder (“My baby mama only one who came to my court date,” he raps on “F.W.W.I.D.”). Add an undercurrent of gospel, a dash of the cinematic and a sidearm pitch of romance in the eighth inning (“Put You First”), and you’ve got a solid album with Allen’s voice and vision front and center — no middleman needed. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=658546348/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Raven, \u003cem>Gnosis\u003c/em> (Incienso)\u003c/h2>\n\u003cp>There’s certain music that timelessly soundtracks a pensive nighttime stroll in the big city. Everything but the Girl’s \u003cem>Walking Wounded\u003c/em> inspires you to find a dance floor and spill your emotions, while Adam F’s \u003cem>Colours\u003c/em> invites you to seek harmony in the chaos of your surroundings. San Francisco producer Raven’s \u003cem>Gnosis\u003c/em> (out on NYC’s Incienso label) has a similar spirit, emphasizing the organic sensory experiences of urban life amid an increasingly tech-saturated landscape: the moisture in the air, cold pavement, tall buildings, lights that flicker and thousands of people with their hands in their pockets making their way across town.\u003c/p>\n\u003cp>Wrapped in synths and dark textures, Raven’s ambient techno begs us to dance, but ultimately stays grounded in an IDM sensibility — like floating above a wormhole into a mysterious other side and winning the battle against its gravitational pull. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/47NKcUIh3dBEfKgCfIV475?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>demahjiae, \u003cem>what do you hear when you pray?\u003c/em> (Yalé/Empire)\u003c/h2>\n\u003cp>“How is this for alternative?” demahjiae begins, pushing back on being pigeonholed as an artist. \u003cem>what do you hear when you pray?\u003c/em> releases the expectation to have answers, offering a litany of questions instead. In a time when many stereotype the Bay Area as having a single sound, demahjiae puts his foot down, stubbornly crafting on his terms.\u003c/p>\n\u003cp>He turns away from the pressure of people and towards the support of a higher power, echoing that in the end “God got me” on “Silver Surfer.” “a ladder to the sky” concludes with keys and violin strings that break through like sun rays shattering rainclouds. “The north star don’t shine on the east too much,” he professes. Yet despite the exhaustion of insisting on a truth few recognize, in defense of a home many denigrate, demahjiae presses on, holding up a mirror to his own contradictions while casting prayers to soften the path.\u003cem> — Sarah O’Neal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2076548456/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Hook-Ups, \u003cem>Hook-Ups Presents… Hkup \u003c/em>(Self-released)\u003c/h2>\n\u003cp>Hook-Ups, the slacker-rock solo project of Castro Valley-based Maxwell Carver, released its most ambitious work yet in the half-hour LP \u003cem>Hook-Ups Presents… Hkup\u003c/em>. After a jingle plays for the fictional radio station HKUP, DJ Scotty2Shoes (voiced by Carver) wishes listeners good morning, introducing himself and his high-pitched, possibly avian co-host Jimmy (also Carver) as the Hook-Ups track “Crawlin’” plays underneath. The gambit is that we’re tuning into Scotty2Shoes’ radio hour as he sets up — and distracts us from — all-new Hook-Ups songs.\u003c/p>\n\u003cp>In the musical interludes — or, rather, the album — indie rock earworms like “Wcyd?” stand out with hypnotic loops of guitar and keys as backing vocals whisper and repeat. Meanwhile, in the album’s spoken parts, Scotty gives traffic updates on I-880, takes staticky local calls and needles Jimmy about his love life. Jimmy eventually leaves the show in anger, catalyzing the album’s second half: Jimmy’s replacement Albert (still Carver) asks Scotty to “turn that shit up” by way of introducing “Fine Whine.” And to win Jimmy back, Scotty plays Hook-Ups’ ebullient cover of Dion and the Belmonts’ 1959 “A Teenager in Love” — winning over, too, listeners who might’ve been initially unsure about the album’s out-there concept. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2396630951/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Beth Schenck, \u003cem>Dahlia\u003c/em> (Queen Bee Records)\u003c/h2>\n\u003cp>Part of the extraordinary 12/12 project spearheaded by Berkeley bassist Lisa Mezzacappa, which has released a dozen albums by improvisation-powered Bay Area ensembles, San Francisco alto saxophonist Beth Schenck’s \u003cem>Dahlia\u003c/em> is among the most striking blooms in this artfully curated garden.\u003c/p>\n\u003cp>Best known for her folk and chamber-jazz work with Jenny Scheinman, Schenck possesses a bright, gleaming tone and divergent impulses as a composer. Featuring a formidable cast with Mezzacappa, drummer Jordan Glenn, Cory Wright on tenor sax and bass clarinet and Schenck’s husband Matt Wrobel on guitar, \u003cem>Dahlia\u003c/em> toggles between Ornette Coleman-inspired laments (“Every Riven Thing”), tender tone poems (“Wayne’s Gone”) and sinuous, multi-layered investigations (“Playground”). Each mode contains its own particular rewards, starting with the sheer beauty of her sound. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0jHqElEG9tMkgMXk3IKQrV?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Miles Minnick, \u003cem>Via Dolorosa\u003c/em> (Glo/Empire)\u003c/h2>\n\u003cp>On \u003cem>Via Dolorosa\u003c/em>, Miles Minnick, a former youth pastor from Pittsburg, cooks up some traditional West Coast hip-hop without using a single cuss word. There’s praise and affirmations, melodic hooks and that trademark Bay Area blap.\u003c/p>\n\u003cp>Minnick taps Brooke Valentine and Lacrae for features, as well as the Bay Area’s own G-Eazy, E-40 and Kamiyah. Keak Da Sneak is on “Bout Time,” which pulls from his 2003 track “Know What I’m Talking About.” And Mistah F.A.B. is on “Sick Wid It,” a retake of 2005’s “Super Sic Wit It.” Minnick samples Mac Dre’s “Not My Job” but shares a message that differs from Furl’s. “It’s not my job, can’t judge you / Live different, but we still gon’ love you,” Minnick says, summarizing the album’s ethos. The project, the fourth from Minnick in the past two years, is evidence that he’s making religious rap more relatable, not condescending — and he’s doing so without watering down the beats. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3695116657/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Bay Area Renegade Trax Vol. 2 \u003c/em>(No Bias)\u003c/h2>\n\u003cp>If you’re searching for the pulse of the Bay Area’s underground electronic music scene, look no further than \u003cem>Bay Area Renegade Trax Vol. 2\u003c/em>, a compilation featuring 31 eccentric, eclectic DJs and producers put together by local label No Bias.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These high-BPM bangers by artists including Bored Lord, Bastiengoat and DJ Juanny span house, juke, garage, drum and bass and more. They’re dirty, gritty and elastic — a rebuke to background music, and a manifesto for dancing at the forest rave until the sun comes up. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The year is almost over, and we’re working on our resolutions. Out: passively listening to algorithm-driven, \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-infested playlists\u003c/a>. In: letting the talented artists in your community move, surprise and even challenge you, restoring your faith in humanity.\u003c/p>\n\u003cp>Whether making hip-hop, punk, salsa or spiritual jazz, Bay Area artists didn’t disappoint this year. The KQED Arts & Culture team and contributors combed through 2025’s releases to bring you our favorite local music of the year. Turn up the volume and hit play. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6fiG4ui62dDneZQjMFh8ha?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jamel Griot, \u003cem>Sincerely, Jamel \u003c/em>(Remain Family Oriented Records)\u003c/h2>\n\u003cp>On \u003cem>Sincerely, Jamel\u003c/em>, Oakland rapper Jamel Griot invites us to witness his dark night of the soul, when grief cracks him open and forces him face himself, honestly and unflinchingly. Griot punctuates hard-hitting verses over contemplative, jazzy beats with diary entries, revealing how serial one-night stands turned into a coping mechanism, and how partying has disconnected him from his purpose. “Although you a self-centered n—, you aren’t selfish enough. Because a selfish person loves themselves,” he reads aloud from his journal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To find his way back to himself, Griot unpacks childhood trauma with a courageous vulnerability. His lyrics illuminate a new path forward, one that invites listeners to lovingly tend to their own scars. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2YjTKpjohCKRlShBvgWHqQ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Rabiah Kabir, \u003cem>Jezebel: Rewritten \u003c/em>(Self-released)\u003c/h2>\n\u003cp>The song “Flute / Overture,” opens Rabiah Kabir’s \u003cem>Jezebel: Rewritten\u003c/em> with a jazzy thesis statement. Birds chirp, shakers shake and keys resonate as the flute’s flow intertwines with comments about the historical importance of the instrument and the artist’s work to dispel sexist notions about flutists.\u003c/p>\n\u003cp>With the support of a full band, Oakland’s Kabir shows a range of a flute’s sonic capabilities. The song “Fin.” showcases the wind instrument’s mysticism. “The ReZident” offers a taste of flute funk. And the dark keys and heavy drums at the start of “I Crashed My Car” create an anxious tone that is ultimately resolved, climaxing in a flute run that’s as relaxing as a field of fresh lavender. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4149894761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kathryn Mohr, \u003cem>Waiting Room\u003c/em> (The Flenser)\u003c/h2>\n\u003cp>A bell’s hollow rings echo through a room. Static builds. Radio noise chatters in the distance. Sea waves crash. Someone (or something) scribbles. The field recordings that populate Kathryn Mohr’s \u003cem>Waiting Room\u003c/em> — self-recorded in an abandoned fish factory in Iceland — give a sense of isolation and melancholy, capturing the anxiety of anticipation.\u003c/p>\n\u003cp>Mohr builds on those recordings using an analog synth and aching vocals, creating subtle, pinpoint-precise melodies. Following the oneiric opener “Diver,” dissonant tracks weave between guitar-driven, ’90s grunge-inspired pieces. In “Petrified,” gentle vocals evoke violent visuals that dance above finger-plucked guitar. Mohr’s full-length debut asks its listeners to find beauty in decay, to sit in feelings of discomfort without the promise of catharsis. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1MTodq6IqzqFEav64mt1Jg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Michael Sneed, \u003cem>floaters at the buzzer!\u003c/em> (Michael Sneed/Create Music Group)\u003c/h2>\n\u003cp>Attention spans might be shrinking because of TikTok and Instagram, but rapper and producer Michael Sneed’s \u003cem>floaters at the buzzer!\u003c/em> beckons to be heard from start to finish. “I’ll be your guide, I got you,” Sneed croons on the opening track. From there he puffs out his chest on “blend*” featuring Bay Area trailblazer P-Lo.\u003c/p>\n\u003cp>On “town sh!t 4ever!,” Sneed and P-Lo reinterpret a classic by sampling Mistah F.A.B.’s legendary “N.E.W. Oakland.” The song features Ovrkast. and wrestles with the tension of being pushed out of your hometown yet still trying to love it despite the struggles. This contradiction crescendos with “still ain’t die!,” a trumpet-laced proclamation of the life Sneed and his kin insist on, in spite of the forces conspiring against their thriving. \u003cem>— Sarah O’Neal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=106152191/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>John Elliott, \u003cem>I Am John Mayer\u003c/em> (Self-released)\u003c/h2>\n\u003cp>When John Michael Mayer started making music in the Y2K era, he faced a problem: There was another musician on the internet named John Mayer. Vowing to battle for name recognition and acclaim in the public arena, he released song after song, none as schlocky as “Your Body Is a Wonderland,” and lost the fight. Now, the San Francisco musician forced to rechristen himself John Elliott has told the story in a catchy, cleverly written title track, “I Am John Mayer.”\u003c/p>\n\u003cp>Possessed of a Jonathan Richman sincerity and a John Darnielle expressiveness, Elliott’s a wide-eyed everyman who soaks up and sings about the world’s joys and pains alike. (Recall his \u003ca href=\"https://www.kqed.org/arts/13912499/song-jfk-drive-car-free-board-of-supervisors-sf\">one-minute song to elected officials about keeping JFK Drive car-free\u003c/a>.) On \u003cem>I Am John Mayer\u003c/em> (currently only available \u003ca href=\"https://www.thehereafterishere.com/store/p/i-am-john-mayer-digital-download\">through his website\u003c/a>, and coming soon to streaming), he’s in top form, including the heartstring-pulling “Out Here,” a plea to an unborn child hesitant to enter the world. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2rPy6g5DGQBsb7g96xXFGI?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Jane Handcock, \u003cem>It’s Me, Not You \u003c/em>(Death Row Records/gamma.)\u003c/h2>\n\u003cp>\u003cem>It’s Me, Not You\u003c/em> marks a well-deserved ascent for Jane Handcock, the mega-talented Richmond-raised vocalist who’s spent years behind the scenes, penning lyrics for R&B and hip-hop greats like Kelly Rowland, Rick Ross, Tyrese and Teddy Riley. Now signed to the venerable Death Row Records, Handcock delivered a finely crafted album for the grown-and-sexy lover girls.\u003c/p>\n\u003cp>The effervescent mood of “Stare At Me” featuring Anderson .Paak feels like eclectic sliding through the clouds. The funky, horn-driven “Can’t Let Go” drips with sex appeal, and on “For the Views” — a missive to social-media lurkers — Handcock conjures the atmosphere of a smoke-filled lounge where one might exchange a furtive glance over the rim of a martini glass. \u003cem>It’s Me, Not You\u003c/em> proves Handcock has earned her spotlight and will continue to hold our attention for a long time. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=97838322/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spiritual Cramp, \u003ci>Rude\u003c/i> (Blue Grape Music)\u003c/h2>\n\u003cp>“What if I went back home to the Bay where I belong? / In the heart of San Francisco, just an hour away from home,” Spiritual Cramp’s Michael Bingham sings on “True Love (Is Hard To Find).” It’s the premise for \u003cem>Rude\u003c/em>, an eloquent new-wave punk love letter to the city that still holds the keys to his soul, even though he’s moved away.\u003c/p>\n\u003cp>Produced by the accomplished John Congleton, \u003cem>Rude\u003c/em> wears that heart on its sleeve at every turn, from the tantalizing melodies of “Automatic” to the endearingly self-deprecating “At My Funeral.” Sharon Van Etten guests on the gleaming “You’ve Got My Number,” a highlight within what should go down as a breakout effort for Spiritual Cramp, who are primed for big things in 2026. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2XeGkDrU1IX9hlqEId3GS3?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> (Patois Records)\u003c/h2>\n\u003cp>It’s rare indeed when an album makes you rethink the history of a genre, but by focusing on female salsa and Latin jazz artists, \u003cem>Salsa de la Bahia Vol. III: Renegade Queens\u003c/em> offers a deeply informed alternative view of the evolution of Latin music in the Bay Area. Without a dominant group to shape the rhythmic currents, the Bay Area Latin music scene has always cast a wide net. This two-disc anthology shows that same pan-Latin forces at work, showcasing excellent work by women from Venezuela, Cuba, Chile and Colombia and the U.S.\u003c/p>\n\u003cp>Both discs open with new music showcasing a brilliant cross-section of women players, many of whom lead their own bands. But it’s tracks like “Cosmo” by the Blazing Redheads, an all-female septet that coalesced at the end of the 1980s with a dance-inducing combination of jazz, funk and Latin beats, that make \u003cem>Renegade Queens\u003c/em> a continual source of delight. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/22nSF43OqkoSheKO58Fie1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Lil Yee, \u003cem>Life After Death\u003c/em> (G-Affair/Empire)\u003c/h2>\n\u003cp>“They say death is a deep sleep / Wake me up, it ain’t my time,” says San Francisco’s Lil Yee on \u003cem>Life After Death\u003c/em>. After being shot in March of this year, Yee’s latest project illustrates his pain, his family’s love and his devotion to a higher power.\u003c/p>\n\u003cp>He brings the audience into the hospital on “ICU” as he describes the feeling of flatlining. Yee yearns for romantic love on “Love Me FRFR,” and he stunts on tracks with Veeze, 22nd Jim and EBK Jaaybo. On “Chopper Zone,” Yee paints the perils of his community. “Wicked Man” is a blues song about sinister things happening to benevolent people. And on “Sunday Morning,” Yee shares his resilient mindstate after the shooting, and how he’s persevering through it all. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2185729243/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spellling, \u003cem>Portrait of My Heart\u003c/em> (Sacred Bones)\u003c/h2>\n\u003cp>On \u003cem>Portrait of My Heart\u003c/em>, Oakland art-pop luminary Spellling strips away ornate theatricality for punchy guitar rock that speaks straight into the soul of anyone who’s ever felt like an outcast: “I don’t belong here,” she wails on the title track, which simmers with inner turmoil before boiling over into a cathartic crescendo.\u003c/p>\n\u003cp>The sharply written album is a cinematic ride through alienation and grief. Spellling pushes the limits of her voice to belt, whisper and growl as she delicately unravels thorny emotions such as shame and fear, letting herself bleed as she narrates her internal battles. Guitarist Wyatt Overson’s distortion-heavy riffs and anthemic solos add weight to the gut punch of Spellling’s lyrical intensity. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2577981795/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Arts and Crafts, \u003cem>1000 Dancing Devils\u003c/em> (Self-released)\u003c/h2>\n\u003cp>Prog jazz meets math rock meets influences from South Asia and North Africa in Arts and Crafts’ \u003cem>1000 Dancing Devils\u003c/em>. Guitarist Noam Teyssier, bassist Nadia Aquil and drummer Jeff Klein \u003ca href=\"https://www.linkedin.com/pulse/arts-crafts-1000-dancing-devils-review-ngo-core-2q9oc/\">say their inspirations span\u003c/a> Moroccan ouds, Bollywood films and the band Phish — specifically for the track “Roti,” the three-over-four rhythm from Phish’s “Buried Alive.”\u003c/p>\n\u003cp>The sounds originate from the San Francisco and Oakland band’s own communities and diasporas, combining and transmuting to form the groovy, upbeat album: Psychedelic opener “Oö” gives way to the cymbal crashes and pulsing surf rock of “Sidi Bouzid.” Named after a Moroccan city of Teyssier’s childhood, that track ends with a sample of the very musicians who played at Teyssier’s wedding. It’s personal and universal and wholly Bay Area. Blast the album during a winding car ride along the California coast, and you’ll find your head nodding, fingers reaching out of the open window to tap along. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2693444777/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Andrés Miguel Cervantes, \u003cem>Songs for the Seance\u003c/em> (Speakeasy Studios SF)\u003c/h2>\n\u003cp>Andrés Miguel Cervantes is a Western desperado whose journeys through the Sonoran and Mojave deserts and up the coast are at the crux of his latest album. \u003cem>Songs for the Seance\u003c/em> sounds like Hermanos Gutierrez backing Sturgill Simpson, and this is rarified air for a Bay Area artist.\u003c/p>\n\u003cp>Recorded on eight-track tape, sinister guitar, omnipresent pedal steel and twangy violin, garnished with harmonica, guide Cervantes’ rugged baritone staccato. “I saw the devil’s eyes in me,” the Oaklander laments on the title track, pleading to marauding spirits that he’s passionately trying to harness. It’s one of many wonderfully constructed tunes on an album that reveals Cervantes’ gifts as an essential emerging storyteller. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1253547124/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Cole Pulice, \u003cem>Land’s End Eternal \u003c/em>(Leaving Records)\u003c/h2>\n\u003cp>Cole Pulice’s work this decade showed improvisers all over the world a way forward for Coltrane-inspired spiritual-jazz saxophone, culminating in the pitch-shifted frenzy of 2023’s longform odyssey “If I Don’t See You in the Future, I’ll See You in the Pasture.” On their new album \u003cem>Land’s End Eternal\u003c/em>, the Oakland improviser takes a breather, pairing the first scratchings of their journey as a guitarist with gentle saxophone leads that snake across the stereo field like the cliff-hugging trails of the album’s namesake park.\u003c/p>\n\u003cp>Pulice cited Bay Area art-music legends Pauline Oliveros and Terry Riley as inspirations for their meditative approach on this record, but it’s guided just as much by the ineffable something that rolls in with the fog every night. \u003cem>— Daniel Bromfield\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/1fHEmXGVuCHiRI10E9gybP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kevin Allen, \u003cem>Mr. Nobody\u003c/em> (Grand Nationxl/Create Music Group)\u003c/h2>\n\u003cp>“Fuck the middleman, I had to do it myself.” So begins Kevin Allen’s \u003cem>Mr. Nobody\u003c/em>, a 10-song manifesto from one of the Bay’s most prolific and underrated rappers. At this stage in his career, Allen’s got nothing more to prove, evidenced by the risk-taking on the breezy, exploratory R&B of his 2024 album \u003cem>Don’t Overthink It\u003c/em>.\u003c/p>\n\u003cp>This time around, Allen’s the grown lyricist claiming his spot at the Bay Area table, with a well-earned chip on his shoulder (“My baby mama only one who came to my court date,” he raps on “F.W.W.I.D.”). Add an undercurrent of gospel, a dash of the cinematic and a sidearm pitch of romance in the eighth inning (“Put You First”), and you’ve got a solid album with Allen’s voice and vision front and center — no middleman needed. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=658546348/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Raven, \u003cem>Gnosis\u003c/em> (Incienso)\u003c/h2>\n\u003cp>There’s certain music that timelessly soundtracks a pensive nighttime stroll in the big city. Everything but the Girl’s \u003cem>Walking Wounded\u003c/em> inspires you to find a dance floor and spill your emotions, while Adam F’s \u003cem>Colours\u003c/em> invites you to seek harmony in the chaos of your surroundings. San Francisco producer Raven’s \u003cem>Gnosis\u003c/em> (out on NYC’s Incienso label) has a similar spirit, emphasizing the organic sensory experiences of urban life amid an increasingly tech-saturated landscape: the moisture in the air, cold pavement, tall buildings, lights that flicker and thousands of people with their hands in their pockets making their way across town.\u003c/p>\n\u003cp>Wrapped in synths and dark textures, Raven’s ambient techno begs us to dance, but ultimately stays grounded in an IDM sensibility — like floating above a wormhole into a mysterious other side and winning the battle against its gravitational pull. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/47NKcUIh3dBEfKgCfIV475?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>demahjiae, \u003cem>what do you hear when you pray?\u003c/em> (Yalé/Empire)\u003c/h2>\n\u003cp>“How is this for alternative?” demahjiae begins, pushing back on being pigeonholed as an artist. \u003cem>what do you hear when you pray?\u003c/em> releases the expectation to have answers, offering a litany of questions instead. In a time when many stereotype the Bay Area as having a single sound, demahjiae puts his foot down, stubbornly crafting on his terms.\u003c/p>\n\u003cp>He turns away from the pressure of people and towards the support of a higher power, echoing that in the end “God got me” on “Silver Surfer.” “a ladder to the sky” concludes with keys and violin strings that break through like sun rays shattering rainclouds. “The north star don’t shine on the east too much,” he professes. Yet despite the exhaustion of insisting on a truth few recognize, in defense of a home many denigrate, demahjiae presses on, holding up a mirror to his own contradictions while casting prayers to soften the path.\u003cem> — Sarah O’Neal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2076548456/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Hook-Ups, \u003cem>Hook-Ups Presents… Hkup \u003c/em>(Self-released)\u003c/h2>\n\u003cp>Hook-Ups, the slacker-rock solo project of Castro Valley-based Maxwell Carver, released its most ambitious work yet in the half-hour LP \u003cem>Hook-Ups Presents… Hkup\u003c/em>. After a jingle plays for the fictional radio station HKUP, DJ Scotty2Shoes (voiced by Carver) wishes listeners good morning, introducing himself and his high-pitched, possibly avian co-host Jimmy (also Carver) as the Hook-Ups track “Crawlin’” plays underneath. The gambit is that we’re tuning into Scotty2Shoes’ radio hour as he sets up — and distracts us from — all-new Hook-Ups songs.\u003c/p>\n\u003cp>In the musical interludes — or, rather, the album — indie rock earworms like “Wcyd?” stand out with hypnotic loops of guitar and keys as backing vocals whisper and repeat. Meanwhile, in the album’s spoken parts, Scotty gives traffic updates on I-880, takes staticky local calls and needles Jimmy about his love life. Jimmy eventually leaves the show in anger, catalyzing the album’s second half: Jimmy’s replacement Albert (still Carver) asks Scotty to “turn that shit up” by way of introducing “Fine Whine.” And to win Jimmy back, Scotty plays Hook-Ups’ ebullient cover of Dion and the Belmonts’ 1959 “A Teenager in Love” — winning over, too, listeners who might’ve been initially unsure about the album’s out-there concept. \u003cem>— Caroline Smith\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2396630951/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Beth Schenck, \u003cem>Dahlia\u003c/em> (Queen Bee Records)\u003c/h2>\n\u003cp>Part of the extraordinary 12/12 project spearheaded by Berkeley bassist Lisa Mezzacappa, which has released a dozen albums by improvisation-powered Bay Area ensembles, San Francisco alto saxophonist Beth Schenck’s \u003cem>Dahlia\u003c/em> is among the most striking blooms in this artfully curated garden.\u003c/p>\n\u003cp>Best known for her folk and chamber-jazz work with Jenny Scheinman, Schenck possesses a bright, gleaming tone and divergent impulses as a composer. Featuring a formidable cast with Mezzacappa, drummer Jordan Glenn, Cory Wright on tenor sax and bass clarinet and Schenck’s husband Matt Wrobel on guitar, \u003cem>Dahlia\u003c/em> toggles between Ornette Coleman-inspired laments (“Every Riven Thing”), tender tone poems (“Wayne’s Gone”) and sinuous, multi-layered investigations (“Playground”). Each mode contains its own particular rewards, starting with the sheer beauty of her sound. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0jHqElEG9tMkgMXk3IKQrV?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Miles Minnick, \u003cem>Via Dolorosa\u003c/em> (Glo/Empire)\u003c/h2>\n\u003cp>On \u003cem>Via Dolorosa\u003c/em>, Miles Minnick, a former youth pastor from Pittsburg, cooks up some traditional West Coast hip-hop without using a single cuss word. There’s praise and affirmations, melodic hooks and that trademark Bay Area blap.\u003c/p>\n\u003cp>Minnick taps Brooke Valentine and Lacrae for features, as well as the Bay Area’s own G-Eazy, E-40 and Kamiyah. Keak Da Sneak is on “Bout Time,” which pulls from his 2003 track “Know What I’m Talking About.” And Mistah F.A.B. is on “Sick Wid It,” a retake of 2005’s “Super Sic Wit It.” Minnick samples Mac Dre’s “Not My Job” but shares a message that differs from Furl’s. “It’s not my job, can’t judge you / Live different, but we still gon’ love you,” Minnick says, summarizing the album’s ethos. The project, the fourth from Minnick in the past two years, is evidence that he’s making religious rap more relatable, not condescending — and he’s doing so without watering down the beats. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3695116657/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Bay Area Renegade Trax Vol. 2 \u003c/em>(No Bias)\u003c/h2>\n\u003cp>If you’re searching for the pulse of the Bay Area’s underground electronic music scene, look no further than \u003cem>Bay Area Renegade Trax Vol. 2\u003c/em>, a compilation featuring 31 eccentric, eclectic DJs and producers put together by local label No Bias.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>‘Tis the season to put on some brand-new holiday music. The best way to get festive is to sing along to Christmas classics new and old. But don’t know what to press play on? We’ve got you covered.\u003c/p>\n\u003cp>In honor of the most wonderful time of the year, here are some of the best new holiday releases for the 2025 season. So, grab a loved one, a cup of eggnog and get to listening.\u003c/p>\n\u003ch2>‘Christmas in The City,’ Pentatonix\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=43E-rTi01AY&t=1s\u003c/p>\n\u003cp>For the a cappella fan, there is no better news than yet another holiday album from Pentatonix. Across 18 tracks, \u003cem>Christmas in the City\u003c/em> celebrates the magic of cosmopolitan life around the holidays and showcases the group’s vocal athletics. Hear them reimagine the songs you know and love as well as introduce a few originals. Start with “Snowing in Paris,” which features the R&B-pop star JoJo, and end with “I’ve Got My Love to Keep Me Warm,” a never-before-heard recording of the \u003ca href=\"https://www.pbs.org/show/sinatra-man-and-his-music-ella-jobim/\">Frank Sinatra\u003c/a> classic featuring Ol’ Blue Eyes himself.\u003c/p>\n\u003ch2>‘A Charlie Brown Christmas,’ Vince Guaraldi\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=v9Ox2KnsuNg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s hard to believe, but 60 years ago, the \u003cem>Peanuts\u003c/em> gang’s classic \u003ca href=\"https://www.kqed.org/arts/11123074/a-charlie-brown-christmas-turns-50-network-celebrates\">\u003cem>A Charlie Brown Christmas\u003c/em>\u003c/a> aired on television for the first time and became an almost-instant sensation. Part of its charms, of course, must be credited to its whimsical score by jazz pianist Vince Guaraldi. To celebrate such a huge anniversary, Craft Recordings is reissuing its soundtrack — as good a reason as any to revisit these beloved songs.\u003c/p>\n\u003ch2>‘Greatest Hits Christmas,’ LeAnn Rimes\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=1ewquwZlGME\u003c/p>\n\u003cp>Just ahead of her Christmas tour, the country icon LeAnn Rimes released \u003cem>Greatest Hits Christmas\u003c/em>. It’s exactly what it sounds like: a mesh of classics and some of her best-known songs from her past holiday albums. There are also new collaborations, like Aloe Blacc on “That Spirit of Christmas” and Gavin DeGraw on “Celebrate Me Home.”\u003c/p>\n\u003ch2>‘Snow Globe Town,’ Brad Paisley\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=v64BWOm6WeA\u003c/p>\n\u003cp>Some things just make sense together: peanut butter and jelly, coffee and doughnuts, Brad Paisley and his touring band sitting down in Nashville to record a charming Christmas album. \u003cem>Snow Globe Town\u003c/em> boasts of eight originals and eight covers — exactly what the heart wants this holiday season. It’s the former collection that will really connect, though; there are real charms to be found in “Lit,” “That Crazy Elf” and the title track.\u003c/p>\n\u003ch2>‘Christmastime,’ Trisha Yearwood\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=ghoIcFThH3o\u003c/p>\n\u003cp>Country singer Trisha Yearwood’s voice sounds like coming home; it makes her the ideal talent for a new holiday collection. \u003cem>Christmastime\u003c/em> is stacked with familiar tunes and perhaps, best of all, features “Merry Christmas, Valentine,” a duet with her husband Garth Brooks. Blast that one at your get-together and there won’t be a dry eye in the house.\u003c/p>\n\u003ch2>‘Holidays,’ Roberta Flack\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=sh5KvnrM_1I\u003c/p>\n\u003cp>The world lost a giant in February when \u003ca href=\"https://www.kqed.org/arts/13972215/roberta-flack-dead-at-88\">Roberta Flack\u003c/a>, the Grammy-winning singer and pianist, died at 88. Perhaps best known for her timeless take on “Killing Me Softly with His Song,” the Christmas season brings up another reason to celebrate her. A new release, \u003cem>Holidays\u003c/em>, like many on this list, features originals and covers — and a selection of songs from Flack’s classic \u003cem>The Christmas Album\u003c/em>. It holds a special meaning this year.\u003c/p>\n\u003ch2>‘Feels Like Christmas,’ Mickey Guyton\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=R4-mEb3OhME&t=1s\u003c/p>\n\u003cp>The country powerhouse Mickey Guyton feels like Christmas and once you dive into these eight tracks, you will, too. From her rendition of “O Holy Night” to her masterful take on “Do You Want to Build a Snowman?” from Disney’s \u003cem>Frozen\u003c/em> (sorry, parents!) there’s a lot to love here.\u003c/p>\n\u003ch2>‘It’s Christmas,’ Eric Benét\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=1D-nmp0ja4E\u003c/p>\n\u003cp>R&B singer Eric Benét’s first holiday album, \u003cem>It’s Christmas\u003c/em>, is filled with warmth; consider it the sonic equivalent of curling up to a roaring fireplace on a snowy winter’s evening. Don’t believe us? Well, one listen to his take on “Please Come Home for Christmas” or “Oh Holy Night” will make you a believer. Or better yet, there’s “Christmas Morning,” featuring Benét’s youngest daughters Lucia and Luna. Tissues, you might want to grab a few.\u003c/p>\n\u003ch2>‘The Chess Records Christmas Album,’ various artists\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=rLsFdTXMZ58&t=3s\u003c/p>\n\u003cp>Sometimes a compilation album is what a holiday party needs. Chess Records has the answer. \u003cem>The Chess Records Christmas Album\u003c/em> is an impressive collection of veteran talent. The release features everything from Chuck Berry’s “Run Rudolph Run” and The Moonglows’ “Hey Santa Claus” to Lenox Avenue’s “Little Drummer Boy” and The Salem Travelers’ “Merry Christmas to You.”\u003c/p>\n\u003ch2>‘Evergreen Christmas Sessions,’ Hunter Hayes\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Hunter Hayes is a newer name on the country scene than a few of the artists listed here, but that simply means he’s a fresh voice to discover. His \u003cem>Evergreen Christmas Sessions\u003c/em> is a brief introduction — just four covers of holiday standards — but it’s a charming romp. Start with “Winter Wonderland” and “Have Yourself a Merry Little Christmas,” stay for “Run Run Rudolph” and “Silent Night.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>‘Tis the season to put on some brand-new holiday music. The best way to get festive is to sing along to Christmas classics new and old. But don’t know what to press play on? We’ve got you covered.\u003c/p>\n\u003cp>In honor of the most wonderful time of the year, here are some of the best new holiday releases for the 2025 season. So, grab a loved one, a cup of eggnog and get to listening.\u003c/p>\n\u003ch2>‘Christmas in The City,’ Pentatonix\u003c/h2>\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/43E-rTi01AY'\n title='//www.youtube.com/embed/43E-rTi01AY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the a cappella fan, there is no better news than yet another holiday album from Pentatonix. Across 18 tracks, \u003cem>Christmas in the City\u003c/em> celebrates the magic of cosmopolitan life around the holidays and showcases the group’s vocal athletics. Hear them reimagine the songs you know and love as well as introduce a few originals. Start with “Snowing in Paris,” which features the R&B-pop star JoJo, and end with “I’ve Got My Love to Keep Me Warm,” a never-before-heard recording of the \u003ca href=\"https://www.pbs.org/show/sinatra-man-and-his-music-ella-jobim/\">Frank Sinatra\u003c/a> classic featuring Ol’ Blue Eyes himself.\u003c/p>\n\u003ch2>‘A Charlie Brown Christmas,’ Vince Guaraldi\u003c/h2>\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/v9Ox2KnsuNg'\n title='//www.youtube.com/embed/v9Ox2KnsuNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s hard to believe, but 60 years ago, the \u003cem>Peanuts\u003c/em> gang’s classic \u003ca href=\"https://www.kqed.org/arts/11123074/a-charlie-brown-christmas-turns-50-network-celebrates\">\u003cem>A Charlie Brown Christmas\u003c/em>\u003c/a> aired on television for the first time and became an almost-instant sensation. Part of its charms, of course, must be credited to its whimsical score by jazz pianist Vince Guaraldi. To celebrate such a huge anniversary, Craft Recordings is reissuing its soundtrack — as good a reason as any to revisit these beloved songs.\u003c/p>\n\u003ch2>‘Greatest Hits Christmas,’ LeAnn Rimes\u003c/h2>\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/1ewquwZlGME'\n title='//www.youtube.com/embed/1ewquwZlGME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just ahead of her Christmas tour, the country icon LeAnn Rimes released \u003cem>Greatest Hits Christmas\u003c/em>. It’s exactly what it sounds like: a mesh of classics and some of her best-known songs from her past holiday albums. There are also new collaborations, like Aloe Blacc on “That Spirit of Christmas” and Gavin DeGraw on “Celebrate Me Home.”\u003c/p>\n\u003ch2>‘Snow Globe Town,’ Brad Paisley\u003c/h2>\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/v64BWOm6WeA'\n title='//www.youtube.com/embed/v64BWOm6WeA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some things just make sense together: peanut butter and jelly, coffee and doughnuts, Brad Paisley and his touring band sitting down in Nashville to record a charming Christmas album. \u003cem>Snow Globe Town\u003c/em> boasts of eight originals and eight covers — exactly what the heart wants this holiday season. It’s the former collection that will really connect, though; there are real charms to be found in “Lit,” “That Crazy Elf” and the title track.\u003c/p>\n\u003ch2>‘Christmastime,’ Trisha Yearwood\u003c/h2>\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/ghoIcFThH3o'\n title='//www.youtube.com/embed/ghoIcFThH3o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Country singer Trisha Yearwood’s voice sounds like coming home; it makes her the ideal talent for a new holiday collection. \u003cem>Christmastime\u003c/em> is stacked with familiar tunes and perhaps, best of all, features “Merry Christmas, Valentine,” a duet with her husband Garth Brooks. Blast that one at your get-together and there won’t be a dry eye in the house.\u003c/p>\n\u003ch2>‘Holidays,’ Roberta Flack\u003c/h2>\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/sh5KvnrM_1I'\n title='//www.youtube.com/embed/sh5KvnrM_1I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The world lost a giant in February when \u003ca href=\"https://www.kqed.org/arts/13972215/roberta-flack-dead-at-88\">Roberta Flack\u003c/a>, the Grammy-winning singer and pianist, died at 88. Perhaps best known for her timeless take on “Killing Me Softly with His Song,” the Christmas season brings up another reason to celebrate her. A new release, \u003cem>Holidays\u003c/em>, like many on this list, features originals and covers — and a selection of songs from Flack’s classic \u003cem>The Christmas Album\u003c/em>. It holds a special meaning this year.\u003c/p>\n\u003ch2>‘Feels Like Christmas,’ Mickey Guyton\u003c/h2>\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/R4-mEb3OhME'\n title='//www.youtube.com/embed/R4-mEb3OhME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The country powerhouse Mickey Guyton feels like Christmas and once you dive into these eight tracks, you will, too. From her rendition of “O Holy Night” to her masterful take on “Do You Want to Build a Snowman?” from Disney’s \u003cem>Frozen\u003c/em> (sorry, parents!) there’s a lot to love here.\u003c/p>\n\u003ch2>‘It’s Christmas,’ Eric Benét\u003c/h2>\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/1D-nmp0ja4E'\n title='//www.youtube.com/embed/1D-nmp0ja4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>R&B singer Eric Benét’s first holiday album, \u003cem>It’s Christmas\u003c/em>, is filled with warmth; consider it the sonic equivalent of curling up to a roaring fireplace on a snowy winter’s evening. Don’t believe us? Well, one listen to his take on “Please Come Home for Christmas” or “Oh Holy Night” will make you a believer. Or better yet, there’s “Christmas Morning,” featuring Benét’s youngest daughters Lucia and Luna. Tissues, you might want to grab a few.\u003c/p>\n\u003ch2>‘The Chess Records Christmas Album,’ various artists\u003c/h2>\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/rLsFdTXMZ58'\n title='//www.youtube.com/embed/rLsFdTXMZ58'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes a compilation album is what a holiday party needs. Chess Records has the answer. \u003cem>The Chess Records Christmas Album\u003c/em> is an impressive collection of veteran talent. The release features everything from Chuck Berry’s “Run Rudolph Run” and The Moonglows’ “Hey Santa Claus” to Lenox Avenue’s “Little Drummer Boy” and The Salem Travelers’ “Merry Christmas to You.”\u003c/p>\n\u003ch2>‘Evergreen Christmas Sessions,’ Hunter Hayes\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Hunter Hayes is a newer name on the country scene than a few of the artists listed here, but that simply means he’s a fresh voice to discover. His \u003cem>Evergreen Christmas Sessions\u003c/em> is a brief introduction — just four covers of holiday standards — but it’s a charming romp. Start with “Winter Wonderland” and “Have Yourself a Merry Little Christmas,” stay for “Run Run Rudolph” and “Silent Night.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Imagine a high-fashion circus inside a galactic wormhole and you have a sense of \u003ca href=\"https://www.instagram.com/0b.w0rld/?hl=en\">Obsidienne Obsurd\u003c/a>’s drag style. The artist is otherworldly, meticulous and unafraid to go \u003cem>all\u003c/em> the way, even when it comes to exposing their most tender vulnerabilities or risking making a fool of themself.\u003c/p>\n\u003cp>On Dec. 5, Obsidienne will bring their most ambitious work yet to the 110-year-old Calvin Simmons Theatre inside Oakland’s Henry J. Kaiser Center for the Arts, \u003cem>\u003ca href=\"https://www.gofevo.com/event/Oaklash2\">The Last 7 Days of Obsidienne Obsurd\u003c/a>\u003c/em>. Produced by Oaklash, it’s a one-night-only production that combines lip syncing, theater and chamber music, including a newly commissioned piece by Paul Wiancko of \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>, which Obsidienne will perform on viola alongside their classical musician parents, Debra Fong and Christopher Constanza.\u003c/p>\n\u003cp>Elaborate costuming and surrealist stagecraft come together to tell Obsidienne’s story of accepting their trans identity, their struggles with mental illness and family secrets that have been kept in silence for generations.\u003c/p>\n\u003cp>“It’s a story of meandering, being lost, being found,” Obsidienne tells KQED during a recent interview. “Part of finding the self is reckoning with the ugly parts and turning that into something beautiful. Because you can’t take it away, you just have to accept it.”\u003c/p>\n\u003cfigure id=\"attachment_13984107\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg\" alt='A drag artist plays a viola inside a bar with neon text behind them that says \"Hella Fine.\"' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Obsidienne Obsurd performs at Oaklash 2025. \u003ccite>(Ian Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in the South Bay by a Chinese American violinist mother and Italian American cellist father, Obsidienne is a classically trained violist who performs with orchestras and ensembles across California. They first tried drag during the pandemic, when the art form went digital. Collectives like Media Meltdown were producing livestreamed shows that challenged performers to become video editors and special effects experts. Obsidienne was hooked after Media Meltdown invited them to perform in a Keanu Reeves-themed show, and soon they were driving to obscure locations with their COVID pod to film elaborate numbers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Everyone who was watching me was like, ‘Oh you’re weird. You’re a weirdo. We like it,’” Obsidienne says. “And that was really cool.”\u003c/p>\n\u003cp>Before long, Obsidienne honed their signature style of warped, black-and-white makeup; hand-sewn costumes that turned their body into horned and tentacled shapes; performance art-y choreo that sometimes includes hyperventilation and intense eye contact; and song selections that go far outside of the pop-diva canon. [aside postid='arts_13983871']\u003c/p>\n\u003cp>It flies in the face of long-held stereotypes about what drag can be. A lot of audiences “think that if you are not a cis boy, you should not be doing drag,” Obsidienne says.\u003c/p>\n\u003cp>Obsidienne gives themself permission to embrace being different, and invites audiences to do the same. Recently in West Hollywood’s Abbey, the gay bar that inspired Chappell Roan’s smash hit “Pink Pony Club,” instead of picking something by, say, Sabrina Carpenter or Lady Gaga, Obsidienne lip synced a song by 78-year-old avant-garde musician Laurie Anderson.\u003c/p>\n\u003cp>“I’m going to make you see me, so there’s this sort of delusion that turns into sincerity,” Obsidienne says. “The suspension of disbelief. I try to project a very confident persona that is a projection of all the things in me that scare me about myself, basically.”\u003c/p>\n\u003cfigure id=\"attachment_13984109\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png\" alt=\"A drag artist in an orange and red feathery outfit poses with another drag artist wearing black-and-white abstract designs. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-768x511.png 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oaklash co-founder Mama Celeste with Obsidienne Obsurd. \u003ccite>(Dominic Saavedra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obsidienne has found a supportive home at \u003ca href=\"https://www.kqed.org/arts/tag/oaklash\">Oaklash\u003c/a>, a drag platform that loudly and proudly champions gender diversity, accessibility and racial justice. Each May, Oaklash produces a festival with multiple stages and over 60 local and touring performers. And even after all that, co-founder Mama Celeste says \u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> is their most challenging project yet.\u003c/p>\n\u003cp>“It’s going to be silly and macabre and loud and colorful and bigger than you can even imagine,” she wrote in a recent email blast, inviting Oaklash fans to dress to the nines for the red carpet outside the show. [aside postid='arts_13983135']\u003c/p>\n\u003cp>\u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> features local drag luminaries like Lisa Frankenstein, co-host of the popular party Princess at Oasis; Sassi Fran, a dancer, choreographer and member of the all-Filipino drag group FiliPINX; and Obsidienne’s drag children Lola Ren and Cult Baby. Music in the show pulls from a huge variety of references, including David Bowie, contemporary composers Chen Yi and Kaija Saariaho and even the 12th-century composer, mystic and proto-feminist \u003ca href=\"https://www.bpl.org/blogs/post/hildegard-von-bingen/\">Hildegard Von Bingen\u003c/a>.\u003c/p>\n\u003cp>“You can make noise during this performance. You can clap between movements, you don’t have to sit still like a statue,” says Obsidienne. “I think it’s really cool to be able to highlight through this project that classical music is not one thing, it is actually this whole kaleidoscope of things.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.oaklash.com/7days\">The Last 7 Days of Obsidienne Obsurd\u003c/a>’ takes place at Henry J. Kaiser Center for the Arts (10 10th Street, Oakland) on Dec. 5 at 7 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine a high-fashion circus inside a galactic wormhole and you have a sense of \u003ca href=\"https://www.instagram.com/0b.w0rld/?hl=en\">Obsidienne Obsurd\u003c/a>’s drag style. The artist is otherworldly, meticulous and unafraid to go \u003cem>all\u003c/em> the way, even when it comes to exposing their most tender vulnerabilities or risking making a fool of themself.\u003c/p>\n\u003cp>On Dec. 5, Obsidienne will bring their most ambitious work yet to the 110-year-old Calvin Simmons Theatre inside Oakland’s Henry J. Kaiser Center for the Arts, \u003cem>\u003ca href=\"https://www.gofevo.com/event/Oaklash2\">The Last 7 Days of Obsidienne Obsurd\u003c/a>\u003c/em>. Produced by Oaklash, it’s a one-night-only production that combines lip syncing, theater and chamber music, including a newly commissioned piece by Paul Wiancko of \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>, which Obsidienne will perform on viola alongside their classical musician parents, Debra Fong and Christopher Constanza.\u003c/p>\n\u003cp>Elaborate costuming and surrealist stagecraft come together to tell Obsidienne’s story of accepting their trans identity, their struggles with mental illness and family secrets that have been kept in silence for generations.\u003c/p>\n\u003cp>“It’s a story of meandering, being lost, being found,” Obsidienne tells KQED during a recent interview. “Part of finding the self is reckoning with the ugly parts and turning that into something beautiful. Because you can’t take it away, you just have to accept it.”\u003c/p>\n\u003cfigure id=\"attachment_13984107\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg\" alt='A drag artist plays a viola inside a bar with neon text behind them that says \"Hella Fine.\"' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/OBSIDIENNE-OBSURD-at-The-2025-Oaklash-Festival-by-Ian-Castro-Viola-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Obsidienne Obsurd performs at Oaklash 2025. \u003ccite>(Ian Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in the South Bay by a Chinese American violinist mother and Italian American cellist father, Obsidienne is a classically trained violist who performs with orchestras and ensembles across California. They first tried drag during the pandemic, when the art form went digital. Collectives like Media Meltdown were producing livestreamed shows that challenged performers to become video editors and special effects experts. Obsidienne was hooked after Media Meltdown invited them to perform in a Keanu Reeves-themed show, and soon they were driving to obscure locations with their COVID pod to film elaborate numbers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everyone who was watching me was like, ‘Oh you’re weird. You’re a weirdo. We like it,’” Obsidienne says. “And that was really cool.”\u003c/p>\n\u003cp>Before long, Obsidienne honed their signature style of warped, black-and-white makeup; hand-sewn costumes that turned their body into horned and tentacled shapes; performance art-y choreo that sometimes includes hyperventilation and intense eye contact; and song selections that go far outside of the pop-diva canon. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It flies in the face of long-held stereotypes about what drag can be. A lot of audiences “think that if you are not a cis boy, you should not be doing drag,” Obsidienne says.\u003c/p>\n\u003cp>Obsidienne gives themself permission to embrace being different, and invites audiences to do the same. Recently in West Hollywood’s Abbey, the gay bar that inspired Chappell Roan’s smash hit “Pink Pony Club,” instead of picking something by, say, Sabrina Carpenter or Lady Gaga, Obsidienne lip synced a song by 78-year-old avant-garde musician Laurie Anderson.\u003c/p>\n\u003cp>“I’m going to make you see me, so there’s this sort of delusion that turns into sincerity,” Obsidienne says. “The suspension of disbelief. I try to project a very confident persona that is a projection of all the things in me that scare me about myself, basically.”\u003c/p>\n\u003cfigure id=\"attachment_13984109\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png\" alt=\"A drag artist in an orange and red feathery outfit poses with another drag artist wearing black-and-white abstract designs. \" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Mama-Celeste-and-OBSIDIENNE-OBSURD-by-Dominic-Saveedra-768x511.png 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oaklash co-founder Mama Celeste with Obsidienne Obsurd. \u003ccite>(Dominic Saavedra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obsidienne has found a supportive home at \u003ca href=\"https://www.kqed.org/arts/tag/oaklash\">Oaklash\u003c/a>, a drag platform that loudly and proudly champions gender diversity, accessibility and racial justice. Each May, Oaklash produces a festival with multiple stages and over 60 local and touring performers. And even after all that, co-founder Mama Celeste says \u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> is their most challenging project yet.\u003c/p>\n\u003cp>“It’s going to be silly and macabre and loud and colorful and bigger than you can even imagine,” she wrote in a recent email blast, inviting Oaklash fans to dress to the nines for the red carpet outside the show. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Last 7 Days of Obsidienne Obsurd\u003c/em> features local drag luminaries like Lisa Frankenstein, co-host of the popular party Princess at Oasis; Sassi Fran, a dancer, choreographer and member of the all-Filipino drag group FiliPINX; and Obsidienne’s drag children Lola Ren and Cult Baby. Music in the show pulls from a huge variety of references, including David Bowie, contemporary composers Chen Yi and Kaija Saariaho and even the 12th-century composer, mystic and proto-feminist \u003ca href=\"https://www.bpl.org/blogs/post/hildegard-von-bingen/\">Hildegard Von Bingen\u003c/a>.\u003c/p>\n\u003cp>“You can make noise during this performance. You can clap between movements, you don’t have to sit still like a statue,” says Obsidienne. “I think it’s really cool to be able to highlight through this project that classical music is not one thing, it is actually this whole kaleidoscope of things.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.oaklash.com/7days\">The Last 7 Days of Obsidienne Obsurd\u003c/a>’ takes place at Henry J. Kaiser Center for the Arts (10 10th Street, Oakland) on Dec. 5 at 7 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Preteen Punk Band From Mill Valley Takes on AI",
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"content": "\u003cp>On a rainy November Thursday, a familiar suburban scene is playing out in a Mill Valley basement: Three blonde boys are bashing away on guitar, bass and drums, working on a new song called “Mr. America.”\u003c/p>\n\u003cblockquote>\u003cp>You can’t call this the land of the free\u003cbr>\nIf you’re only free if you look like me\u003cbr>\nJustice is a joke and you can never win\u003cbr>\nYou can’t call this the home of the brave\u003cbr>\nToo many guns, too many graves\u003cbr>\nWe shouldn’t have to fear that the end is always near\u003c/p>\u003c/blockquote>\n\u003cp>Heady stuff from three kids who aren’t even close to being able to drive.\u003c/p>\n\u003cp>Knights of Molino are a new punk band composed of middle schoolers Erik and Tommy Birmingham, 11 and 13, and Rowan Campbell, 12. They recently reached moderate viral fame for another track in which they didn’t shy away from speaking their minds. In October, their scathing takedown of generative AI, “\u003ca href=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335?_r=1&_t=ZT-91axRVdrNVn\">Take Back Control,\u003c/a>” went spinning across Bay Area and punk-rock TikTok. It’s currently at 240,000 views and 2,500 comments: definitely not Mr. Beast numbers, but pretty impressive when you consider none of them even are allowed on TikTok yet.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335\" data-video-id=\"7556750486297218335\">\n\u003csection>\u003ca title=\"@knightsofmolino\" href=\"https://www.tiktok.com/@knightsofmolino?refer=embed\" target=\"_blank\" rel=\"noopener\">@knightsofmolino\u003c/a> TAKE BACK CONTROL – an original song we wrote about artificial intelligence in music and art. We are really proud of this song – please listen to the whole song and let us know what you think! \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"originalmusic\" href=\"https://www.tiktok.com/tag/originalmusic?refer=embed\" target=\"_blank\" rel=\"noopener\">#originalmusic\u003c/a> \u003ca title=\"teenband\" href=\"https://www.tiktok.com/tag/teenband?refer=embed\" target=\"_blank\" rel=\"noopener\">#teenband\u003c/a> \u003ca title=\"standupforwhatsright\" href=\"https://www.tiktok.com/tag/standupforwhatsright?refer=embed\" target=\"_blank\" rel=\"noopener\">#standupforwhatsright\u003c/a> \u003ca title=\"♬ original sound - Knights of Molino\" href=\"https://www.tiktok.com/music/original-sound-7556750494434102046?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Knights of Molino\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>But those interactions aren’t from their peers (at Mill Valley Middle School, rock is out and pop and rap are in, they say). They’re mostly from adults inspired to see young people picking up the Bay Area punk torch and rejecting the creep of technology. “AI is taking over the arts and it is vile,” agrees one comment. Another: “We need more of this human creativity and true punk.” More still are various versions of “the kids are alright.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Take Back Control” is just one of just a handful of songs Knights of Molino have written in their short career. The product of one of the Bay Area’s many rock-centric music programs, \u003ca href=\"https://www.wowmusicstudios.com/\">WOW Music Studios\u003c/a>, the band formed when Tommy and Erik started playing music, back when they were single-digit ages. During pandemic shutdowns, the brothers took online lessons, and within about a year Tommy was writing lyrics. They officially became Knights of Molino when they added Rowan last year.\u003c/p>\n\u003cfigure id=\"attachment_13983936\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg\" alt=\"Three young musicians sit on the couch and look into the camera. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the punk rock band Knights of Molino pose for a photo at their practice in Mill Valley on Nov. 13, 2025. Members include (from left) Tommy, 11, on drums and vocals, Erik, 13, on guitar and vocals, and Rowan, 12, on bass. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was quickly apparent to their parents that these guys were good. \u003cem>Really\u003c/em> good. “They’ll do a song, and I’ll be like, ‘That’s amazing. That’s it. I mean, there’s no way they’ll be able to write another one,’” says Erik and Tommy’s dad, Gavin. “And then they’ll just write another one. And I’m like, how do you do this?…[And] you haven’t even started, like, living life yet.”\u003c/p>\n\u003cp>This summer, Knights of Molino started booking shows at venues and festivals even adults are trying to break into: Porchfest in San Rafael and San Francisco, Petaluma’s Phoenix Theatre and San Francisco’s Hotel Utah.\u003c/p>\n\u003cfigure id=\"attachment_13983935\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983935\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rowan, 12, practices with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came “Take Back Control” and a deluge of attention. It wasn’t the first time they’d posted the video — “We always made a joke [that it was] the algorithm stopping it,” cracks Erik — but this time, TikTok surfaced it to the right crowd. “We look at the demographics … and it’s white men in their 50s; the original punks in the ’70s, ’80s and ’90s,” says Gavin.\u003c/p>\n\u003cp>“Take Back Control” comes at a time when people are starting to question AI’s integration into every aspect of daily life, from word-processing software to refrigerators. There’s been much \u003ca href=\"https://www.latimes.com/business/story/2025-11-20/is-there-ai-bubble-has-it-started-to-burst\">speculation in the media\u003c/a> recently about a potential \u003ca href=\"https://theconversation.com/is-the-ai-bubble-about-to-burst-what-to-watch-for-as-the-markets-wobble-270113\">AI bubble burst\u003c/a>. Locally, commuters on San Francisco streets have been \u003ca href=\"https://www.tiktok.com/@dj_dumpling/video/7571697217690520863\">puzzling\u003c/a> on social media about the \u003ca href=\"https://www.tiktok.com/@livinggoodwithjana/video/7573436537929469196\">nearly-nonsensical AI billboards\u003c/a> that dot the city’s landscape. [aside postid='arts_13982572']\u003c/p>\n\u003cp>Knights of Molino’s biggest concern is AI’s slow encroachment onto the very teenage endeavor of writing songs in your bedroom. \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-created music is on the rise\u003c/a>, hitting Billboard charts and even cutting record deals. In a genre that prizes authenticity and earnestness, Knights of Molino see it as an affront to their creative process. “People have been creating music for like 40,000 years or something like that, and it’s just made to be created by humans,” says Rowan.\u003c/p>\n\u003cp>For the record, they’re not totally anti-AI (“It has [some] good uses,” admits Erik), but they’re increasingly horrified by its infiltration of music and the inability of many to discern it from the real thing. “The problem is not many people can recognize AI as fake,” Erik continues. “And I feel like that’s one of the reasons we made the song, [to] help people realize that AI’s stealing human thoughts and emotions, and, like, human hard work and time.”\u003c/p>\n\u003cfigure id=\"attachment_13983937\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics sit on a music stand during a practice of the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put emotion and feeling, heart, experiences and all that into writing these songs. But when AI does it, it has nothing to go off of,” Tommy adds. “’Cause it’s not human. Robot on a screen. How is it supposed to connect with humans?”\u003c/p>\n\u003cp>Once again: They are 11, 12 and 13 years old.\u003c/p>\n\u003cp>But don’t mistake Knights of Molino’s existence for a “cute kid” story. They’re shockingly eloquent, sharply informed and, when it comes to running band practice the day of our interview, as put-together as many adults. (“It goes pre-chorus,” begins Erik as he demonstrates a new riff to Rowan. “I’ll count you in. It starts with the verse.”)\u003c/p>\n\u003cfigure id=\"attachment_13983932\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tommy, 11, plays drums during practice with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their hard work and beyond-their-years professionalism is paying off: In January they’ll record their first EP at the recently-reopened \u003ca href=\"https://www.kqed.org/arts/12374448/running-the-record-plant-part-1-the-early-years\">Plant in Sausalito\u003c/a>. Yes, \u003cem>that\u003c/em> Plant, the place where Stevie Wonder, Fleetwood Mac and Huey Lewis and the News cut classic albums. They’re also in talks about booking a show at 924 Gilman, the legendary, all-ages punk venue in Berkeley. “Just, like, seeing that’s where Green Day got famous, and bands like that, I feel like that’d be a good next step,” says Erik, adding that Knights of Molino see themselves making music together for a long time. “Just playing as many shows as we can, just to get better.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But that’s for later. After practice, Rowan and Tommy rush out the side door to go play on the trampoline. Erik has homework.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a rainy November Thursday, a familiar suburban scene is playing out in a Mill Valley basement: Three blonde boys are bashing away on guitar, bass and drums, working on a new song called “Mr. America.”\u003c/p>\n\u003cblockquote>\u003cp>You can’t call this the land of the free\u003cbr>\nIf you’re only free if you look like me\u003cbr>\nJustice is a joke and you can never win\u003cbr>\nYou can’t call this the home of the brave\u003cbr>\nToo many guns, too many graves\u003cbr>\nWe shouldn’t have to fear that the end is always near\u003c/p>\u003c/blockquote>\n\u003cp>Heady stuff from three kids who aren’t even close to being able to drive.\u003c/p>\n\u003cp>Knights of Molino are a new punk band composed of middle schoolers Erik and Tommy Birmingham, 11 and 13, and Rowan Campbell, 12. They recently reached moderate viral fame for another track in which they didn’t shy away from speaking their minds. In October, their scathing takedown of generative AI, “\u003ca href=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335?_r=1&_t=ZT-91axRVdrNVn\">Take Back Control,\u003c/a>” went spinning across Bay Area and punk-rock TikTok. It’s currently at 240,000 views and 2,500 comments: definitely not Mr. Beast numbers, but pretty impressive when you consider none of them even are allowed on TikTok yet.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335\" data-video-id=\"7556750486297218335\">\n\u003csection>\u003ca title=\"@knightsofmolino\" href=\"https://www.tiktok.com/@knightsofmolino?refer=embed\" target=\"_blank\" rel=\"noopener\">@knightsofmolino\u003c/a> TAKE BACK CONTROL – an original song we wrote about artificial intelligence in music and art. We are really proud of this song – please listen to the whole song and let us know what you think! \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"originalmusic\" href=\"https://www.tiktok.com/tag/originalmusic?refer=embed\" target=\"_blank\" rel=\"noopener\">#originalmusic\u003c/a> \u003ca title=\"teenband\" href=\"https://www.tiktok.com/tag/teenband?refer=embed\" target=\"_blank\" rel=\"noopener\">#teenband\u003c/a> \u003ca title=\"standupforwhatsright\" href=\"https://www.tiktok.com/tag/standupforwhatsright?refer=embed\" target=\"_blank\" rel=\"noopener\">#standupforwhatsright\u003c/a> \u003ca title=\"♬ original sound - Knights of Molino\" href=\"https://www.tiktok.com/music/original-sound-7556750494434102046?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Knights of Molino\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But those interactions aren’t from their peers (at Mill Valley Middle School, rock is out and pop and rap are in, they say). They’re mostly from adults inspired to see young people picking up the Bay Area punk torch and rejecting the creep of technology. “AI is taking over the arts and it is vile,” agrees one comment. Another: “We need more of this human creativity and true punk.” More still are various versions of “the kids are alright.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Take Back Control” is just one of just a handful of songs Knights of Molino have written in their short career. The product of one of the Bay Area’s many rock-centric music programs, \u003ca href=\"https://www.wowmusicstudios.com/\">WOW Music Studios\u003c/a>, the band formed when Tommy and Erik started playing music, back when they were single-digit ages. During pandemic shutdowns, the brothers took online lessons, and within about a year Tommy was writing lyrics. They officially became Knights of Molino when they added Rowan last year.\u003c/p>\n\u003cfigure id=\"attachment_13983936\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg\" alt=\"Three young musicians sit on the couch and look into the camera. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the punk rock band Knights of Molino pose for a photo at their practice in Mill Valley on Nov. 13, 2025. Members include (from left) Tommy, 11, on drums and vocals, Erik, 13, on guitar and vocals, and Rowan, 12, on bass. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was quickly apparent to their parents that these guys were good. \u003cem>Really\u003c/em> good. “They’ll do a song, and I’ll be like, ‘That’s amazing. That’s it. I mean, there’s no way they’ll be able to write another one,’” says Erik and Tommy’s dad, Gavin. “And then they’ll just write another one. And I’m like, how do you do this?…[And] you haven’t even started, like, living life yet.”\u003c/p>\n\u003cp>This summer, Knights of Molino started booking shows at venues and festivals even adults are trying to break into: Porchfest in San Rafael and San Francisco, Petaluma’s Phoenix Theatre and San Francisco’s Hotel Utah.\u003c/p>\n\u003cfigure id=\"attachment_13983935\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983935\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rowan, 12, practices with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came “Take Back Control” and a deluge of attention. It wasn’t the first time they’d posted the video — “We always made a joke [that it was] the algorithm stopping it,” cracks Erik — but this time, TikTok surfaced it to the right crowd. “We look at the demographics … and it’s white men in their 50s; the original punks in the ’70s, ’80s and ’90s,” says Gavin.\u003c/p>\n\u003cp>“Take Back Control” comes at a time when people are starting to question AI’s integration into every aspect of daily life, from word-processing software to refrigerators. There’s been much \u003ca href=\"https://www.latimes.com/business/story/2025-11-20/is-there-ai-bubble-has-it-started-to-burst\">speculation in the media\u003c/a> recently about a potential \u003ca href=\"https://theconversation.com/is-the-ai-bubble-about-to-burst-what-to-watch-for-as-the-markets-wobble-270113\">AI bubble burst\u003c/a>. Locally, commuters on San Francisco streets have been \u003ca href=\"https://www.tiktok.com/@dj_dumpling/video/7571697217690520863\">puzzling\u003c/a> on social media about the \u003ca href=\"https://www.tiktok.com/@livinggoodwithjana/video/7573436537929469196\">nearly-nonsensical AI billboards\u003c/a> that dot the city’s landscape. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Knights of Molino’s biggest concern is AI’s slow encroachment onto the very teenage endeavor of writing songs in your bedroom. \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-created music is on the rise\u003c/a>, hitting Billboard charts and even cutting record deals. In a genre that prizes authenticity and earnestness, Knights of Molino see it as an affront to their creative process. “People have been creating music for like 40,000 years or something like that, and it’s just made to be created by humans,” says Rowan.\u003c/p>\n\u003cp>For the record, they’re not totally anti-AI (“It has [some] good uses,” admits Erik), but they’re increasingly horrified by its infiltration of music and the inability of many to discern it from the real thing. “The problem is not many people can recognize AI as fake,” Erik continues. “And I feel like that’s one of the reasons we made the song, [to] help people realize that AI’s stealing human thoughts and emotions, and, like, human hard work and time.”\u003c/p>\n\u003cfigure id=\"attachment_13983937\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics sit on a music stand during a practice of the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put emotion and feeling, heart, experiences and all that into writing these songs. But when AI does it, it has nothing to go off of,” Tommy adds. “’Cause it’s not human. Robot on a screen. How is it supposed to connect with humans?”\u003c/p>\n\u003cp>Once again: They are 11, 12 and 13 years old.\u003c/p>\n\u003cp>But don’t mistake Knights of Molino’s existence for a “cute kid” story. They’re shockingly eloquent, sharply informed and, when it comes to running band practice the day of our interview, as put-together as many adults. (“It goes pre-chorus,” begins Erik as he demonstrates a new riff to Rowan. “I’ll count you in. It starts with the verse.”)\u003c/p>\n\u003cfigure id=\"attachment_13983932\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tommy, 11, plays drums during practice with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their hard work and beyond-their-years professionalism is paying off: In January they’ll record their first EP at the recently-reopened \u003ca href=\"https://www.kqed.org/arts/12374448/running-the-record-plant-part-1-the-early-years\">Plant in Sausalito\u003c/a>. Yes, \u003cem>that\u003c/em> Plant, the place where Stevie Wonder, Fleetwood Mac and Huey Lewis and the News cut classic albums. They’re also in talks about booking a show at 924 Gilman, the legendary, all-ages punk venue in Berkeley. “Just, like, seeing that’s where Green Day got famous, and bands like that, I feel like that’d be a good next step,” says Erik, adding that Knights of Molino see themselves making music together for a long time. “Just playing as many shows as we can, just to get better.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that’s for later. After practice, Rowan and Tommy rush out the side door to go play on the trampoline. Erik has homework.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jimmy Cliff, Reggae Giant and Star of ‘The Harder They Come,’ Dead at 81",
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"content": "\u003cp>Jimmy Cliff, the charismatic reggae pioneer and actor who preached joy, defiance and resilience in such classics as “Many Rivers to Cross,” “You Can Get it If You Really Want” and “Vietnam” and starred in the landmark movie \u003cem>The Harder They Come\u003c/em>, has died at 81.\u003c/p>\n\u003cp>His family posted a message Monday on his social media sites that he died from a “seizure followed by pneumonia.” Additional information was not immediately available.\u003c/p>\n\u003cp>“To all his fans around the world, please know that your support was his strength throughout his whole career,” the announcement reads in part. “He really appreciated each and every fan for their love.”\u003c/p>\n\u003cp>[aside postid='arts_13983222']Cliff was a native Jamaican with a spirited tenor and a gift for catchphrases and topical lyrics who joined Kingston’s emerging music scene in his teens and helped lead a movement in the 1960s that included such future stars as Bob Marley, Toots Hibbert and Peter Tosh. By the early 1970s, he had accepted director Perry Henzell’s offer to star in a film about an aspiring reggae musician, Ivanhoe “Ivan” Martin, who turns to crime when his career stalls. Henzell named the movie \u003cem>The Harder They Come\u003c/em> after suggesting the title as a possible song for Cliff.\u003c/p>\n\u003cp>“Ivanhoe was a real-life character for Jamaicans,” Cliff told \u003cem>Variety\u003c/em> in 2022, upon the film’s 50th anniversary. “When I was a little boy, I used to hear about him as being a bad man. A real bad man. No one in Jamaica, at that time, had guns. But he had guns and shot a policeman, so he was someone to be feared. However, being a hero was the manner in which Perry wanted to make his name — an anti-hero in the way that Hollywood turns its bad guys into heroes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Harder They Come\u003c/em>, delayed for some two years because of sporadic funding, was the first major commercial release to come out of Jamaica. It sold few tickets in its initial run, despite praise from Roger Ebert and other critics. But it now stands as a cultural touchstone, with a soundtrack widely cited as among the greatest ever and as a turning point in reggae’s worldwide rise.\u003c/p>\n\u003cp>For a brief time, Cliff rivaled Marley as the genre’s most prominent artist. On an album that included Toots and the Maytals, the Slickers and Desmond Dekker, Cliff was the featured artist on four out of 11 songs, all well placed in the reggae canon.\u003c/p>\n\u003cp>“Sitting in Limbo” was a moody, but hopeful take on a life in restless motion. “You Can Get it If You Really Want” and the title song were calls for action and vows of final payments: “The harder they come, the harder they fall, one and all.” Cliff otherwise lets out a weary cry on “Many Rivers to Cross,” a gospel-style testament that he wrote after confronting racism in England in the 1960s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kGeCeK85sUg&list=RDkGeCeK85sUg&start_radio=1\u003c/p>\n\u003cp>“It was a very frustrating time. I came to England with very big hopes, and I saw my hopes fading,” he told \u003cem>Rolling Stone\u003c/em> in 2012.\u003c/p>\n\u003ch2>The music lives on\u003c/h2>\n\u003cp>Cliff’s career peaked with \u003cem>The Harder They Come\u003c/em>, but, after a break in the late 1970s, he worked steadily for decades, whether session work with the Rolling Stones or collaborations with Wyclef Jean, Sting and Annie Lennox among others. Meanwhile, his early music lived on. The Sandinistas in Nicaragua used “You Can Get it If You Really Want” as a campaign theme and Bruce Springsteen helped expand Cliff’s U.S. audience with his live cover of the reggae star’s “Trapped,” featured on the million-selling charity album from 1985, \u003cem>We Are the World\u003c/em>. Others performing his songs included John Lennon, Cher and UB40.\u003c/p>\n\u003cp>Cliff was nominated for seven Grammys and won twice for best reggae album: in 1986 for \u003cem>Cliff Hanger\u003c/em> and in 2012 for the well-named \u003cem>Rebirth\u003c/em>, widely regarded as his best work in years. His other albums included the Grammy-nominated \u003cem>The Power and the Glory\u003c/em>, \u003cem>Humanitarian\u003c/em> and the 2022 release \u003cem>Refugees\u003c/em>. He also performed on Steve Van Zandt’s protest anthem, \u003cem>Sun City\u003c/em>, and acted in the Robin Williams comedy \u003cem>Club Paradise\u003c/em>, for which he contributed a handful of songs to the soundtrack and sang with Elvis Costello on the rocker “Seven Day Weekend.”\u003c/p>\n\u003cp>In 2010, Cliff was inducted into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>[aside postid='arts_13983488']He was born James Chambers in suburban Saint James and, like Ivan Martin in \u003cem>The Harder They Come\u003c/em>, moved to Kingston in his youth to become a musician. In the early 1960s, Jamaica was gaining its independence from Britain and the early sounds of reggae — first called ska and rocksteady — were catching on. Calling himself Jimmy Cliff, he had a handful of local hits, including “King of Kings” and “Miss Jamaica,” and, after overcoming the kinds of barriers that upended Martin, was called on to help represent his country at the 1964 World’s Fair in New York City.\u003c/p>\n\u003cp>“(Reggae) is a pure music. It was born of the poorer class of people,” he told \u003cem>Spin\u003c/em> in 2022. “It came from the need for recognition, identity and respect.”\u003c/p>\n\u003ch2>Approaching stardom\u003c/h2>\n\u003cp>His popularity grew over the second half of the 1960s, and he signed with Island Records, the world’s leading reggae label. Island founder Chris Blackwell tried in vain to market him to rock audiences, but Cliff still managed to reach new listeners. He had a hit with a cover of Cat Stevens’ “Wild World,” and reached the top 10 in the UK with the uplifting “Wonderful World, Beautiful People.” Cliff’s widely heard protest chant, “Vietnam,” was inspired in part by a friend who had served in the war and returned damaged beyond recognition.\u003c/p>\n\u003cp>His success as a recording artist and concert performer led Henzell to seek a meeting with him and flatter him into accepting the part: “You know, I think you’re a better actor than singer,” Cliff remembered him saying. Aware that \u003cem>The Harder They Come\u003c/em> could be a breakthrough for Jamaican cinema, he openly wished for stardom, although Cliff remained surprised by how well known he became.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Back in those days there were few of us African descendants who came through the cracks to get any kind of recognition,′ he told \u003cem>The Guardian\u003c/em> in 2021. “It was easier in music than movies. But when you start to see your face and name on the side of the buses in London that was like: ‘Wow, what’s going on?’”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Harder They Come\u003c/em>, delayed for some two years because of sporadic funding, was the first major commercial release to come out of Jamaica. It sold few tickets in its initial run, despite praise from Roger Ebert and other critics. But it now stands as a cultural touchstone, with a soundtrack widely cited as among the greatest ever and as a turning point in reggae’s worldwide rise.\u003c/p>\n\u003cp>For a brief time, Cliff rivaled Marley as the genre’s most prominent artist. On an album that included Toots and the Maytals, the Slickers and Desmond Dekker, Cliff was the featured artist on four out of 11 songs, all well placed in the reggae canon.\u003c/p>\n\u003cp>“Sitting in Limbo” was a moody, but hopeful take on a life in restless motion. “You Can Get it If You Really Want” and the title song were calls for action and vows of final payments: “The harder they come, the harder they fall, one and all.” Cliff otherwise lets out a weary cry on “Many Rivers to Cross,” a gospel-style testament that he wrote after confronting racism in England in the 1960s.\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/kGeCeK85sUg'\n title='//www.youtube.com/embed/kGeCeK85sUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It was a very frustrating time. I came to England with very big hopes, and I saw my hopes fading,” he told \u003cem>Rolling Stone\u003c/em> in 2012.\u003c/p>\n\u003ch2>The music lives on\u003c/h2>\n\u003cp>Cliff’s career peaked with \u003cem>The Harder They Come\u003c/em>, but, after a break in the late 1970s, he worked steadily for decades, whether session work with the Rolling Stones or collaborations with Wyclef Jean, Sting and Annie Lennox among others. Meanwhile, his early music lived on. The Sandinistas in Nicaragua used “You Can Get it If You Really Want” as a campaign theme and Bruce Springsteen helped expand Cliff’s U.S. audience with his live cover of the reggae star’s “Trapped,” featured on the million-selling charity album from 1985, \u003cem>We Are the World\u003c/em>. Others performing his songs included John Lennon, Cher and UB40.\u003c/p>\n\u003cp>Cliff was nominated for seven Grammys and won twice for best reggae album: in 1986 for \u003cem>Cliff Hanger\u003c/em> and in 2012 for the well-named \u003cem>Rebirth\u003c/em>, widely regarded as his best work in years. His other albums included the Grammy-nominated \u003cem>The Power and the Glory\u003c/em>, \u003cem>Humanitarian\u003c/em> and the 2022 release \u003cem>Refugees\u003c/em>. He also performed on Steve Van Zandt’s protest anthem, \u003cem>Sun City\u003c/em>, and acted in the Robin Williams comedy \u003cem>Club Paradise\u003c/em>, for which he contributed a handful of songs to the soundtrack and sang with Elvis Costello on the rocker “Seven Day Weekend.”\u003c/p>\n\u003cp>In 2010, Cliff was inducted into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He was born James Chambers in suburban Saint James and, like Ivan Martin in \u003cem>The Harder They Come\u003c/em>, moved to Kingston in his youth to become a musician. In the early 1960s, Jamaica was gaining its independence from Britain and the early sounds of reggae — first called ska and rocksteady — were catching on. Calling himself Jimmy Cliff, he had a handful of local hits, including “King of Kings” and “Miss Jamaica,” and, after overcoming the kinds of barriers that upended Martin, was called on to help represent his country at the 1964 World’s Fair in New York City.\u003c/p>\n\u003cp>“(Reggae) is a pure music. It was born of the poorer class of people,” he told \u003cem>Spin\u003c/em> in 2022. “It came from the need for recognition, identity and respect.”\u003c/p>\n\u003ch2>Approaching stardom\u003c/h2>\n\u003cp>His popularity grew over the second half of the 1960s, and he signed with Island Records, the world’s leading reggae label. Island founder Chris Blackwell tried in vain to market him to rock audiences, but Cliff still managed to reach new listeners. He had a hit with a cover of Cat Stevens’ “Wild World,” and reached the top 10 in the UK with the uplifting “Wonderful World, Beautiful People.” Cliff’s widely heard protest chant, “Vietnam,” was inspired in part by a friend who had served in the war and returned damaged beyond recognition.\u003c/p>\n\u003cp>His success as a recording artist and concert performer led Henzell to seek a meeting with him and flatter him into accepting the part: “You know, I think you’re a better actor than singer,” Cliff remembered him saying. Aware that \u003cem>The Harder They Come\u003c/em> could be a breakthrough for Jamaican cinema, he openly wished for stardom, although Cliff remained surprised by how well known he became.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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