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"content": "\n\u003cp>Billie Joe Armstrong’s side project The Coverups usually play small club shows that sell out instantly after being announced on Instagram.\u003c/p>\n\n\n\n\u003cp>This week, though, fans have advance notice, and the price is right: the Green Day frontman’s cover band will headline the Rodeo Art and Music Market, a free outdoor festival in the heart of Rodeo, Armstrong’s hometown.\u003c/p>\n\n\n\n\u003cp>Playing favorites from the classic rock, modern rock and punk canon, The Coverups have appeared at small Bay Area dives like Kilowatt, Thee Parkside and the Ivy Room. The band hasn’t played a free outdoor show for seven years, when \u003ca href=\"https://www.youtube.com/watch?v=CgBXuOFsoZQ\">they appeared at a block party in Oakland\u003c/a>.\u003c/p>\n\n\n\n\u003cp>The event at Lefty Gomez Field on Saturday marks a homecoming for Armstrong, who \u003ca href=\"https://www.instagram.com/p/DdosGMSA098/\">once played little league baseball\u003c/a> at the very same spot he’ll be singing hits from the 1960s through the 1990s. A typical Coverups setlist includes songs from the Replacements, the Plimsouls, David Bowie, the Ramones, Joan Jett and the Buzzcocks.\u003c/p>\n\n\n\n\u003cp>Other acts at the festival include the Black Excellence Band and Whateverglades. Food booths, crafts, DJs, record booths and more round out the event. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>The Rodeo Art and Music Market runs from 11 a.m. to 5 p.m on Saturday, Sept. 26. The Coverups are scheduled to play from 2:30 p.m. to 4 p.m. \u003ca href=\"https://www.instagram.com/rodeomusicandartmarket/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>The Rodeo Art and Music Market runs from 11 a.m. to 5 p.m on Saturday, Sept. 26. The Coverups are scheduled to play from 2:30 p.m. to 4 p.m. \u003ca href=\"https://www.instagram.com/rodeomusicandartmarket/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Billie Joe Armstrong’s side project The Coverups usually play small club shows that sell out instantly after being announced on Instagram.\u003c/p>\n\n\n\n\u003cp>This week, though, fans have advance notice, and the price is right: the Green Day frontman’s cover band will headline the Rodeo Art and Music Market, a free outdoor festival in the heart of Rodeo, Armstrong’s hometown.\u003c/p>\n\n\n\n\u003cp>Playing favorites from the classic rock, modern rock and punk canon, The Coverups have appeared at small Bay Area dives like Kilowatt, Thee Parkside and the Ivy Room. The band hasn’t played a free outdoor show for seven years, when \u003ca href=\"https://www.youtube.com/watch?v=CgBXuOFsoZQ\">they appeared at a block party in Oakland\u003c/a>.\u003c/p>\n\n\n\n\u003cp>The event at Lefty Gomez Field on Saturday marks a homecoming for Armstrong, who \u003ca href=\"https://www.instagram.com/p/DdosGMSA098/\">once played little league baseball\u003c/a> at the very same spot he’ll be singing hits from the 1960s through the 1990s. A typical Coverups setlist includes songs from the Replacements, the Plimsouls, David Bowie, the Ramones, Joan Jett and the Buzzcocks.\u003c/p>\n\n\n\n\u003cp>Other acts at the festival include the Black Excellence Band and Whateverglades. Food booths, crafts, DJs, record booths and more round out the event. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>The Rodeo Art and Music Market runs from 11 a.m. to 5 p.m on Saturday, Sept. 26. The Coverups are scheduled to play from 2:30 p.m. to 4 p.m. \u003ca href=\"https://www.instagram.com/rodeomusicandartmarket/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Missing Portola? You Can Still Dance at These San Francisco Parties",
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"content": "\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Music Festival\u003c/a> returns to San Francisco’s Pier 80 on Sept. 26 and 27, showcasing the Bay’s dance and electronic music scene among a huge, international lineup that features Kelela, Zara Larsson, Swedish House Mafia and more. \u003c/p>\n\n\n\n\n\n\u003cp>If you’re missing Portola, there’s no shortage of things to do. The music festival coincides with the San Francisco staple Folsom Street Fair, which will celebrate the diversity of our most sexually liberated on Sept. 27. All throughout this week, there will be plenty of Portola and Folsom pre-parties, after-parties and other music events to make you feel alive. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Thursday, Sept. 24\u003c/h2>\n\n\n\n\u003cp>To kick off the long Portola weekend, San Francisco staple Program Audio will kick off the official \u003ca href=\"https://portolamusicfestival.com/portola-week/\">Portola Week\u003c/a> festivities and host the DC based DJ trio Black Rave Culture at \u003ca href=\"https://dothebay.com/events/2026/9/24/black-rave-culture-tickets\">Club Six\u003c/a>, bringing the sounds from their debut album to San Francisco.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Friday, Sept. 25\u003c/h2>\n\n\n\n\u003cp>As part of his Enigma Tour, the Compton artist Channel Tres is turning the \u003ca href=\"https://tix.axs.com/BTg4EgAAAADCs3XIAgAAAAA9%2fv%2f%2f%2fwD%2f%2f%2f%2f%2fC0dvbGRlbnZvaWNlAP%2f%2f%2f%2f%2f%2f%2f%2f%2f%2f/shop/search?skin=&tags=&cpch=&cpdate=&cprid=&cpid=&cpcn=&cpdid=&cpdn=&cpsrc=&intoff=&cid=&utm_source=&utm_medium=&utm_campaign=&utm_term=&utm_content=&aff=&clickref=&promocode=&originalReferringURL=https%3A%2F%2Fwww.axs.com%2Fevents%2F1573661%2Fchannel-tres-tickets%3F_gl%3D1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.%26__cf_chl_tk%3DbGa1M942S1GJU_i9TRpFts2Xh_B76KCPkpCwOudt0bQ-1790096506-1.0.1.1-pqBKl6AWdyFI5NYNW4okOlcpX7PHGlDj2Ir3u0QcC.w&upgrade=&mkt_campaign=&irclickid=&gclid=&fbclid=&_gl=1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.&axsEventId=1573661&q=ecfe8515-ad97-4b96-988b-22eecd2ab8e5&p=8b393b29-9d96-4c36-89b6-ae9c12907dba&ts=1790100231&c=axs&e=30567424546691763&rt=Safetynet&h=55cff7cd1a15a7f078a911a681dfabda\">Regency Ballroom \u003c/a>into a dance party ahead of his Portola set on Sept. 27. This same night, Argentinian perreo-rave singer Six Sex will take over the \u003ca href=\"https://www.eventim.us/event/tickets/702210?afflky=GreatAmericanMusicHall&axssid=token_4b34c389da3d&locale=en-US&originalReferringURL=https%3A%2F%2Fportolamusicfestival.com%2F&_gl=1*1gvszt7*_gcl_aw*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_dc*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.\">Great American Music Hall\u003c/a> with B0yg1rl and a b2b DJ set with Femme Jatale and erika (Six Sex also performs at Portola on Sept. 26). \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1280\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040.jpg\" alt=\"\" class=\"wp-image-13962494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">Saturday, Sept. 26\u003c/h2>\n\n\n\n\u003cp>The drag queens will be outside for Folsom Street Fair. \u003ca href=\"https://ma.to/event/brunch-queens-2pm-seating-26-sep-2026\">Brunch Queens\u003c/a> at Mayes Oyster House will feature \u003cem>RuPaul’s Drag Race \u003c/em>stars Hershii LiqCour Jete, Heidi N Closet and Honey Davenport, alongside Tila Pia and host Aurris Garcon.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg\" alt=\"\" class=\"wp-image-13994141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Vanessa Vanjie Mateo, Trinity The Tuck, Aquaria, Heidi N Closet and Sugar arrives at the The Abbey’s 35th Anniversary at The Abbey Food & Bar on May 20, 2026 in West Hollywood, California. (Steve Granitz/FilmMagic)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>If drag and leather aren’t exactly your thing, \u003ca href=\"https://www.earthling.fyi/\">Earthling\u003c/a>, the experimental outdoor listening party, will be in Golden Gate Park, merging out-there electronic production with nature. Uhlmann Johnson Wilkes, The Space Lady, Dream Crease and W.A.L.A. will fill the Elk Glen Meadow with ambient sound. \u003c/p>\n\n\n\n\u003cp>If you’re looking to dance, \u003ca href=\"https://ra.co/events/2534453\">Juke WRLD\u003c/a> is taking over Mission District staple El Rio. DJs Twoseven, Mars Kasei, Tha Nxxt Step, New Juicy and DJ Ari B will spin Jersey and Baltimore club, ghettotech from Detroit and footwork from Chicago.\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://www.dnalounge.com/calendar/2026/09-26d.html\">SXTPS\u003c/a>, a body-positive dance party dedicated to Black and brown queer people, will have the dance floor moving at DNA Lounge for a Folsom pre-party with DJ Kidd, Iloveducky and Charles Hawthorne. Bringing the underground sounds of Black queer communities from New York, L.A. and Chicago to San Francisco, anything goes “as long as it’s gay and Black as fuck,” according to the organizers. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg\" alt=\"\" class=\"wp-image-13994142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Singer Julieta Venegas performs during a concert at Escenario GNP on May 29, 2026 in Monterrey NL, Mexico. (Medios y Media/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">Sunday, Sept. 27\u003c/h2>\n\n\n\n\u003cp>If you’re craving something slower after all that partying, Bar Shiru in Oakland will host their \u003ca href=\"https://www.barshiru.com/whats-on/fh6d3zfhk3djn6r-6ppdw\">Silent Sunday \u003c/a>listening session, playing Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> on their hi-fi speakers. This could be a much-needed break from all the dance and electronic music pumping through the streets. \u003c/p>\n\n\n\n\u003cp>Sunday night also offers some solid concert options: Chicago rapper \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/1450865\">Lucki \u003c/a>will be at The Warfield, performing music from his \u003cem>Drugs R Bad\u003c/em> album. Mexican singer and multi-instrumentalist Julieta Venegas is doing two nights at the \u003ca href=\"https://www.ticketmaster.com/an-evening-with-julieta-venegas-nortena-san-francisco-california-09-27-2026/event/1C006487D2A067D3?_gl=1*1xsc0vr*_ga*OTUyOTM3ODY4LjE3ODk2MDAxNTM.*_ga_C1T806G4DF*czE3ODk2MDAxNTMkbzEkZzAkdDE3ODk2MDAxNTMkajYwJGwwJGgw\">Masonic\u003c/a>, and the Mexican regional music band Elsabon Armado, who hail from the Central Valley, will be at the \u003ca href=\"https://www.ticketmaster.com/eslabon-armado-amor-nocturno-san-francisco-california-09-27-2026/event/1C0064C30BA266FA?_gl=1*1oo5eed*_ga*OTE2MDAwODAxLjE3ODk2MDAxOTM.*_ga_C1T806G4DF*czE3ODk2MDAxOTMkbzEkZzAkdDE3ODk2MDAxOTMkajYwJGwwJGgw\">Fillmore\u003c/a>. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Music Festival\u003c/a> returns to San Francisco’s Pier 80 on Sept. 26 and 27, showcasing the Bay’s dance and electronic music scene among a huge, international lineup that features Kelela, Zara Larsson, Swedish House Mafia and more. \u003c/p>\n",
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"innerHTML": "\n\u003cp>If you’re missing Portola, there’s no shortage of things to do. The music festival coincides with the San Francisco staple Folsom Street Fair, which will celebrate the diversity of our most sexually liberated on Sept. 27. All throughout this week, there will be plenty of Portola and Folsom pre-parties, after-parties and other music events to make you feel alive. \u003c/p>\n",
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"\n\u003cp>If you’re missing Portola, there’s no shortage of things to do. The music festival coincides with the San Francisco staple Folsom Street Fair, which will celebrate the diversity of our most sexually liberated on Sept. 27. All throughout this week, there will be plenty of Portola and Folsom pre-parties, after-parties and other music events to make you feel alive. \u003c/p>\n"
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"innerHTML": "\n\u003cp>To kick off the long Portola weekend, San Francisco staple Program Audio will kick off the official \u003ca href=\"https://portolamusicfestival.com/portola-week/\">Portola Week\u003c/a> festivities and host the DC based DJ trio Black Rave Culture at \u003ca href=\"https://dothebay.com/events/2026/9/24/black-rave-culture-tickets\">Club Six\u003c/a>, bringing the sounds from their debut album to San Francisco.\u003c/p>\n",
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"\n\u003cp>To kick off the long Portola weekend, San Francisco staple Program Audio will kick off the official \u003ca href=\"https://portolamusicfestival.com/portola-week/\">Portola Week\u003c/a> festivities and host the DC based DJ trio Black Rave Culture at \u003ca href=\"https://dothebay.com/events/2026/9/24/black-rave-culture-tickets\">Club Six\u003c/a>, bringing the sounds from their debut album to San Francisco.\u003c/p>\n"
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"innerHTML": "\n\u003cp>As part of his Enigma Tour, the Compton artist Channel Tres is turning the \u003ca href=\"https://tix.axs.com/BTg4EgAAAADCs3XIAgAAAAA9%2fv%2f%2f%2fwD%2f%2f%2f%2f%2fC0dvbGRlbnZvaWNlAP%2f%2f%2f%2f%2f%2f%2f%2f%2f%2f/shop/search?skin=&tags=&cpch=&cpdate=&cprid=&cpid=&cpcn=&cpdid=&cpdn=&cpsrc=&intoff=&cid=&utm_source=&utm_medium=&utm_campaign=&utm_term=&utm_content=&aff=&clickref=&promocode=&originalReferringURL=https%3A%2F%2Fwww.axs.com%2Fevents%2F1573661%2Fchannel-tres-tickets%3F_gl%3D1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.%26__cf_chl_tk%3DbGa1M942S1GJU_i9TRpFts2Xh_B76KCPkpCwOudt0bQ-1790096506-1.0.1.1-pqBKl6AWdyFI5NYNW4okOlcpX7PHGlDj2Ir3u0QcC.w&upgrade=&mkt_campaign=&irclickid=&gclid=&fbclid=&_gl=1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.&axsEventId=1573661&q=ecfe8515-ad97-4b96-988b-22eecd2ab8e5&p=8b393b29-9d96-4c36-89b6-ae9c12907dba&ts=1790100231&c=axs&e=30567424546691763&rt=Safetynet&h=55cff7cd1a15a7f078a911a681dfabda\">Regency Ballroom \u003c/a>into a dance party ahead of his Portola set on Sept. 27. This same night, Argentinian perreo-rave singer Six Sex will take over the \u003ca href=\"https://www.eventim.us/event/tickets/702210?afflky=GreatAmericanMusicHall&axssid=token_4b34c389da3d&locale=en-US&originalReferringURL=https%3A%2F%2Fportolamusicfestival.com%2F&_gl=1*1gvszt7*_gcl_aw*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_dc*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.\">Great American Music Hall\u003c/a> with B0yg1rl and a b2b DJ set with Femme Jatale and erika (Six Sex also performs at Portola on Sept. 26). \u003c/p>\n",
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"\n\u003cp>As part of his Enigma Tour, the Compton artist Channel Tres is turning the \u003ca href=\"https://tix.axs.com/BTg4EgAAAADCs3XIAgAAAAA9%2fv%2f%2f%2fwD%2f%2f%2f%2f%2fC0dvbGRlbnZvaWNlAP%2f%2f%2f%2f%2f%2f%2f%2f%2f%2f/shop/search?skin=&tags=&cpch=&cpdate=&cprid=&cpid=&cpcn=&cpdid=&cpdn=&cpsrc=&intoff=&cid=&utm_source=&utm_medium=&utm_campaign=&utm_term=&utm_content=&aff=&clickref=&promocode=&originalReferringURL=https%3A%2F%2Fwww.axs.com%2Fevents%2F1573661%2Fchannel-tres-tickets%3F_gl%3D1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.%26__cf_chl_tk%3DbGa1M942S1GJU_i9TRpFts2Xh_B76KCPkpCwOudt0bQ-1790096506-1.0.1.1-pqBKl6AWdyFI5NYNW4okOlcpX7PHGlDj2Ir3u0QcC.w&upgrade=&mkt_campaign=&irclickid=&gclid=&fbclid=&_gl=1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.&axsEventId=1573661&q=ecfe8515-ad97-4b96-988b-22eecd2ab8e5&p=8b393b29-9d96-4c36-89b6-ae9c12907dba&ts=1790100231&c=axs&e=30567424546691763&rt=Safetynet&h=55cff7cd1a15a7f078a911a681dfabda\">Regency Ballroom \u003c/a>into a dance party ahead of his Portola set on Sept. 27. This same night, Argentinian perreo-rave singer Six Sex will take over the \u003ca href=\"https://www.eventim.us/event/tickets/702210?afflky=GreatAmericanMusicHall&axssid=token_4b34c389da3d&locale=en-US&originalReferringURL=https%3A%2F%2Fportolamusicfestival.com%2F&_gl=1*1gvszt7*_gcl_aw*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_dc*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.\">Great American Music Hall\u003c/a> with B0yg1rl and a b2b DJ set with Femme Jatale and erika (Six Sex also performs at Portola on Sept. 26). \u003c/p>\n"
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"innerHTML": "\n\u003cp>The drag queens will be outside for Folsom Street Fair. \u003ca href=\"https://ma.to/event/brunch-queens-2pm-seating-26-sep-2026\">Brunch Queens\u003c/a> at Mayes Oyster House will feature \u003cem>RuPaul’s Drag Race \u003c/em>stars Hershii LiqCour Jete, Heidi N Closet and Honey Davenport, alongside Tila Pia and host Aurris Garcon.\u003c/p>\n",
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"\n\u003cp>The drag queens will be outside for Folsom Street Fair. \u003ca href=\"https://ma.to/event/brunch-queens-2pm-seating-26-sep-2026\">Brunch Queens\u003c/a> at Mayes Oyster House will feature \u003cem>RuPaul’s Drag Race \u003c/em>stars Hershii LiqCour Jete, Heidi N Closet and Honey Davenport, alongside Tila Pia and host Aurris Garcon.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg\" alt=\"\" class=\"wp-image-13994141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Vanessa Vanjie Mateo, Trinity The Tuck, Aquaria, Heidi N Closet and Sugar arrives at the The Abbey’s 35th Anniversary at The Abbey Food & Bar on May 20, 2026 in West Hollywood, California.\u003ccite class=\"wp-inline-image-credit\"> (Steve Granitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg\" alt=\"\" class=\"wp-image-13994141\"/>\u003cfigcaption class=\"wp-element-caption\">Vanessa Vanjie Mateo, Trinity The Tuck, Aquaria, Heidi N Closet and Sugar arrives at the The Abbey’s 35th Anniversary at The Abbey Food & Bar on May 20, 2026 in West Hollywood, California.\u003ccite class=\"wp-inline-image-credit\"> (Steve Granitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>If drag and leather aren’t exactly your thing, \u003ca href=\"https://www.earthling.fyi/\">Earthling\u003c/a>, the experimental outdoor listening party, will be in Golden Gate Park, merging out-there electronic production with nature. Uhlmann Johnson Wilkes, The Space Lady, Dream Crease and W.A.L.A. will fill the Elk Glen Meadow with ambient sound. \u003c/p>\n",
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"\n\u003cp>If drag and leather aren’t exactly your thing, \u003ca href=\"https://www.earthling.fyi/\">Earthling\u003c/a>, the experimental outdoor listening party, will be in Golden Gate Park, merging out-there electronic production with nature. Uhlmann Johnson Wilkes, The Space Lady, Dream Crease and W.A.L.A. will fill the Elk Glen Meadow with ambient sound. \u003c/p>\n"
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"innerHTML": "\n\u003cp>If you’re looking to dance, \u003ca href=\"https://ra.co/events/2534453\">Juke WRLD\u003c/a> is taking over Mission District staple El Rio. DJs Twoseven, Mars Kasei, Tha Nxxt Step, New Juicy and DJ Ari B will spin Jersey and Baltimore club, ghettotech from Detroit and footwork from Chicago.\u003c/p>\n",
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"\n\u003cp>If you’re looking to dance, \u003ca href=\"https://ra.co/events/2534453\">Juke WRLD\u003c/a> is taking over Mission District staple El Rio. DJs Twoseven, Mars Kasei, Tha Nxxt Step, New Juicy and DJ Ari B will spin Jersey and Baltimore club, ghettotech from Detroit and footwork from Chicago.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.dnalounge.com/calendar/2026/09-26d.html\">SXTPS\u003c/a>, a body-positive dance party dedicated to Black and brown queer people, will have the dance floor moving at DNA Lounge for a Folsom pre-party with DJ Kidd, Iloveducky and Charles Hawthorne. Bringing the underground sounds of Black queer communities from New York, L.A. and Chicago to San Francisco, anything goes “as long as it’s gay and Black as fuck,” according to the organizers. \u003c/p>\n",
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"\n\u003cp>\u003ca href=\"https://www.dnalounge.com/calendar/2026/09-26d.html\">SXTPS\u003c/a>, a body-positive dance party dedicated to Black and brown queer people, will have the dance floor moving at DNA Lounge for a Folsom pre-party with DJ Kidd, Iloveducky and Charles Hawthorne. Bringing the underground sounds of Black queer communities from New York, L.A. and Chicago to San Francisco, anything goes “as long as it’s gay and Black as fuck,” according to the organizers. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg\" alt=\"\" class=\"wp-image-13994142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Singer Julieta Venegas performs during a concert at Escenario GNP on May 29, 2026 in Monterrey NL, Mexico.\u003ccite class=\"wp-inline-image-credit\"> (Medios y Media/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg\" alt=\"\" class=\"wp-image-13994142\"/>\u003cfigcaption class=\"wp-element-caption\">Singer Julieta Venegas performs during a concert at Escenario GNP on May 29, 2026 in Monterrey NL, Mexico.\u003ccite class=\"wp-inline-image-credit\"> (Medios y Media/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>If you’re craving something slower after all that partying, Bar Shiru in Oakland will host their \u003ca href=\"https://www.barshiru.com/whats-on/fh6d3zfhk3djn6r-6ppdw\">Silent Sunday \u003c/a>listening session, playing Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> on their hi-fi speakers. This could be a much-needed break from all the dance and electronic music pumping through the streets. \u003c/p>\n",
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"\n\u003cp>If you’re craving something slower after all that partying, Bar Shiru in Oakland will host their \u003ca href=\"https://www.barshiru.com/whats-on/fh6d3zfhk3djn6r-6ppdw\">Silent Sunday \u003c/a>listening session, playing Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> on their hi-fi speakers. This could be a much-needed break from all the dance and electronic music pumping through the streets. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Sunday night also offers some solid concert options: Chicago rapper \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/1450865\">Lucki \u003c/a>will be at The Warfield, performing music from his \u003cem>Drugs R Bad\u003c/em> album. Mexican singer and multi-instrumentalist Julieta Venegas is doing two nights at the \u003ca href=\"https://www.ticketmaster.com/an-evening-with-julieta-venegas-nortena-san-francisco-california-09-27-2026/event/1C006487D2A067D3?_gl=1*1xsc0vr*_ga*OTUyOTM3ODY4LjE3ODk2MDAxNTM.*_ga_C1T806G4DF*czE3ODk2MDAxNTMkbzEkZzAkdDE3ODk2MDAxNTMkajYwJGwwJGgw\">Masonic\u003c/a>, and the Mexican regional music band Elsabon Armado, who hail from the Central Valley, will be at the \u003ca href=\"https://www.ticketmaster.com/eslabon-armado-amor-nocturno-san-francisco-california-09-27-2026/event/1C0064C30BA266FA?_gl=1*1oo5eed*_ga*OTE2MDAwODAxLjE3ODk2MDAxOTM.*_ga_C1T806G4DF*czE3ODk2MDAxOTMkbzEkZzAkdDE3ODk2MDAxOTMkajYwJGwwJGgw\">Fillmore\u003c/a>. \u003c/p>\n",
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"\n\u003cp>Sunday night also offers some solid concert options: Chicago rapper \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/1450865\">Lucki \u003c/a>will be at The Warfield, performing music from his \u003cem>Drugs R Bad\u003c/em> album. Mexican singer and multi-instrumentalist Julieta Venegas is doing two nights at the \u003ca href=\"https://www.ticketmaster.com/an-evening-with-julieta-venegas-nortena-san-francisco-california-09-27-2026/event/1C006487D2A067D3?_gl=1*1xsc0vr*_ga*OTUyOTM3ODY4LjE3ODk2MDAxNTM.*_ga_C1T806G4DF*czE3ODk2MDAxNTMkbzEkZzAkdDE3ODk2MDAxNTMkajYwJGwwJGgw\">Masonic\u003c/a>, and the Mexican regional music band Elsabon Armado, who hail from the Central Valley, will be at the \u003ca href=\"https://www.ticketmaster.com/eslabon-armado-amor-nocturno-san-francisco-california-09-27-2026/event/1C0064C30BA266FA?_gl=1*1oo5eed*_ga*OTE2MDAwODAxLjE3ODk2MDAxOTM.*_ga_C1T806G4DF*czE3ODk2MDAxOTMkbzEkZzAkdDE3ODk2MDAxOTMkajYwJGwwJGgw\">Fillmore\u003c/a>. \u003c/p>\n"
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"excerpt": "The music festival coincides with Folsom Street Fair and a packed weekend of events at Bay Area clubs.",
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"title": "Missing Portola? You Can Still Dance at These San Francisco Parties | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Music Festival\u003c/a> returns to San Francisco’s Pier 80 on Sept. 26 and 27, showcasing the Bay’s dance and electronic music scene among a huge, international lineup that features Kelela, Zara Larsson, Swedish House Mafia and more. \u003c/p>\n\n\n\n\n\n\u003cp>If you’re missing Portola, there’s no shortage of things to do. The music festival coincides with the San Francisco staple Folsom Street Fair, which will celebrate the diversity of our most sexually liberated on Sept. 27. All throughout this week, there will be plenty of Portola and Folsom pre-parties, after-parties and other music events to make you feel alive. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Thursday, Sept. 24\u003c/h2>\n\n\n\n\u003cp>To kick off the long Portola weekend, San Francisco staple Program Audio will kick off the official \u003ca href=\"https://portolamusicfestival.com/portola-week/\">Portola Week\u003c/a> festivities and host the DC based DJ trio Black Rave Culture at \u003ca href=\"https://dothebay.com/events/2026/9/24/black-rave-culture-tickets\">Club Six\u003c/a>, bringing the sounds from their debut album to San Francisco.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Friday, Sept. 25\u003c/h2>\n\n\n\n\u003cp>As part of his Enigma Tour, the Compton artist Channel Tres is turning the \u003ca href=\"https://tix.axs.com/BTg4EgAAAADCs3XIAgAAAAA9%2fv%2f%2f%2fwD%2f%2f%2f%2f%2fC0dvbGRlbnZvaWNlAP%2f%2f%2f%2f%2f%2f%2f%2f%2f%2f/shop/search?skin=&tags=&cpch=&cpdate=&cprid=&cpid=&cpcn=&cpdid=&cpdn=&cpsrc=&intoff=&cid=&utm_source=&utm_medium=&utm_campaign=&utm_term=&utm_content=&aff=&clickref=&promocode=&originalReferringURL=https%3A%2F%2Fwww.axs.com%2Fevents%2F1573661%2Fchannel-tres-tickets%3F_gl%3D1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.%26__cf_chl_tk%3DbGa1M942S1GJU_i9TRpFts2Xh_B76KCPkpCwOudt0bQ-1790096506-1.0.1.1-pqBKl6AWdyFI5NYNW4okOlcpX7PHGlDj2Ir3u0QcC.w&upgrade=&mkt_campaign=&irclickid=&gclid=&fbclid=&_gl=1*npoipb*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.&axsEventId=1573661&q=ecfe8515-ad97-4b96-988b-22eecd2ab8e5&p=8b393b29-9d96-4c36-89b6-ae9c12907dba&ts=1790100231&c=axs&e=30567424546691763&rt=Safetynet&h=55cff7cd1a15a7f078a911a681dfabda\">Regency Ballroom \u003c/a>into a dance party ahead of his Portola set on Sept. 27. This same night, Argentinian perreo-rave singer Six Sex will take over the \u003ca href=\"https://www.eventim.us/event/tickets/702210?afflky=GreatAmericanMusicHall&axssid=token_4b34c389da3d&locale=en-US&originalReferringURL=https%3A%2F%2Fportolamusicfestival.com%2F&_gl=1*1gvszt7*_gcl_aw*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_dc*R0NMLjE3OTAwOTc0MjEuQ2owS0NRand6c2pWQmhDM0FSSXNBTG5NdjRsdnhKQ05uYW1XOGt4U2FnMm5jSGxtb2JMb3NKdzk0dTRHUW5XNUk5Q0U3UGN1bjJKbC1ud2FBazE2RUFMd193Y0I.*_gcl_au*MjYwMzA3NjY3LjE3ODk1NzkwNTc.\">Great American Music Hall\u003c/a> with B0yg1rl and a b2b DJ set with Femme Jatale and erika (Six Sex also performs at Portola on Sept. 26). \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1280\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040.jpg\" alt=\"\" class=\"wp-image-13962494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_040-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">Saturday, Sept. 26\u003c/h2>\n\n\n\n\u003cp>The drag queens will be outside for Folsom Street Fair. \u003ca href=\"https://ma.to/event/brunch-queens-2pm-seating-26-sep-2026\">Brunch Queens\u003c/a> at Mayes Oyster House will feature \u003cem>RuPaul’s Drag Race \u003c/em>stars Hershii LiqCour Jete, Heidi N Closet and Honey Davenport, alongside Tila Pia and host Aurris Garcon.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg\" alt=\"\" class=\"wp-image-13994141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2276773845-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Vanessa Vanjie Mateo, Trinity The Tuck, Aquaria, Heidi N Closet and Sugar arrives at the The Abbey’s 35th Anniversary at The Abbey Food & Bar on May 20, 2026 in West Hollywood, California. (Steve Granitz/FilmMagic)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>If drag and leather aren’t exactly your thing, \u003ca href=\"https://www.earthling.fyi/\">Earthling\u003c/a>, the experimental outdoor listening party, will be in Golden Gate Park, merging out-there electronic production with nature. Uhlmann Johnson Wilkes, The Space Lady, Dream Crease and W.A.L.A. will fill the Elk Glen Meadow with ambient sound. \u003c/p>\n\n\n\n\u003cp>If you’re looking to dance, \u003ca href=\"https://ra.co/events/2534453\">Juke WRLD\u003c/a> is taking over Mission District staple El Rio. DJs Twoseven, Mars Kasei, Tha Nxxt Step, New Juicy and DJ Ari B will spin Jersey and Baltimore club, ghettotech from Detroit and footwork from Chicago.\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://www.dnalounge.com/calendar/2026/09-26d.html\">SXTPS\u003c/a>, a body-positive dance party dedicated to Black and brown queer people, will have the dance floor moving at DNA Lounge for a Folsom pre-party with DJ Kidd, Iloveducky and Charles Hawthorne. Bringing the underground sounds of Black queer communities from New York, L.A. and Chicago to San Francisco, anything goes “as long as it’s gay and Black as fuck,” according to the organizers. \u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg\" alt=\"\" class=\"wp-image-13994142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2278960165-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Singer Julieta Venegas performs during a concert at Escenario GNP on May 29, 2026 in Monterrey NL, Mexico. (Medios y Media/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003ch2 class=\"wp-block-heading\">Sunday, Sept. 27\u003c/h2>\n\n\n\n\u003cp>If you’re craving something slower after all that partying, Bar Shiru in Oakland will host their \u003ca href=\"https://www.barshiru.com/whats-on/fh6d3zfhk3djn6r-6ppdw\">Silent Sunday \u003c/a>listening session, playing Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> on their hi-fi speakers. This could be a much-needed break from all the dance and electronic music pumping through the streets. \u003c/p>\n\n\n\n\u003cp>Sunday night also offers some solid concert options: Chicago rapper \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/1450865\">Lucki \u003c/a>will be at The Warfield, performing music from his \u003cem>Drugs R Bad\u003c/em> album. Mexican singer and multi-instrumentalist Julieta Venegas is doing two nights at the \u003ca href=\"https://www.ticketmaster.com/an-evening-with-julieta-venegas-nortena-san-francisco-california-09-27-2026/event/1C006487D2A067D3?_gl=1*1xsc0vr*_ga*OTUyOTM3ODY4LjE3ODk2MDAxNTM.*_ga_C1T806G4DF*czE3ODk2MDAxNTMkbzEkZzAkdDE3ODk2MDAxNTMkajYwJGwwJGgw\">Masonic\u003c/a>, and the Mexican regional music band Elsabon Armado, who hail from the Central Valley, will be at the \u003ca href=\"https://www.ticketmaster.com/eslabon-armado-amor-nocturno-san-francisco-california-09-27-2026/event/1C0064C30BA266FA?_gl=1*1oo5eed*_ga*OTE2MDAwODAxLjE3ODk2MDAxOTM.*_ga_C1T806G4DF*czE3ODk2MDAxOTMkbzEkZzAkdDE3ODk2MDAxOTMkajYwJGwwJGgw\">Fillmore\u003c/a>. \u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-underscores-portola-charli-xcx",
"title": "How San Francisco’s Underscores Ascended to Portola and Charli xcx’s Tour",
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"headTitle": "How San Francisco’s Underscores Ascended to Portola and Charli xcx’s Tour | KQED",
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"content": "\n\u003cp>If you grew up in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> and are attuned to recent developments in left-field pop music, you might’ve done a double take when looking at the cover of rising artist \u003ca href=\"https://underscores.bandcamp.com/album/u\">Underscores\u003c/a>’ third album, \u003cem>U. \u003c/em>\u003c/p>\n\n\n\n\u003cp>Yes, it’s an illustration of Stonestown Galleria, the mall deep in southwestern San Francisco that 26-year-old Underscores mastermind April Harper Grey visited as a kid, along with untold millions of past and present San Franciscans. Born and raised just a short jaunt from the mall, Grey commissioned Japanese artist Ochiai Shohei to draw Stonestown as an organic wonderland, a vast cavern of crystal arches and hidden pathways. Signs for real-life businesses are blurred into incomprehensible symbols, stripping the mall of its commercial purpose and treating it purely as a work of awe-inspiring architecture, the kind of space that might feel a little numinous when you’re a kid.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-rich is-provider-bandcamp wp-block-embed-bandcamp\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://underscores.bandcamp.com/album/u\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>It’s a rare regional perspective in hyperpop, a genre whose home is clearly the internet, and which emerged at the end of last decade as a catch-all term for various strains of pop influenced by electronic dance music and intent on cranking the production to cartoonish extremes. \u003c/p>\n\n\n\n\u003cp>Underscores just joined \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Charli xcx\u003c/a>, arguably the most prominent figure in this scene, as an opener on the tour for her new album \u003cem>Music, Fashion, Film. \u003c/em>It’s easy to see why Grey would be a good fit for Charli; both artists write pop songs and render the sonics underneath them in eye-popping detail, and Grey’s roots as a dubstep producer during the 2010s dance-music boom clearly had an influence on the supple and undulating beats beneath her bubblegum melodies.\u003c/p>\n\n\n\n\u003cp>As Underscores emerges from cult fandom into the arena universe, Grey has been shouting out her hometown to bigger and bigger audiences, not least during the emotional video tribute to Stonestown that sometimes screens as she sings her \u003cem>U \u003c/em>song “Wish U Well.” Anyone who has a cherished space from their childhood still lingering in their aesthetic consciousness can appreciate Grey’s attachment to the mall, through whose deserted halls she danced during a livestream concurrent with the release of the record in March. \u003c/p>\n\n\n\n\u003cp>KQED\u003cem> \u003c/em>talked to Grey about the role of place in her work ahead of her upcoming performance at San Francisco’s \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a> on Sept. 27.\u003c/p>\n\n\n\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://youtu.be/UNYqwpx7Cys?si=yuJ68UyVU0VrjX6P\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Daniel Bromfield: You were born and raised in San Francisco. Tell me about how growing up here influenced your work.\u003c/strong>\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Underscores:\u003c/strong> This is my third album. The previous two albums have had some sort of geographical location to tether it. The first one [2021’s \u003cem>Fishmonger\u003c/em>] was in New Jersey, the second one [2023’s \u003cem>Wallsocket\u003c/em>] was in Michigan. As the idea of tethering an album to a location became something I was more interested in pursuing with further work, the more obvious it became that I would have to do something in San Francisco, where I was born and raised.\u003c/p>\n\n\n\n\u003cp>I grew up in Miraloma Park. Stonestown is a 35-minute walk from where I was. I had this ritual in high school and during COVID where I would listen to this one album and try to follow the exact same route and get to the mall once the album was done. I kind of liked the idea of replacing that album, almost, and seeing if I could soundtrack the way from my house to the mall. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>Which album was it?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was this K-pop album called \u003cem>Melting \u003c/em>by the band Mamamoo. I did that walk once when I was 16 and everything synced up really well. I just got the urge that I should repeat this. During COVID, when I was really going through it, it helped calm me down and ground me to do that walk. My album is around the same length, which was sort of the intention, making a record you could listen to on a short walk or in transit somewhere in the city. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>K-pop has been a major influence on your work. You had a YouTube channel, 2ndgenbias,\u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003cstrong>analyzing K-pop songs, and your use of light sticks on your recent tour was also inspired by K-pop concerts. What have you learned from K-pop?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>There’s a lot of care put into the visuals in K-pop. That’s not to say that’s not the case here, but there’s a sort of hierarchy where music is priority number one, and stuff like music videos falls to the side a little bit in the West sometimes. I love the idea of the light stick as a token of someone’s adoration for an artist. I’ve always wanted to do a light stick based on the emblem of my first album, which is this water tower in New Jersey. I thought it made a lot of sense as a light stick. It was a pretty big financial risk for me to take, and it really ended up paying off seeing all these light sticks in the crowd.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.instagram.com/p/DdMdTG7Ef1v/?stkn=NjZiM2M3MzIxNA==\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>You recently joined Charli xcx on her \u003cem>Music, Fashion, Film \u003c/em>tour. How is preparing for a tour of that scale different from preparing for something like your Galleria tour, which took place in smaller venues like the Regency Ballroom?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It’s been interesting. Their team has been really accommodating and helpful, and this is obviously something I wasn’t expecting to do anytime soon. I do think it’ll be a version of the show we put on for the Galleria tour, but with different architecture and trying to pay a lot more attention to my presence. Opening for people can be nerve-wracking and feel humiliating when you don’t get the crowd to do what you want them to do, but I’m trying to find ways to occupy that space and be a little more confident. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>One of the things that struck me at your Regency Ballroom show in June was your physical presence. How do you manage performing at that level of intensity night after night?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I do my stretches. I was doing yoga on tour a lot, like every day. My movement for that tour was so sporadic and flaily, and I was constantly in motion. Sometimes it can be more confident to know when to not move at all, and that’s what I’m trying to work on, conserving my energy and putting it towards singing and hitting the right notes. But I have a great time on stage. I have this ring that tracks my steps, and I’m very passionate about getting my steps.\u003c/p>\n\n\n\n\n\n\u003cp>\u003cstrong>Your work has a strong sense of place, which isn’t something I think most people would associate with pop music. What is the role of specific places in your music?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I think tethering an album to a real-world place helps sell the inspiration to other people a little easier. It’s hard to get across, whether it’s to the audience or even someone who’s helping me with music videos or visuals. Having real-world examples of what something looks like is important.\u003c/p>\n\n\n\n\u003cp>I’m not much of an architecture nerd, but I do get inspired by certain kinds of architecture. The first thing I think about when I start a new project is what spaces I would listen to this music in, where it would feel the most at home. My first album was more of a seaside nautical town sort of thing, the second one was Midwest suburbia, and this one is obviously big cities — skyscrapers, hotels, airports, all these very modern and contemporary forms of architecture.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Tell me about the cover design for \u003c/strong>\u003cstrong>\u003cem>U. \u003c/em>\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I’ve been a fan of Ochiai Shohei since the last record. At the time I didn’t have a lot of money to work with, and it didn’t really fit with the general aesthetic of \u003cem>Wallsocket, \u003c/em>but with this album, I knew this was the time to see if I can push to work with him. I love his style because it’s so waggly, there’s no straight lines at any point. It feels almost like a childlike interpretation of trying to draw a memory from scratch. I felt his art style would perfectly complement the vibe I was going for and hopefully get across how I feel about spaces like these when I’m really passionate. \u003c/p>\n\n\n\n\u003cp>I’ll have a lot of dreams where there’s a lot of connecting architecture that makes no sense. Malls connected to supermarkets connected to churches or something. I think I wanted to show a space that’s really commercial and consumerist in this almost dreamlike, romantic way, and he’s the perfect artist for that.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/live/yzwzkhNQcsM?si=gJZc1QRqg7SyCzJ3\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Tell me about how your livestream at Stonestown for the album release came to be. \u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was my first time livestreaming anything in real life, not just tied to a desk. We just reached out to the mall and they were down to let me traipse around the mall for a couple hours after closing, which works perfectly because with a midnight release in the States, that’s 9 p.m. Pacific. I had the idea of doing this stream around the mall where I just kind of dance and move around and then have these little awkward moments or happy accidents happen. The camera rig came loose towards the last couple songs. \u003c/p>\n\n\n\n\u003cp>A few kids from SF State came to meet us right after. They had seen we were streaming in Stonestown at the time. I haven’t had anything like that happen before. I’m very grateful that Stonestown was down to let us do that. I think it was a really cool artifact to have.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Underscores performs at \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Portola Music Festival\u003c/a> at Pier 80 in San Francisco on Sept. 27.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Yes, it’s an illustration of Stonestown Galleria, the mall deep in southwestern San Francisco that 26-year-old Underscores mastermind April Harper Grey visited as a kid, along with untold millions of past and present San Franciscans. Born and raised just a short jaunt from the mall, Grey commissioned Japanese artist Ochiai Shohei to draw Stonestown as an organic wonderland, a vast cavern of crystal arches and hidden pathways. Signs for real-life businesses are blurred into incomprehensible symbols, stripping the mall of its commercial purpose and treating it purely as a work of awe-inspiring architecture, the kind of space that might feel a little numinous when you’re a kid.\u003c/p>\n",
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"innerHTML": "\n\u003cp>It’s a rare regional perspective in hyperpop, a genre whose home is clearly the internet, and which emerged at the end of last decade as a catch-all term for various strains of pop influenced by electronic dance music and intent on cranking the production to cartoonish extremes. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Underscores just joined \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Charli xcx\u003c/a>, arguably the most prominent figure in this scene, as an opener on the tour for her new album \u003cem>Music, Fashion, Film. \u003c/em>It’s easy to see why Grey would be a good fit for Charli; both artists write pop songs and render the sonics underneath them in eye-popping detail, and Grey’s roots as a dubstep producer during the 2010s dance-music boom clearly had an influence on the supple and undulating beats beneath her bubblegum melodies.\u003c/p>\n",
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"\n\u003cp>Underscores just joined \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Charli xcx\u003c/a>, arguably the most prominent figure in this scene, as an opener on the tour for her new album \u003cem>Music, Fashion, Film. \u003c/em>It’s easy to see why Grey would be a good fit for Charli; both artists write pop songs and render the sonics underneath them in eye-popping detail, and Grey’s roots as a dubstep producer during the 2010s dance-music boom clearly had an influence on the supple and undulating beats beneath her bubblegum melodies.\u003c/p>\n"
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"innerHTML": "\n\u003cp>As Underscores emerges from cult fandom into the arena universe, Grey has been shouting out her hometown to bigger and bigger audiences, not least during the emotional video tribute to Stonestown that sometimes screens as she sings her \u003cem>U \u003c/em>song “Wish U Well.” Anyone who has a cherished space from their childhood still lingering in their aesthetic consciousness can appreciate Grey’s attachment to the mall, through whose deserted halls she danced during a livestream concurrent with the release of the record in March. \u003c/p>\n",
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"\n\u003cp>As Underscores emerges from cult fandom into the arena universe, Grey has been shouting out her hometown to bigger and bigger audiences, not least during the emotional video tribute to Stonestown that sometimes screens as she sings her \u003cem>U \u003c/em>song “Wish U Well.” Anyone who has a cherished space from their childhood still lingering in their aesthetic consciousness can appreciate Grey’s attachment to the mall, through whose deserted halls she danced during a livestream concurrent with the release of the record in March. \u003c/p>\n"
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"innerHTML": "\n\u003cp>KQED\u003cem> \u003c/em>talked to Grey about the role of place in her work ahead of her upcoming performance at San Francisco’s \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a> on Sept. 27.\u003c/p>\n",
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"\n\u003cp>KQED\u003cem> \u003c/em>talked to Grey about the role of place in her work ahead of her upcoming performance at San Francisco’s \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a> on Sept. 27.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Daniel Bromfield: You were born and raised in San Francisco. Tell me about how growing up here influenced your work.\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Underscores:\u003c/strong> This is my third album. The previous two albums have had some sort of geographical location to tether it. The first one [2021’s \u003cem>Fishmonger\u003c/em>] was in New Jersey, the second one [2023’s \u003cem>Wallsocket\u003c/em>] was in Michigan. As the idea of tethering an album to a location became something I was more interested in pursuing with further work, the more obvious it became that I would have to do something in San Francisco, where I was born and raised.\u003c/p>\n",
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"innerHTML": "\n\u003cp>I grew up in Miraloma Park. Stonestown is a 35-minute walk from where I was. I had this ritual in high school and during COVID where I would listen to this one album and try to follow the exact same route and get to the mall once the album was done. I kind of liked the idea of replacing that album, almost, and seeing if I could soundtrack the way from my house to the mall. \u003c/p>\n",
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"\n\u003cp>I grew up in Miraloma Park. Stonestown is a 35-minute walk from where I was. I had this ritual in high school and during COVID where I would listen to this one album and try to follow the exact same route and get to the mall once the album was done. I kind of liked the idea of replacing that album, almost, and seeing if I could soundtrack the way from my house to the mall. \u003c/p>\n"
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"innerHTML": "\n\u003cp>It was this K-pop album called \u003cem>Melting \u003c/em>by the band Mamamoo. I did that walk once when I was 16 and everything synced up really well. I just got the urge that I should repeat this. During COVID, when I was really going through it, it helped calm me down and ground me to do that walk. My album is around the same length, which was sort of the intention, making a record you could listen to on a short walk or in transit somewhere in the city. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>K-pop has been a major influence on your work. You had a YouTube channel, 2ndgenbias,\u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003cstrong>analyzing K-pop songs, and your use of light sticks on your recent tour was also inspired by K-pop concerts. What have you learned from K-pop?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>There’s a lot of care put into the visuals in K-pop. That’s not to say that’s not the case here, but there’s a sort of hierarchy where music is priority number one, and stuff like music videos falls to the side a little bit in the West sometimes. I love the idea of the light stick as a token of someone’s adoration for an artist. I’ve always wanted to do a light stick based on the emblem of my first album, which is this water tower in New Jersey. I thought it made a lot of sense as a light stick. It was a pretty big financial risk for me to take, and it really ended up paying off seeing all these light sticks in the crowd.\u003c/p>\n",
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"\n\u003cp>There’s a lot of care put into the visuals in K-pop. That’s not to say that’s not the case here, but there’s a sort of hierarchy where music is priority number one, and stuff like music videos falls to the side a little bit in the West sometimes. I love the idea of the light stick as a token of someone’s adoration for an artist. I’ve always wanted to do a light stick based on the emblem of my first album, which is this water tower in New Jersey. I thought it made a lot of sense as a light stick. It was a pretty big financial risk for me to take, and it really ended up paying off seeing all these light sticks in the crowd.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>You recently joined Charli xcx on her \u003cem>Music, Fashion, Film \u003c/em>tour. How is preparing for a tour of that scale different from preparing for something like your Galleria tour, which took place in smaller venues like the Regency Ballroom?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>It’s been interesting. Their team has been really accommodating and helpful, and this is obviously something I wasn’t expecting to do anytime soon. I do think it’ll be a version of the show we put on for the Galleria tour, but with different architecture and trying to pay a lot more attention to my presence. Opening for people can be nerve-wracking and feel humiliating when you don’t get the crowd to do what you want them to do, but I’m trying to find ways to occupy that space and be a little more confident. \u003c/p>\n",
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"\n\u003cp>It’s been interesting. Their team has been really accommodating and helpful, and this is obviously something I wasn’t expecting to do anytime soon. I do think it’ll be a version of the show we put on for the Galleria tour, but with different architecture and trying to pay a lot more attention to my presence. Opening for people can be nerve-wracking and feel humiliating when you don’t get the crowd to do what you want them to do, but I’m trying to find ways to occupy that space and be a little more confident. \u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>One of the things that struck me at your Regency Ballroom show in June was your physical presence. How do you manage performing at that level of intensity night after night?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>I do my stretches. I was doing yoga on tour a lot, like every day. My movement for that tour was so sporadic and flaily, and I was constantly in motion. Sometimes it can be more confident to know when to not move at all, and that’s what I’m trying to work on, conserving my energy and putting it towards singing and hitting the right notes. But I have a great time on stage. I have this ring that tracks my steps, and I’m very passionate about getting my steps.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Your work has a strong sense of place, which isn’t something I think most people would associate with pop music. What is the role of specific places in your music?\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>I think tethering an album to a real-world place helps sell the inspiration to other people a little easier. It’s hard to get across, whether it’s to the audience or even someone who’s helping me with music videos or visuals. Having real-world examples of what something looks like is important.\u003c/p>\n",
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"innerHTML": "\n\u003cp>I’m not much of an architecture nerd, but I do get inspired by certain kinds of architecture. The first thing I think about when I start a new project is what spaces I would listen to this music in, where it would feel the most at home. My first album was more of a seaside nautical town sort of thing, the second one was Midwest suburbia, and this one is obviously big cities — skyscrapers, hotels, airports, all these very modern and contemporary forms of architecture.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Tell me about the cover design for \u003c/strong>\u003cstrong>\u003cem>U. \u003c/em>\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>I’ve been a fan of Ochiai Shohei since the last record. At the time I didn’t have a lot of money to work with, and it didn’t really fit with the general aesthetic of \u003cem>Wallsocket, \u003c/em>but with this album, I knew this was the time to see if I can push to work with him. I love his style because it’s so waggly, there’s no straight lines at any point. It feels almost like a childlike interpretation of trying to draw a memory from scratch. I felt his art style would perfectly complement the vibe I was going for and hopefully get across how I feel about spaces like these when I’m really passionate. \u003c/p>\n",
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"innerHTML": "\n\u003cp>I’ll have a lot of dreams where there’s a lot of connecting architecture that makes no sense. Malls connected to supermarkets connected to churches or something. I think I wanted to show a space that’s really commercial and consumerist in this almost dreamlike, romantic way, and he’s the perfect artist for that.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>Tell me about how your livestream at Stonestown for the album release came to be. \u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>A few kids from SF State came to meet us right after. They had seen we were streaming in Stonestown at the time. I haven’t had anything like that happen before. I’m very grateful that Stonestown was down to let us do that. I think it was a really cool artifact to have.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Underscores performs at \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Portola Music Festival\u003c/a> at Pier 80 in San Francisco on Sept. 27.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>If you grew up in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> and are attuned to recent developments in left-field pop music, you might’ve done a double take when looking at the cover of rising artist \u003ca href=\"https://underscores.bandcamp.com/album/u\">Underscores\u003c/a>’ third album, \u003cem>U. \u003c/em>\u003c/p>\n\n\n\n\u003cp>Yes, it’s an illustration of Stonestown Galleria, the mall deep in southwestern San Francisco that 26-year-old Underscores mastermind April Harper Grey visited as a kid, along with untold millions of past and present San Franciscans. Born and raised just a short jaunt from the mall, Grey commissioned Japanese artist Ochiai Shohei to draw Stonestown as an organic wonderland, a vast cavern of crystal arches and hidden pathways. Signs for real-life businesses are blurred into incomprehensible symbols, stripping the mall of its commercial purpose and treating it purely as a work of awe-inspiring architecture, the kind of space that might feel a little numinous when you’re a kid.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-rich is-provider-bandcamp wp-block-embed-bandcamp\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://underscores.bandcamp.com/album/u\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>It’s a rare regional perspective in hyperpop, a genre whose home is clearly the internet, and which emerged at the end of last decade as a catch-all term for various strains of pop influenced by electronic dance music and intent on cranking the production to cartoonish extremes. \u003c/p>\n\n\n\n\u003cp>Underscores just joined \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Charli xcx\u003c/a>, arguably the most prominent figure in this scene, as an opener on the tour for her new album \u003cem>Music, Fashion, Film. \u003c/em>It’s easy to see why Grey would be a good fit for Charli; both artists write pop songs and render the sonics underneath them in eye-popping detail, and Grey’s roots as a dubstep producer during the 2010s dance-music boom clearly had an influence on the supple and undulating beats beneath her bubblegum melodies.\u003c/p>\n\n\n\n\u003cp>As Underscores emerges from cult fandom into the arena universe, Grey has been shouting out her hometown to bigger and bigger audiences, not least during the emotional video tribute to Stonestown that sometimes screens as she sings her \u003cem>U \u003c/em>song “Wish U Well.” Anyone who has a cherished space from their childhood still lingering in their aesthetic consciousness can appreciate Grey’s attachment to the mall, through whose deserted halls she danced during a livestream concurrent with the release of the record in March. \u003c/p>\n\n\n\n\u003cp>KQED\u003cem> \u003c/em>talked to Grey about the role of place in her work ahead of her upcoming performance at San Francisco’s \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a> on Sept. 27.\u003c/p>\n\n\n\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\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/UNYqwpx7Cys'\n title='//www.youtube.com/embed/UNYqwpx7Cys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Daniel Bromfield: You were born and raised in San Francisco. Tell me about how growing up here influenced your work.\u003c/strong>\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Underscores:\u003c/strong> This is my third album. The previous two albums have had some sort of geographical location to tether it. The first one [2021’s \u003cem>Fishmonger\u003c/em>] was in New Jersey, the second one [2023’s \u003cem>Wallsocket\u003c/em>] was in Michigan. As the idea of tethering an album to a location became something I was more interested in pursuing with further work, the more obvious it became that I would have to do something in San Francisco, where I was born and raised.\u003c/p>\n\n\n\n\u003cp>I grew up in Miraloma Park. Stonestown is a 35-minute walk from where I was. I had this ritual in high school and during COVID where I would listen to this one album and try to follow the exact same route and get to the mall once the album was done. I kind of liked the idea of replacing that album, almost, and seeing if I could soundtrack the way from my house to the mall. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>Which album was it?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was this K-pop album called \u003cem>Melting \u003c/em>by the band Mamamoo. I did that walk once when I was 16 and everything synced up really well. I just got the urge that I should repeat this. During COVID, when I was really going through it, it helped calm me down and ground me to do that walk. My album is around the same length, which was sort of the intention, making a record you could listen to on a short walk or in transit somewhere in the city. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>K-pop has been a major influence on your work. You had a YouTube channel, 2ndgenbias,\u003c/strong>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>\u003cstrong>analyzing K-pop songs, and your use of light sticks on your recent tour was also inspired by K-pop concerts. What have you learned from K-pop?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>There’s a lot of care put into the visuals in K-pop. That’s not to say that’s not the case here, but there’s a sort of hierarchy where music is priority number one, and stuff like music videos falls to the side a little bit in the West sometimes. I love the idea of the light stick as a token of someone’s adoration for an artist. I’ve always wanted to do a light stick based on the emblem of my first album, which is this water tower in New Jersey. I thought it made a lot of sense as a light stick. It was a pretty big financial risk for me to take, and it really ended up paying off seeing all these light sticks in the crowd.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\">\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>You recently joined Charli xcx on her \u003cem>Music, Fashion, Film \u003c/em>tour. How is preparing for a tour of that scale different from preparing for something like your Galleria tour, which took place in smaller venues like the Regency Ballroom?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>It’s been interesting. Their team has been really accommodating and helpful, and this is obviously something I wasn’t expecting to do anytime soon. I do think it’ll be a version of the show we put on for the Galleria tour, but with different architecture and trying to pay a lot more attention to my presence. Opening for people can be nerve-wracking and feel humiliating when you don’t get the crowd to do what you want them to do, but I’m trying to find ways to occupy that space and be a little more confident. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>One of the things that struck me at your Regency Ballroom show in June was your physical presence. How do you manage performing at that level of intensity night after night?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I do my stretches. I was doing yoga on tour a lot, like every day. My movement for that tour was so sporadic and flaily, and I was constantly in motion. Sometimes it can be more confident to know when to not move at all, and that’s what I’m trying to work on, conserving my energy and putting it towards singing and hitting the right notes. But I have a great time on stage. I have this ring that tracks my steps, and I’m very passionate about getting my steps.\u003c/p>\n\n\n\n\n\n\u003cp>\u003cstrong>Your work has a strong sense of place, which isn’t something I think most people would associate with pop music. What is the role of specific places in your music?\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I think tethering an album to a real-world place helps sell the inspiration to other people a little easier. It’s hard to get across, whether it’s to the audience or even someone who’s helping me with music videos or visuals. Having real-world examples of what something looks like is important.\u003c/p>\n\n\n\n\u003cp>I’m not much of an architecture nerd, but I do get inspired by certain kinds of architecture. The first thing I think about when I start a new project is what spaces I would listen to this music in, where it would feel the most at home. My first album was more of a seaside nautical town sort of thing, the second one was Midwest suburbia, and this one is obviously big cities — skyscrapers, hotels, airports, all these very modern and contemporary forms of architecture.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>Tell me about the cover design for \u003c/strong>\u003cstrong>\u003cem>U. \u003c/em>\u003c/strong>\u003c/p>\n\n\n\n\u003cp>I’ve been a fan of Ochiai Shohei since the last record. At the time I didn’t have a lot of money to work with, and it didn’t really fit with the general aesthetic of \u003cem>Wallsocket, \u003c/em>but with this album, I knew this was the time to see if I can push to work with him. I love his style because it’s so waggly, there’s no straight lines at any point. It feels almost like a childlike interpretation of trying to draw a memory from scratch. I felt his art style would perfectly complement the vibe I was going for and hopefully get across how I feel about spaces like these when I’m really passionate. \u003c/p>\n\n\n\n\u003cp>I’ll have a lot of dreams where there’s a lot of connecting architecture that makes no sense. Malls connected to supermarkets connected to churches or something. I think I wanted to show a space that’s really commercial and consumerist in this almost dreamlike, romantic way, and he’s the perfect artist for that.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/live/yzwzkhNQcsM?si=gJZc1QRqg7SyCzJ3\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Tell me about how your livestream at Stonestown for the album release came to be. \u003c/strong>\u003c/p>\n\n\n\n\u003cp>It was my first time livestreaming anything in real life, not just tied to a desk. We just reached out to the mall and they were down to let me traipse around the mall for a couple hours after closing, which works perfectly because with a midnight release in the States, that’s 9 p.m. Pacific. I had the idea of doing this stream around the mall where I just kind of dance and move around and then have these little awkward moments or happy accidents happen. The camera rig came loose towards the last couple songs. \u003c/p>\n\n\n\n\u003cp>A few kids from SF State came to meet us right after. They had seen we were streaming in Stonestown at the time. I haven’t had anything like that happen before. I’m very grateful that Stonestown was down to let us do that. I think it was a really cool artifact to have.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Underscores performs at \u003ca href=\"https://www.kqed.org/arts/13992518/outside-lands-charli-xcx-panties-glorilla-wet-leg\">Portola Music Festival\u003c/a> at Pier 80 in San Francisco on Sept. 27.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\n\u003cp>Hip-hop legends OutKast have sued rising Bay Area rapper-producer \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">ovrkast.\u003c/a>, real name Silas Wilson, for trademark infringement because of similarities in their names, and are using Wilson’s own words from an interview as evidence. \u003c/p>\n\n\n\n\u003cp>OutKast filed the case in federal court in Georgia on Sept. 16, accusing Wilson of violating an agreement to phase out his use of the ovrkast. name. OutKast, the Atlanta duo composed of Big Boi (Antwan Patton) and André 3000 (André Benjamin), first sent Wilson a cease and desist in June 2025.\u003c/p>\n\n\n\n\n\n\u003cp>According to court documents, the two parties came to an agreement that Wilson would change his name to Overkxst by July 15, 2026, and stop using the name ovrkast. on social media, streaming platforms, merch and other places where he promotes his shows and music. As of publication time, his Instagram is still up as ovrkast., and he released a new single under the name — “Knock” featuring Samara Cyn and MAVI — on Sept. 10. \u003c/p>\n\n\n\n\u003cp>One of the pieces of evidence in the case is a 2025 \u003ca href=\"https://www.rollingstone.com/music/music-features/no-filler-indie-rap-ovrkast-1235380963/\">\u003cem>Rolling Stone\u003c/em> interview \u003c/a>with Wilson where he talks about his rise from Oakland’s underground hip-hop scene to producing for Drake and other big names. In the interview, Wilson said his name has caused confusion among hip-hop fans: “The worst thing I get is like, ‘The n— think he OutKast,’” he said at the time. “It’s like, ‘No, bro. I wasn’t even thinking about OutKast.’ Mad n—s do that shit. They read Ovrkast [as] OutKast. They’re like, oh my God, I thought they said OutKast. And it’s like, it don’t, so…”\u003c/p>\n\n\n\n\u003cp>In the court complaint, OutKast claims the similar names are likely to “deceive the public into the false belief that the services offered by [Wilson] come from or are otherwise sponsored by, connected with, or affiliated with [OutKast,] which they are not.”\u003c/p>\n\n\n\n\u003cp>Wilson didn’t return KQED’s request for comment, but he posted a screenshot of an article about the lawsuit from \u003ca href=\"https://allhiphop.com/news/exclusive-outkast-sues-ovrkast-after-rapper-admits-listeners-confuse-their-names/\">AllHipHop\u003c/a>, which first reported on the case. “I’m jus a young Back man trying to get ahead,” he wrote in the comments. \u003c/p>\n\n\n\n\u003cp>In their court filing, OutKast demanded a jury trial. It’s not the first time the duo has taken an artist to court over similar allegations: They sued EDM due ATLiens, whose name was inspired by OutKast’s 1996 album of the same title, and settled out of court earlier this year. \u003c/p>\n",
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"innerHTML": "\n\u003cp>OutKast filed the case in federal court in Georgia on Sept. 16, accusing Wilson of violating an agreement to phase out his use of the ovrkast. name. OutKast, the Atlanta duo composed of Big Boi (Antwan Patton) and André 3000 (André Benjamin), first sent Wilson a cease and desist in June 2025.\u003c/p>\n",
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"innerHTML": "\n\u003cp>According to court documents, the two parties came to an agreement that Wilson would change his name to Overkxst by July 15, 2026, and stop using the name ovrkast. on social media, streaming platforms, merch and other places where he promotes his shows and music. As of publication time, his Instagram is still up as ovrkast., and he released a new single under the name — “Knock” featuring Samara Cyn and MAVI — on Sept. 10. \u003c/p>\n",
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"\n\u003cp>According to court documents, the two parties came to an agreement that Wilson would change his name to Overkxst by July 15, 2026, and stop using the name ovrkast. on social media, streaming platforms, merch and other places where he promotes his shows and music. As of publication time, his Instagram is still up as ovrkast., and he released a new single under the name — “Knock” featuring Samara Cyn and MAVI — on Sept. 10. \u003c/p>\n"
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"innerHTML": "\n\u003cp>One of the pieces of evidence in the case is a 2025 \u003ca href=\"https://www.rollingstone.com/music/music-features/no-filler-indie-rap-ovrkast-1235380963/\">\u003cem>Rolling Stone\u003c/em> interview \u003c/a>with Wilson where he talks about his rise from Oakland’s underground hip-hop scene to producing for Drake and other big names. In the interview, Wilson said his name has caused confusion among hip-hop fans: “The worst thing I get is like, ‘The n— think he OutKast,’” he said at the time. “It’s like, ‘No, bro. I wasn’t even thinking about OutKast.’ Mad n—s do that shit. They read Ovrkast [as] OutKast. They’re like, oh my God, I thought they said OutKast. And it’s like, it don’t, so…”\u003c/p>\n",
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"\n\u003cp>One of the pieces of evidence in the case is a 2025 \u003ca href=\"https://www.rollingstone.com/music/music-features/no-filler-indie-rap-ovrkast-1235380963/\">\u003cem>Rolling Stone\u003c/em> interview \u003c/a>with Wilson where he talks about his rise from Oakland’s underground hip-hop scene to producing for Drake and other big names. In the interview, Wilson said his name has caused confusion among hip-hop fans: “The worst thing I get is like, ‘The n— think he OutKast,’” he said at the time. “It’s like, ‘No, bro. I wasn’t even thinking about OutKast.’ Mad n—s do that shit. They read Ovrkast [as] OutKast. They’re like, oh my God, I thought they said OutKast. And it’s like, it don’t, so…”\u003c/p>\n"
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"innerHTML": "\n\u003cp>In the court complaint, OutKast claims the similar names are likely to “deceive the public into the false belief that the services offered by [Wilson] come from or are otherwise sponsored by, connected with, or affiliated with [OutKast,] which they are not.”\u003c/p>\n",
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"\n\u003cp>In the court complaint, OutKast claims the similar names are likely to “deceive the public into the false belief that the services offered by [Wilson] come from or are otherwise sponsored by, connected with, or affiliated with [OutKast,] which they are not.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Wilson didn’t return KQED’s request for comment, but he posted a screenshot of an article about the lawsuit from \u003ca href=\"https://allhiphop.com/news/exclusive-outkast-sues-ovrkast-after-rapper-admits-listeners-confuse-their-names/\">AllHipHop\u003c/a>, which first reported on the case. “I’m jus a young Back man trying to get ahead,” he wrote in the comments. \u003c/p>\n",
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"innerHTML": "\n\u003cp>In their court filing, OutKast demanded a jury trial. It’s not the first time the duo has taken an artist to court over similar allegations: They sued EDM due ATLiens, whose name was inspired by OutKast’s 1996 album of the same title, and settled out of court earlier this year. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Hip-hop legends OutKast have sued rising Bay Area rapper-producer \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">ovrkast.\u003c/a>, real name Silas Wilson, for trademark infringement because of similarities in their names, and are using Wilson’s own words from an interview as evidence. \u003c/p>\n\n\n\n\u003cp>OutKast filed the case in federal court in Georgia on Sept. 16, accusing Wilson of violating an agreement to phase out his use of the ovrkast. name. OutKast, the Atlanta duo composed of Big Boi (Antwan Patton) and André 3000 (André Benjamin), first sent Wilson a cease and desist in June 2025.\u003c/p>\n\n\n\n\n\n\u003cp>According to court documents, the two parties came to an agreement that Wilson would change his name to Overkxst by July 15, 2026, and stop using the name ovrkast. on social media, streaming platforms, merch and other places where he promotes his shows and music. As of publication time, his Instagram is still up as ovrkast., and he released a new single under the name — “Knock” featuring Samara Cyn and MAVI — on Sept. 10. \u003c/p>\n\n\n\n\u003cp>One of the pieces of evidence in the case is a 2025 \u003ca href=\"https://www.rollingstone.com/music/music-features/no-filler-indie-rap-ovrkast-1235380963/\">\u003cem>Rolling Stone\u003c/em> interview \u003c/a>with Wilson where he talks about his rise from Oakland’s underground hip-hop scene to producing for Drake and other big names. In the interview, Wilson said his name has caused confusion among hip-hop fans: “The worst thing I get is like, ‘The n— think he OutKast,’” he said at the time. “It’s like, ‘No, bro. I wasn’t even thinking about OutKast.’ Mad n—s do that shit. They read Ovrkast [as] OutKast. They’re like, oh my God, I thought they said OutKast. And it’s like, it don’t, so…”\u003c/p>\n\n\n\n\u003cp>In the court complaint, OutKast claims the similar names are likely to “deceive the public into the false belief that the services offered by [Wilson] come from or are otherwise sponsored by, connected with, or affiliated with [OutKast,] which they are not.”\u003c/p>\n\n\n\n\u003cp>Wilson didn’t return KQED’s request for comment, but he posted a screenshot of an article about the lawsuit from \u003ca href=\"https://allhiphop.com/news/exclusive-outkast-sues-ovrkast-after-rapper-admits-listeners-confuse-their-names/\">AllHipHop\u003c/a>, which first reported on the case. “I’m jus a young Back man trying to get ahead,” he wrote in the comments. \u003c/p>\n\n\n\n\u003cp>In their court filing, OutKast demanded a jury trial. It’s not the first time the duo has taken an artist to court over similar allegations: They sued EDM due ATLiens, whose name was inspired by OutKast’s 1996 album of the same title, and settled out of court earlier this year. \u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Elim Chan Has Been Added to Two More Programs at SF Symphony This Season",
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"content": "\n\u003cp>Fans of the \u003ca href=\"https://www.kqed.org/arts/tag/elim-chan\">Elim Chan\u003c/a> will have two more chances to see the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>‘s incoming music director conduct the orchestra this season. In addition to her scheduled October concerts, Chan will now conduct additional programs in January and June 2027.\u003c/p>\n\n\n\n\u003cp>“It is really important to me to be in San Francisco for a few additional weeks this season because we’re embarking on a very important new chapter together,” said Chan in a statement. “There is so much to do, and I cannot wait to get started.” \u003c/p>\n\n\n\n\u003cp>In the Bay Area, Chan has already amassed a fan club. This past June, shortly after being appointed as \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">the Symphony’s first-ever female music director\u003c/a>, Chan conducted a program of Wagner, Berlioz and Debussy that resulted in \u003ca href=\"https://www.kqed.org/arts/13990508/elim-chan-review-davies-wagner-berlioz-debussy-san-francisco-symphony\">standing ovations and a circle of selfie-seeking patrons of all ages\u003c/a> who gathered afterwards outside of Davies Symphony Hall.\u003c/p>\n\n\n\n\n\n\u003cp>On Jan. 14–16, Chan will conduct Noriko Koide’s \u003cem>Swaddling Silk and Gossamer Rain\u003c/em>, Mozart’s Sinfonia concertante and Elgar’s \u003cem>Enigma\u003c/em> Variations. The full program replaces one led by Conductor Laureate Herbert Blomstedt, who has withdrawn from the engagement on the advice of doctors. (The 99-year-old conductor \u003ca href=\"https://www.sfchronicle.com/entertainment/music/article/herbert-blomstedt-sf-symphony-22262627.php\">withdrew from a Mahler program in May\u003c/a> after one performance.)\u003c/p>\n\n\n\n\u003cp>On June 25–27, Chan will replace conductor Gustavo Gimeno, who has withdrawn to allow Chan to take the podium. The program includes Augusta Read Thomas’ \u003cem>Sunlight Echoes\u003c/em> with the San Francisco Symphony Chorus, Rachmaninoff’s Piano Concerto No. 3 performed by Yefim Bronfman and Prokofiev’s Symphony No. 5.\u003c/p>\n\n\n\n\u003cp>As previously announced, Chan will also conduct a program of John Adams’ \u003cem>Doctor Atomic\u003c/em> Symphony, Arvo Pärt’s \u003cem>Magnificat\u003c/em>, and pieces by Brahms and Mendelssohn on Oct. 29–31.\u003c/p>\n\n\n\n\u003cp>Chan’s inaugural season officially begins September 2027.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“It is really important to me to be in San Francisco for a few additional weeks this season because we’re embarking on a very important new chapter together,” said Chan in a statement. “There is so much to do, and I cannot wait to get started.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>On Jan. 14–16, Chan will conduct Noriko Koide’s \u003cem>Swaddling Silk and Gossamer Rain\u003c/em>, Mozart’s Sinfonia concertante and Elgar’s \u003cem>Enigma\u003c/em> Variations. The full program replaces one led by Conductor Laureate Herbert Blomstedt, who has withdrawn from the engagement on the advice of doctors. (The 99-year-old conductor \u003ca href=\"https://www.sfchronicle.com/entertainment/music/article/herbert-blomstedt-sf-symphony-22262627.php\">withdrew from a Mahler program in May\u003c/a> after one performance.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>On June 25–27, Chan will replace conductor Gustavo Gimeno, who has withdrawn to allow Chan to take the podium. The program includes Augusta Read Thomas’ \u003cem>Sunlight Echoes\u003c/em> with the San Francisco Symphony Chorus, Rachmaninoff’s Piano Concerto No. 3 performed by Yefim Bronfman and Prokofiev’s Symphony No. 5.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As previously announced, Chan will also conduct a program of John Adams’ \u003cem>Doctor Atomic\u003c/em> Symphony, Arvo Pärt’s \u003cem>Magnificat\u003c/em>, and pieces by Brahms and Mendelssohn on Oct. 29–31.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Fans of the \u003ca href=\"https://www.kqed.org/arts/tag/elim-chan\">Elim Chan\u003c/a> will have two more chances to see the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a>‘s incoming music director conduct the orchestra this season. In addition to her scheduled October concerts, Chan will now conduct additional programs in January and June 2027.\u003c/p>\n\n\n\n\u003cp>“It is really important to me to be in San Francisco for a few additional weeks this season because we’re embarking on a very important new chapter together,” said Chan in a statement. “There is so much to do, and I cannot wait to get started.” \u003c/p>\n\n\n\n\u003cp>In the Bay Area, Chan has already amassed a fan club. This past June, shortly after being appointed as \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">the Symphony’s first-ever female music director\u003c/a>, Chan conducted a program of Wagner, Berlioz and Debussy that resulted in \u003ca href=\"https://www.kqed.org/arts/13990508/elim-chan-review-davies-wagner-berlioz-debussy-san-francisco-symphony\">standing ovations and a circle of selfie-seeking patrons of all ages\u003c/a> who gathered afterwards outside of Davies Symphony Hall.\u003c/p>\n\n\n\n\n\n\u003cp>On Jan. 14–16, Chan will conduct Noriko Koide’s \u003cem>Swaddling Silk and Gossamer Rain\u003c/em>, Mozart’s Sinfonia concertante and Elgar’s \u003cem>Enigma\u003c/em> Variations. The full program replaces one led by Conductor Laureate Herbert Blomstedt, who has withdrawn from the engagement on the advice of doctors. (The 99-year-old conductor \u003ca href=\"https://www.sfchronicle.com/entertainment/music/article/herbert-blomstedt-sf-symphony-22262627.php\">withdrew from a Mahler program in May\u003c/a> after one performance.)\u003c/p>\n\n\n\n\u003cp>On June 25–27, Chan will replace conductor Gustavo Gimeno, who has withdrawn to allow Chan to take the podium. The program includes Augusta Read Thomas’ \u003cem>Sunlight Echoes\u003c/em> with the San Francisco Symphony Chorus, Rachmaninoff’s Piano Concerto No. 3 performed by Yefim Bronfman and Prokofiev’s Symphony No. 5.\u003c/p>\n\n\n\n\u003cp>As previously announced, Chan will also conduct a program of John Adams’ \u003cem>Doctor Atomic\u003c/em> Symphony, Arvo Pärt’s \u003cem>Magnificat\u003c/em>, and pieces by Brahms and Mendelssohn on Oct. 29–31.\u003c/p>\n\n\n\n\u003cp>Chan’s inaugural season officially begins September 2027.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "At the Internet Archive, Negativland Reminds the World Why They Matter",
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"content": "\n\u003cp>The American music industry has a long history of exploitation, but Negativland really got fleeced. With their long, expensive legal fight over fair use, the Contra Costa County collective changed the trajectory of art, culture and mass media in America. Now, the very principles Negativland defended have been commandeered by full-speed-ahead AI companies to invade, steal and poorly regurgitate the world’s body of knowledge and information.\u003c/p>\n\n\n\n\u003cp>Or, as they put it during their sold-out show Wednesday night at the San Francisco headquarters of the \u003ca href=\"https://www.kqed.org/arts/tag/internet-archive\">Internet Archive\u003c/a>, “The AI people are using the Negativland model to justify their business model. Fuck them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319.jpg\" alt=\"\" class=\"wp-image-13994041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Internet Archive founder Brewster Kahle introduces Negativland on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The Internet Archive and Negativland make a perfect pair. The Internet Archive is dedicated to preserving knowledge and culture, no matter how mundane or fleeting. Since 1979, Negativland has resurfaced and remixed the world’s culture into entirely new works of art. (In fact, while driving to the show, I stumbled upon an accidental opening act by tuning in to 89.9 KDFC, where a Schumann symphony clashed with broadcast static and snippets of news announcers’ voices — “glass bottles” … “West Marin” … “a Russian envoy” — from a competing radio station.)\u003c/p>\n\n\n\n\u003cp>Before the set, Internet Archive founder Brewster Kahle held up a copy of the group’s best-known release, \u003cem>U2\u003c/em>, and said that, a decade ago, the Internet Archive began hosting more than 4,000 hours of the Negativland radio show \u003cem>\u003ca href=\"https://kpfa.org/program/over-the-edge/\">Over the Edge\u003c/a>\u003c/em>. “I can’t tell you how meaningful it was to us,” Kahle said. \u003c/p>\n\n\n\n\u003cp>Negativland fans are a lovable bunch. Inside the Internet Archive’s giant hall — a former church, with wooden pews and hymn numbers sharing space with giant servers — strangers struck up conversations that I did not understand. (“We’re big fans of the MX204 and 2100 switch,” for one.) People took photos of the band’s onstage pile of electronic gear. Someone near me reeked of stale weed. Few attendees appeared under the age of 40. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305.jpg\" alt=\"\" class=\"wp-image-13994037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd before Negativland’s performance at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>And then, with members Mark Hosler and Jon Leidecker at a long table covered in mixing boards, cables, wires, homemade electronic units and hand-scrawled notes, the show began. \u003c/p>\n\n\n\n\u003cp>\u003cem>“The point is this … we’re getting a little off-course.”\u003c/em>\u003c/p>\n\n\n\n\u003cp>So repeated an NPR-style voice over new-age synths and oscillations hard-panned across the room’s speakers. For over an hour, gurgling sounds, or the sound of raindrops, or strange tympani, bells or drones programmed by Hosler shared space with Leidecker’s vocal samples: \u003cem>“Is the universe just one big brain?” “Please just tell me what is illegal, and I’ll stop doing it.” “Is this real, and do we care?”\u003c/em>\u003c/p>\n\n\n\n\u003cp>This being Negativland, plenty of subversive humor ran through the set. The audience laughed at the more absurd moments, like a man’s voice suggesting that we melt the North Pole, or another’s declaring that “pretty much everything David Lynch does is right-wing coded.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg\" alt=\"\" class=\"wp-image-13994042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Mark Hosler and Jon Leidecker of Negativland perform at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>But the night’s jest blurred with reality. One man’s voice declared that achieving AI goals, despite its ruinous effects on the planet, is more important than achieving climate goals. How many AI zealots think this way? On a similar note, I was plucked from my sound-collage reverie when I actually recognized a sample, of Suno CEO Mike Shulman, claiming that “\u003ca href=\"https://youtu.be/E0YL83U5VWk?si=06719ePx3XfGvAAP&t=1400\">It’s not really enjoyable to make music now\u003c/a>.” (I wrote in my notebook: “Idiots Talking About Art & Technology” ← Theme of the set??”)\u003c/p>\n\n\n\n\u003cp>This overlap of humor and doom came to a head when men’s voices discussed the need for technology to be violent, and Leidecker, expressionless, introduced an exasperated, terrified woman’s voice into their dialogue, repeating, “Friend?! Friend?! \u003cem>FRIEND\u003c/em>?!”\u003c/p>\n\n\n\n\u003cp>Throughout, Hosler manned the giant board, sometimes spanning his fingers across something that looked like a flux capacitor, sometimes picking up a Fender bass and playing it with an electric toothbrush, sometimes wincing as if he were playing a heavy metal guitar solo. And just when it was needed most, levity came over the phone lines: David “The Weatherman” Wills, calling in from his home in Seattle, providing a running monologue about refrigerator lights, Kaopectate, short-wave radios and eating Speed Stick deodorant.\u003c/p>\n\n\n\n\u003cp>Afterward, the band announced that they rarely if ever played songs from their albums live, but for an encore, the beat dropped to their 1987 track (and \u003ca href=\"https://en.wikipedia.org/wiki/Christianity_Is_Stupid\">media hoax material\u003c/a>) “\u003ca href=\"https://youtu.be/Vrt6o81ku5o?si=Zhn9STORm6TZR3sN\">Christianity is Stupid\u003c/a>.” The crowd audibly whooped. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363.jpg\" alt=\"\" class=\"wp-image-13994038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Mark Hosler and Jon Leidecker of Negativland at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A Q&A followed, during which Trump was declared “the evil culture-jammer.” Leidecker asked out loud, “How do you have a functioning democracy when there’s no reality?” and advised that while the ideals Negativland worked for have spread wider than they could have imagined, it was important to “make sure you’re pranking \u003cem>upwards\u003c/em>, instead of deceiving everybody.”\u003c/p>\n\n\n\n\u003cp>A confession: the main reason I like Negativland isn’t their agitating, or the ways they’ve undeniably made the music industry and creativity at large better. I like them for their sound output. That may seem like a superficial way of interacting with one of the world’s most important experimental groups, and one could surely argue that their aesthetics are inseparable from their advocacy. But what can I say? I fell in love with them because of their records, not their lawsuits.\u003c/p>\n\n\n\n\u003cp>Or, as a twisted, effects-laden voice said, and burbled, and sung, at the end of their set on Wednesday: \u003cem>If you don’t understand, the least you can do is enjoy the beautiful music.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388.jpg\" alt=\"\" class=\"wp-image-13994040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">The Internet Archive in San Francisco, pictured on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>The American music industry has a long history of exploitation, but Negativland really got fleeced. With their long, expensive legal fight over fair use, the Contra Costa County collective changed the trajectory of art, culture and mass media in America. Now, the very principles Negativland defended have been commandeered by full-speed-ahead AI companies to invade, steal and poorly regurgitate the world’s body of knowledge and information.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Or, as they put it during their sold-out show Wednesday night at the San Francisco headquarters of the \u003ca href=\"https://www.kqed.org/arts/tag/internet-archive\">Internet Archive\u003c/a>, “The AI people are using the Negativland model to justify their business model. Fuck them.”\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319.jpg\" alt=\"\" class=\"wp-image-13994041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-1536x1152.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Internet Archive founder Brewster Kahle introduces Negativland on Sept. 16, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319.jpg\" alt=\"\" class=\"wp-image-13994041\"/>\u003cfigcaption class=\"wp-element-caption\">Internet Archive founder Brewster Kahle introduces Negativland on Sept. 16, 2026.\u003ccite class=\"wp-inline-image-credit\"> (Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>The Internet Archive and Negativland make a perfect pair. The Internet Archive is dedicated to preserving knowledge and culture, no matter how mundane or fleeting. Since 1979, Negativland has resurfaced and remixed the world’s culture into entirely new works of art. (In fact, while driving to the show, I stumbled upon an accidental opening act by tuning in to 89.9 KDFC, where a Schumann symphony clashed with broadcast static and snippets of news announcers’ voices — “glass bottles” … “West Marin” … “a Russian envoy” — from a competing radio station.)\u003c/p>\n",
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"\n\u003cp>The Internet Archive and Negativland make a perfect pair. The Internet Archive is dedicated to preserving knowledge and culture, no matter how mundane or fleeting. Since 1979, Negativland has resurfaced and remixed the world’s culture into entirely new works of art. (In fact, while driving to the show, I stumbled upon an accidental opening act by tuning in to 89.9 KDFC, where a Schumann symphony clashed with broadcast static and snippets of news announcers’ voices — “glass bottles” … “West Marin” … “a Russian envoy” — from a competing radio station.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>Before the set, Internet Archive founder Brewster Kahle held up a copy of the group’s best-known release, \u003cem>U2\u003c/em>, and said that, a decade ago, the Internet Archive began hosting more than 4,000 hours of the Negativland radio show \u003cem>\u003ca href=\"https://kpfa.org/program/over-the-edge/\">Over the Edge\u003c/a>\u003c/em>. “I can’t tell you how meaningful it was to us,” Kahle said. \u003c/p>\n",
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"\n\u003cp>Before the set, Internet Archive founder Brewster Kahle held up a copy of the group’s best-known release, \u003cem>U2\u003c/em>, and said that, a decade ago, the Internet Archive began hosting more than 4,000 hours of the Negativland radio show \u003cem>\u003ca href=\"https://kpfa.org/program/over-the-edge/\">Over the Edge\u003c/a>\u003c/em>. “I can’t tell you how meaningful it was to us,” Kahle said. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Negativland fans are a lovable bunch. Inside the Internet Archive’s giant hall — a former church, with wooden pews and hymn numbers sharing space with giant servers — strangers struck up conversations that I did not understand. (“We’re big fans of the MX204 and 2100 switch,” for one.) People took photos of the band’s onstage pile of electronic gear. Someone near me reeked of stale weed. Few attendees appeared under the age of 40. \u003c/p>\n",
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"\n\u003cp>Negativland fans are a lovable bunch. Inside the Internet Archive’s giant hall — a former church, with wooden pews and hymn numbers sharing space with giant servers — strangers struck up conversations that I did not understand. (“We’re big fans of the MX204 and 2100 switch,” for one.) People took photos of the band’s onstage pile of electronic gear. Someone near me reeked of stale weed. Few attendees appeared under the age of 40. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305.jpg\" alt=\"\" class=\"wp-image-13994037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-1536x1152.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">The crowd before Negativland’s performance at the Internet Archive in San Francisco on Sept. 16, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>So repeated an NPR-style voice over new-age synths and oscillations hard-panned across the room’s speakers. For over an hour, gurgling sounds, or the sound of raindrops, or strange tympani, bells or drones programmed by Hosler shared space with Leidecker’s vocal samples: \u003cem>“Is the universe just one big brain?” “Please just tell me what is illegal, and I’ll stop doing it.” “Is this real, and do we care?”\u003c/em>\u003c/p>\n",
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"\n\u003cp>So repeated an NPR-style voice over new-age synths and oscillations hard-panned across the room’s speakers. For over an hour, gurgling sounds, or the sound of raindrops, or strange tympani, bells or drones programmed by Hosler shared space with Leidecker’s vocal samples: \u003cem>“Is the universe just one big brain?” “Please just tell me what is illegal, and I’ll stop doing it.” “Is this real, and do we care?”\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>This being Negativland, plenty of subversive humor ran through the set. The audience laughed at the more absurd moments, like a man’s voice suggesting that we melt the North Pole, or another’s declaring that “pretty much everything David Lynch does is right-wing coded.”\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg\" alt=\"\" class=\"wp-image-13994042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Mark Hosler and Jon Leidecker of Negativland perform at the Internet Archive in San Francisco on Sept. 16, 2026. \u003ccite class=\"wp-inline-image-credit\"> (Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>But the night’s jest blurred with reality. One man’s voice declared that achieving AI goals, despite its ruinous effects on the planet, is more important than achieving climate goals. How many AI zealots think this way? On a similar note, I was plucked from my sound-collage reverie when I actually recognized a sample, of Suno CEO Mike Shulman, claiming that “\u003ca href=\"https://youtu.be/E0YL83U5VWk?si=06719ePx3XfGvAAP&t=1400\">It’s not really enjoyable to make music now\u003c/a>.” (I wrote in my notebook: “Idiots Talking About Art & Technology” ← Theme of the set??”)\u003c/p>\n",
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"innerHTML": "\n\u003cp>This overlap of humor and doom came to a head when men’s voices discussed the need for technology to be violent, and Leidecker, expressionless, introduced an exasperated, terrified woman’s voice into their dialogue, repeating, “Friend?! Friend?! \u003cem>FRIEND\u003c/em>?!”\u003c/p>\n",
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"\n\u003cp>This overlap of humor and doom came to a head when men’s voices discussed the need for technology to be violent, and Leidecker, expressionless, introduced an exasperated, terrified woman’s voice into their dialogue, repeating, “Friend?! Friend?! \u003cem>FRIEND\u003c/em>?!”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Throughout, Hosler manned the giant board, sometimes spanning his fingers across something that looked like a flux capacitor, sometimes picking up a Fender bass and playing it with an electric toothbrush, sometimes wincing as if he were playing a heavy metal guitar solo. And just when it was needed most, levity came over the phone lines: David “The Weatherman” Wills, calling in from his home in Seattle, providing a running monologue about refrigerator lights, Kaopectate, short-wave radios and eating Speed Stick deodorant.\u003c/p>\n",
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"innerHTML": "\n\u003cp>A Q&A followed, during which Trump was declared “the evil culture-jammer.” Leidecker asked out loud, “How do you have a functioning democracy when there’s no reality?” and advised that while the ideals Negativland worked for have spread wider than they could have imagined, it was important to “make sure you’re pranking \u003cem>upwards\u003c/em>, instead of deceiving everybody.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>A confession: the main reason I like Negativland isn’t their agitating, or the ways they’ve undeniably made the music industry and creativity at large better. I like them for their sound output. That may seem like a superficial way of interacting with one of the world’s most important experimental groups, and one could surely argue that their aesthetics are inseparable from their advocacy. But what can I say? I fell in love with them because of their records, not their lawsuits.\u003c/p>\n",
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"\n\u003cp>A confession: the main reason I like Negativland isn’t their agitating, or the ways they’ve undeniably made the music industry and creativity at large better. I like them for their sound output. That may seem like a superficial way of interacting with one of the world’s most important experimental groups, and one could surely argue that their aesthetics are inseparable from their advocacy. But what can I say? I fell in love with them because of their records, not their lawsuits.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Or, as a twisted, effects-laden voice said, and burbled, and sung, at the end of their set on Wednesday: \u003cem>If you don’t understand, the least you can do is enjoy the beautiful music.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The American music industry has a long history of exploitation, but Negativland really got fleeced. With their long, expensive legal fight over fair use, the Contra Costa County collective changed the trajectory of art, culture and mass media in America. Now, the very principles Negativland defended have been commandeered by full-speed-ahead AI companies to invade, steal and poorly regurgitate the world’s body of knowledge and information.\u003c/p>\n\n\n\n\u003cp>Or, as they put it during their sold-out show Wednesday night at the San Francisco headquarters of the \u003ca href=\"https://www.kqed.org/arts/tag/internet-archive\">Internet Archive\u003c/a>, “The AI people are using the Negativland model to justify their business model. Fuck them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319.jpg\" alt=\"\" class=\"wp-image-13994041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5319-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Internet Archive founder Brewster Kahle introduces Negativland on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The Internet Archive and Negativland make a perfect pair. The Internet Archive is dedicated to preserving knowledge and culture, no matter how mundane or fleeting. Since 1979, Negativland has resurfaced and remixed the world’s culture into entirely new works of art. (In fact, while driving to the show, I stumbled upon an accidental opening act by tuning in to 89.9 KDFC, where a Schumann symphony clashed with broadcast static and snippets of news announcers’ voices — “glass bottles” … “West Marin” … “a Russian envoy” — from a competing radio station.)\u003c/p>\n\n\n\n\u003cp>Before the set, Internet Archive founder Brewster Kahle held up a copy of the group’s best-known release, \u003cem>U2\u003c/em>, and said that, a decade ago, the Internet Archive began hosting more than 4,000 hours of the Negativland radio show \u003cem>\u003ca href=\"https://kpfa.org/program/over-the-edge/\">Over the Edge\u003c/a>\u003c/em>. “I can’t tell you how meaningful it was to us,” Kahle said. \u003c/p>\n\n\n\n\u003cp>Negativland fans are a lovable bunch. Inside the Internet Archive’s giant hall — a former church, with wooden pews and hymn numbers sharing space with giant servers — strangers struck up conversations that I did not understand. (“We’re big fans of the MX204 and 2100 switch,” for one.) People took photos of the band’s onstage pile of electronic gear. Someone near me reeked of stale weed. Few attendees appeared under the age of 40. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305.jpg\" alt=\"\" class=\"wp-image-13994037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5305-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The crowd before Negativland’s performance at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>And then, with members Mark Hosler and Jon Leidecker at a long table covered in mixing boards, cables, wires, homemade electronic units and hand-scrawled notes, the show began. \u003c/p>\n\n\n\n\u003cp>\u003cem>“The point is this … we’re getting a little off-course.”\u003c/em>\u003c/p>\n\n\n\n\u003cp>So repeated an NPR-style voice over new-age synths and oscillations hard-panned across the room’s speakers. For over an hour, gurgling sounds, or the sound of raindrops, or strange tympani, bells or drones programmed by Hosler shared space with Leidecker’s vocal samples: \u003cem>“Is the universe just one big brain?” “Please just tell me what is illegal, and I’ll stop doing it.” “Is this real, and do we care?”\u003c/em>\u003c/p>\n\n\n\n\u003cp>This being Negativland, plenty of subversive humor ran through the set. The audience laughed at the more absurd moments, like a man’s voice suggesting that we melt the North Pole, or another’s declaring that “pretty much everything David Lynch does is right-wing coded.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg\" alt=\"\" class=\"wp-image-13994042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5340-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Mark Hosler and Jon Leidecker of Negativland perform at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>But the night’s jest blurred with reality. One man’s voice declared that achieving AI goals, despite its ruinous effects on the planet, is more important than achieving climate goals. How many AI zealots think this way? On a similar note, I was plucked from my sound-collage reverie when I actually recognized a sample, of Suno CEO Mike Shulman, claiming that “\u003ca href=\"https://youtu.be/E0YL83U5VWk?si=06719ePx3XfGvAAP&t=1400\">It’s not really enjoyable to make music now\u003c/a>.” (I wrote in my notebook: “Idiots Talking About Art & Technology” ← Theme of the set??”)\u003c/p>\n\n\n\n\u003cp>This overlap of humor and doom came to a head when men’s voices discussed the need for technology to be violent, and Leidecker, expressionless, introduced an exasperated, terrified woman’s voice into their dialogue, repeating, “Friend?! Friend?! \u003cem>FRIEND\u003c/em>?!”\u003c/p>\n\n\n\n\u003cp>Throughout, Hosler manned the giant board, sometimes spanning his fingers across something that looked like a flux capacitor, sometimes picking up a Fender bass and playing it with an electric toothbrush, sometimes wincing as if he were playing a heavy metal guitar solo. And just when it was needed most, levity came over the phone lines: David “The Weatherman” Wills, calling in from his home in Seattle, providing a running monologue about refrigerator lights, Kaopectate, short-wave radios and eating Speed Stick deodorant.\u003c/p>\n\n\n\n\u003cp>Afterward, the band announced that they rarely if ever played songs from their albums live, but for an encore, the beat dropped to their 1987 track (and \u003ca href=\"https://en.wikipedia.org/wiki/Christianity_Is_Stupid\">media hoax material\u003c/a>) “\u003ca href=\"https://youtu.be/Vrt6o81ku5o?si=Zhn9STORm6TZR3sN\">Christianity is Stupid\u003c/a>.” The crowd audibly whooped. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363.jpg\" alt=\"\" class=\"wp-image-13994038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5363-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Mark Hosler and Jon Leidecker of Negativland at the Internet Archive in San Francisco on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A Q&A followed, during which Trump was declared “the evil culture-jammer.” Leidecker asked out loud, “How do you have a functioning democracy when there’s no reality?” and advised that while the ideals Negativland worked for have spread wider than they could have imagined, it was important to “make sure you’re pranking \u003cem>upwards\u003c/em>, instead of deceiving everybody.”\u003c/p>\n\n\n\n\u003cp>A confession: the main reason I like Negativland isn’t their agitating, or the ways they’ve undeniably made the music industry and creativity at large better. I like them for their sound output. That may seem like a superficial way of interacting with one of the world’s most important experimental groups, and one could surely argue that their aesthetics are inseparable from their advocacy. But what can I say? I fell in love with them because of their records, not their lawsuits.\u003c/p>\n\n\n\n\u003cp>Or, as a twisted, effects-laden voice said, and burbled, and sung, at the end of their set on Wednesday: \u003cem>If you don’t understand, the least you can do is enjoy the beautiful music.\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388.jpg\" alt=\"\" class=\"wp-image-13994040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_5388-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-element-caption\">The Internet Archive in San Francisco, pictured on Sept. 16, 2026. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\u003c/div>\u003c/p>",
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"content": "\n\u003cp>The strike at \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a>, which resulted in five canceled performances and delayed the opening of the 2026–27 season, is set to come to an end. \u003c/p>\n\n\n\n\u003cp>The San Francisco Opera Orchestra and San Francisco Opera jointly announced Thursday evening that a tentative agreement on a four-year contract has been reached. Pending ratification of the contract, performances will resume at the opera house when Verdi’s \u003cem>Simon Boccanegra\u003c/em> opens on Tuesday, Sept. 22.\u003c/p>\n\n\n\n\u003cp>“We cannot wait to return to the pit,” said Gabe Young, the orchestra’s associate principal oboist and chair of the musicians’ negotiating committee, in \u003ca href=\"https://www.sfopera.com/press/press-releases/SFO-AFM-tentative-agreement/\">a statement\u003c/a>. \u003c/p>\n\n\n\n\u003cp>“We are heartened to have reached a tentative deal that provides a fair contract and stability for the members of the orchestra,” Young said, adding that “we want to thank the public and Opera patrons for their patience and support through what has been a challenging process for our musicians.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445.jpg\" alt=\"\" class=\"wp-image-13994022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Amartuvshin Enkhbat in the title role, Aleksey Bogdanov as Paolo, Gabriel Natal-Baez as Pietro and members of the San Francisco Opera Chorus in Verdi’s ‘Simon Boccanegra.’ (Cory Weaver/San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The San Francisco Opera Orchestra, represented by American Federation of Musicians Local 6, had \u003ca href=\"https://www.kqed.org/arts/13993840/sf-opera-opener-cancelled-opera-in-the-park-simon-boccanegra-union-contract\">been on strike since Sept. 12\u003c/a>, when the season opener of \u003cem>Simon Boccanegra\u003c/em> was canceled just a half hour before curtain. In the days since, a picket line and impromptu performances have taken place intermittently on the Opera House steps.\u003c/p>\n\n\n\n\u003cp>Musicians also performed casually in Golden Gate Park on Sunday, Sept. 13, while technicians dismantled the stage for Opera in the Park, which was also canceled. San Francisco Opera also previously postponed its annual gala, originally set for Sept. 12, to Nov. 12. \u003c/p>\n\n\n\n\n\n\u003cp>In a statement, SF Opera General Director Matthew Shilvock said that “I am deeply grateful that we have reached a tentative agreement on a new contract—one that addresses important structural changes while providing a fair agreement for our musicians.”\u003c/p>\n\n\n\n\u003cp>Both Young and Shilvock thanked Mayor Daniel Lurie, who along with Matthew Goudeau, the city’s executive director of arts and culture, got involved in negotiations shortly after the strike began. \u003c/p>\n\n\n\n\u003cp>In his statement, Lurie acknowledged the rising cost of living as a working musician in San Francisco, and praised the return of opera patrons to small businesses in the neighborhood.\u003c/p>\n\n\n\n\u003cp>Lurie also summed up the relief felt among both parties: “Finally, we are getting those performances started again.” \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Correction: A previous version of this story incorrectly reported that performances of ‘Simon Boccanegra’ will start on Thursday, Sept. 24. Performances will start on Tuesday, Sept. 22. \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>In a statement, SF Opera General Director Matthew Shilvock said that “I am deeply grateful that we have reached a tentative agreement on a new contract—one that addresses important structural changes while providing a fair agreement for our musicians.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Both Young and Shilvock thanked Mayor Daniel Lurie, who along with Matthew Goudeau, the city’s executive director of arts and culture, got involved in negotiations shortly after the strike began. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Correction: A previous version of this story incorrectly reported that performances of ‘Simon Boccanegra’ will start on Thursday, Sept. 24. Performances will start on Tuesday, Sept. 22. \u003c/em>\u003c/p>\n",
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"excerpt": "Performances are set to return to the Opera House on Tuesday, Sept. 22, with Verdi’s ‘Simon Boccanegra.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The strike at \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a>, which resulted in five canceled performances and delayed the opening of the 2026–27 season, is set to come to an end. \u003c/p>\n\n\n\n\u003cp>The San Francisco Opera Orchestra and San Francisco Opera jointly announced Thursday evening that a tentative agreement on a four-year contract has been reached. Pending ratification of the contract, performances will resume at the opera house when Verdi’s \u003cem>Simon Boccanegra\u003c/em> opens on Tuesday, Sept. 22.\u003c/p>\n\n\n\n\u003cp>“We cannot wait to return to the pit,” said Gabe Young, the orchestra’s associate principal oboist and chair of the musicians’ negotiating committee, in \u003ca href=\"https://www.sfopera.com/press/press-releases/SFO-AFM-tentative-agreement/\">a statement\u003c/a>. \u003c/p>\n\n\n\n\u003cp>“We are heartened to have reached a tentative deal that provides a fair contract and stability for the members of the orchestra,” Young said, adding that “we want to thank the public and Opera patrons for their patience and support through what has been a challenging process for our musicians.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445.jpg\" alt=\"\" class=\"wp-image-13994022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/O2A6445-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Amartuvshin Enkhbat in the title role, Aleksey Bogdanov as Paolo, Gabriel Natal-Baez as Pietro and members of the San Francisco Opera Chorus in Verdi’s ‘Simon Boccanegra.’ (Cory Weaver/San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The San Francisco Opera Orchestra, represented by American Federation of Musicians Local 6, had \u003ca href=\"https://www.kqed.org/arts/13993840/sf-opera-opener-cancelled-opera-in-the-park-simon-boccanegra-union-contract\">been on strike since Sept. 12\u003c/a>, when the season opener of \u003cem>Simon Boccanegra\u003c/em> was canceled just a half hour before curtain. In the days since, a picket line and impromptu performances have taken place intermittently on the Opera House steps.\u003c/p>\n\n\n\n\u003cp>Musicians also performed casually in Golden Gate Park on Sunday, Sept. 13, while technicians dismantled the stage for Opera in the Park, which was also canceled. San Francisco Opera also previously postponed its annual gala, originally set for Sept. 12, to Nov. 12. \u003c/p>\n\n\n\n\n\n\u003cp>In a statement, SF Opera General Director Matthew Shilvock said that “I am deeply grateful that we have reached a tentative agreement on a new contract—one that addresses important structural changes while providing a fair agreement for our musicians.”\u003c/p>\n\n\n\n\u003cp>Both Young and Shilvock thanked Mayor Daniel Lurie, who along with Matthew Goudeau, the city’s executive director of arts and culture, got involved in negotiations shortly after the strike began. \u003c/p>\n\n\n\n\u003cp>In his statement, Lurie acknowledged the rising cost of living as a working musician in San Francisco, and praised the return of opera patrons to small businesses in the neighborhood.\u003c/p>\n\n\n\n\u003cp>Lurie also summed up the relief felt among both parties: “Finally, we are getting those performances started again.” \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Correction: A previous version of this story incorrectly reported that performances of ‘Simon Boccanegra’ will start on Thursday, Sept. 24. Performances will start on Tuesday, Sept. 22. \u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "rb-ribs-golden-gate-park-t-pain-ari-lennox",
"title": "T-Pain’s Coming to Golden Gate Park Thanks to This BBQ-Filled Party",
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"content": "\n\u003cp>The concept of \u003ca href=\"https://www.rnbandribs.com/\">R&B and Ribs\u003c/a> is simple: bring people together through good food and good music. The first time \u003ca href=\"https://www.instagram.com/knowpaslaps/\">Knowpa Slaps\u003c/a> (Kelvin Castellanos) threw the party on the El Rio patio, he DJed \u003cem>and\u003c/em> barbecued all the meat himself. \u003c/p>\n\n\n\n\u003cp>Though R&B and Ribs still holds it down regularly on the beloved nightlife institution’s humble patio, the party has exploded into a phenomenon: Earlier this month, it drew tens of thousands of fans to see Soulja Boy at the Midway. And next month, on Oct. 17, the party will expand into Golden Gate Park for the first time, with a show at Robin Williams Meadow by \u003ca href=\"https://www.tixr.com/groups/npulive/events/t-pain-ari-lennox-more-at-golden-gate-park-205722\">T-Pain and Ari Lennox\u003c/a>. \u003c/p>\n\n\n\n\u003cp>It’s not the first time the 2000s hitmaker will have collaborated with R&B and Ribs — they threw a concert with him and Sean Paul at Pier 80 during Super Bowl weekend. “Doing 23,000 people for T-Pain and then looking [out] and just seeing the crowd never end was kind of surreal,” Castellanos says of the party’s growth. “Just seeing T-Pain shout out the party … it’s like, ‘Whoa, you’ve heard of us?’”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ribs_2000.jpg\" alt=\"three women cheer and eat ribs\" class=\"wp-image-13993932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ribs_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ribs_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ribs_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ribs_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Audience members at an R&B and Ribs party on El Rio’s backyard patio. (Marilyn Nguyen)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Before he became a force in Bay Area nightlife, Castellanos made his mark in the dining world. Once a chef at the Michelin-starred restaurant State Bird Provisions, he also worked at notable San Francisco eateries like Delfina before deciding to marry his two worlds of food and music. (R&B and Ribs also has an offshoot Latin party, Perreo y Pususas, a nod to Castellanos’ Salvadorian roots).\u003c/p>\n\n\n\n\u003cp>For the Golden Gate Park show with T-Pain and Lennox, R&B and Ribs is partnering with the San Francisco Recreation and Parks Department and NPU Live, one of the producers of \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a>. The two organizations assisted with navigating the many layers of permitting bureaucracy. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/elrio_2000.jpg\" alt=\"large crowd in bar backyard, DJ facing them\" class=\"wp-image-13993931\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/elrio_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/elrio_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/elrio_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/elrio_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A view from the DJ booth into an R&B and Ribs party at El Rio. (Marilyn Nguyen)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Though R&B and Ribs has enough pull to attract big names, Castellanos says highlighting talented local DJs is still a major emphasis. \u003ca href=\"https://www.kqed.org/arts/13980855/golden-state-valkyries-wnba-bay-area-djs-ladyryan-shellheart-chase-center\">DJ Shellheart and Lady Ryan\u003c/a>, the official selectors for the Golden State Valkyries, will get the crowd hyped for T-Pain and Lennox, along with \u003ca href=\"https://www.instagram.com/djbbcarolz/\">bbcarolz\u003c/a>, who is one of the R&B and Ribs resident DJs along with \u003ca href=\"https://www.instagram.com/djjespinosa/\">J. Espinosa\u003c/a>, \u003ca href=\"https://www.instagram.com/143.tommy/\">143tommy\u003c/a> and \u003ca href=\"https://www.instagram.com/djshawnlooney/\">Shawn Looney\u003c/a>.\u003c/p>\n\n\n\n\u003cp>The audience R&B and Ribs has grown includes people of all backgrounds and ages. Castellanos says those in attendance can range from fresh 21-year-olds to partygoers in their 50s and every decade in between, and every generation gets a shout-out on the mic. The Golden Gate Park event will be all ages. \u003c/p>\n\n\n\n\u003cp>“We’re trying to make everyone feel welcome,” Castellanos says. “We’re trying to hype everybody up.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n\u003cp>\u003cem>The R&B and Ribs party featuring \u003ca href=\"https://www.tixr.com/groups/npulive/events/t-pain-ari-lennox-more-at-golden-gate-park-205722\">T-Pain and Ari Lennox\u003c/a> takes place at Golden Gate Park on Oct. 17. Tickets go on sale Sept. 17. \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Though R&B and Ribs still holds it down regularly on the beloved nightlife institution’s humble patio, the party has exploded into a phenomenon: Earlier this month, it drew tens of thousands of fans to see Soulja Boy at the Midway. And next month, on Oct. 17, the party will expand into Golden Gate Park for the first time, with a show at Robin Williams Meadow by \u003ca href=\"https://www.tixr.com/groups/npulive/events/t-pain-ari-lennox-more-at-golden-gate-park-205722\">T-Pain and Ari Lennox\u003c/a>. \u003c/p>\n",
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"innerHTML": "\n\u003cp>It’s not the first time the 2000s hitmaker will have collaborated with R&B and Ribs — they threw a concert with him and Sean Paul at Pier 80 during Super Bowl weekend. “Doing 23,000 people for T-Pain and then looking [out] and just seeing the crowd never end was kind of surreal,” Castellanos says of the party’s growth. “Just seeing T-Pain shout out the party … it’s like, ‘Whoa, you’ve heard of us?’”\u003c/p>\n",
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"\n\u003cp>It’s not the first time the 2000s hitmaker will have collaborated with R&B and Ribs — they threw a concert with him and Sean Paul at Pier 80 during Super Bowl weekend. “Doing 23,000 people for T-Pain and then looking [out] and just seeing the crowd never end was kind of surreal,” Castellanos says of the party’s growth. “Just seeing T-Pain shout out the party … it’s like, ‘Whoa, you’ve heard of us?’”\u003c/p>\n"
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"\n\u003cp>Though R&B and Ribs has enough pull to attract big names, Castellanos says highlighting talented local DJs is still a major emphasis. \u003ca href=\"https://www.kqed.org/arts/13980855/golden-state-valkyries-wnba-bay-area-djs-ladyryan-shellheart-chase-center\">DJ Shellheart and Lady Ryan\u003c/a>, the official selectors for the Golden State Valkyries, will get the crowd hyped for T-Pain and Lennox, along with \u003ca href=\"https://www.instagram.com/djbbcarolz/\">bbcarolz\u003c/a>, who is one of the R&B and Ribs resident DJs along with \u003ca href=\"https://www.instagram.com/djjespinosa/\">J. Espinosa\u003c/a>, \u003ca href=\"https://www.instagram.com/143.tommy/\">143tommy\u003c/a> and \u003ca href=\"https://www.instagram.com/djshawnlooney/\">Shawn Looney\u003c/a>.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>The R&B and Ribs party featuring \u003ca href=\"https://www.tixr.com/groups/npulive/events/t-pain-ari-lennox-more-at-golden-gate-park-205722\">T-Pain and Ari Lennox\u003c/a> takes place at Golden Gate Park on Oct. 17. Tickets go on sale Sept. 17. \u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The concept of \u003ca href=\"https://www.rnbandribs.com/\">R&B and Ribs\u003c/a> is simple: bring people together through good food and good music. The first time \u003ca href=\"https://www.instagram.com/knowpaslaps/\">Knowpa Slaps\u003c/a> (Kelvin Castellanos) threw the party on the El Rio patio, he DJed \u003cem>and\u003c/em> barbecued all the meat himself. \u003c/p>\n\n\n\n\u003cp>Though R&B and Ribs still holds it down regularly on the beloved nightlife institution’s humble patio, the party has exploded into a phenomenon: Earlier this month, it drew tens of thousands of fans to see Soulja Boy at the Midway. And next month, on Oct. 17, the party will expand into Golden Gate Park for the first time, with a show at Robin Williams Meadow by \u003ca href=\"https://www.tixr.com/groups/npulive/events/t-pain-ari-lennox-more-at-golden-gate-park-205722\">T-Pain and Ari Lennox\u003c/a>. \u003c/p>\n\n\n\n\u003cp>It’s not the first time the 2000s hitmaker will have collaborated with R&B and Ribs — they threw a concert with him and Sean Paul at Pier 80 during Super Bowl weekend. “Doing 23,000 people for T-Pain and then looking [out] and just seeing the crowd never end was kind of surreal,” Castellanos says of the party’s growth. “Just seeing T-Pain shout out the party … it’s like, ‘Whoa, you’ve heard of us?’”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ribs_2000.jpg\" alt=\"three women cheer and eat ribs\" class=\"wp-image-13993932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ribs_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ribs_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ribs_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ribs_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Audience members at an R&B and Ribs party on El Rio’s backyard patio. (Marilyn Nguyen)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Before he became a force in Bay Area nightlife, Castellanos made his mark in the dining world. Once a chef at the Michelin-starred restaurant State Bird Provisions, he also worked at notable San Francisco eateries like Delfina before deciding to marry his two worlds of food and music. (R&B and Ribs also has an offshoot Latin party, Perreo y Pususas, a nod to Castellanos’ Salvadorian roots).\u003c/p>\n\n\n\n\u003cp>For the Golden Gate Park show with T-Pain and Lennox, R&B and Ribs is partnering with the San Francisco Recreation and Parks Department and NPU Live, one of the producers of \u003ca href=\"https://www.kqed.org/news/12097837/going-to-portola-music-festival-2026-what-to-know-from-bag-policy-to-parking\">Portola Music Festival\u003c/a>. The two organizations assisted with navigating the many layers of permitting bureaucracy. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/elrio_2000.jpg\" alt=\"large crowd in bar backyard, DJ facing them\" class=\"wp-image-13993931\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/elrio_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/elrio_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/elrio_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/elrio_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A view from the DJ booth into an R&B and Ribs party at El Rio. (Marilyn Nguyen)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Though R&B and Ribs has enough pull to attract big names, Castellanos says highlighting talented local DJs is still a major emphasis. \u003ca href=\"https://www.kqed.org/arts/13980855/golden-state-valkyries-wnba-bay-area-djs-ladyryan-shellheart-chase-center\">DJ Shellheart and Lady Ryan\u003c/a>, the official selectors for the Golden State Valkyries, will get the crowd hyped for T-Pain and Lennox, along with \u003ca href=\"https://www.instagram.com/djbbcarolz/\">bbcarolz\u003c/a>, who is one of the R&B and Ribs resident DJs along with \u003ca href=\"https://www.instagram.com/djjespinosa/\">J. Espinosa\u003c/a>, \u003ca href=\"https://www.instagram.com/143.tommy/\">143tommy\u003c/a> and \u003ca href=\"https://www.instagram.com/djshawnlooney/\">Shawn Looney\u003c/a>.\u003c/p>\n\n\n\n\u003cp>The audience R&B and Ribs has grown includes people of all backgrounds and ages. Castellanos says those in attendance can range from fresh 21-year-olds to partygoers in their 50s and every decade in between, and every generation gets a shout-out on the mic. The Golden Gate Park event will be all ages. \u003c/p>\n\n\n\n\u003cp>“We’re trying to make everyone feel welcome,” Castellanos says. “We’re trying to hype everybody up.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n\u003cp>\u003cem>The R&B and Ribs party featuring \u003ca href=\"https://www.tixr.com/groups/npulive/events/t-pain-ari-lennox-more-at-golden-gate-park-205722\">T-Pain and Ari Lennox\u003c/a> takes place at Golden Gate Park on Oct. 17. Tickets go on sale Sept. 17. \u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "SF Opera Cancels Additional Performances as Musicians Strike Continues",
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"content": "\n\u003cp>San Francisco Opera has announced the cancellation of all performances through Sept. 20 as contract negotiations between the company and the musicians union continue.\u003c/p>\n\n\n\n\u003cp>Canceled dates include the Sept. 16 and Sept. 19 performances of Giuseppe Verdi’s \u003cem>Simon Boccanegra\u003c/em> and the Sept. 20 performance of Thea Musgrave’s \u003cem>Mary, Queen of Scots\u003c/em>.\u003c/p>\n\n\n\n\u003cp>In a statement, San Francisco Opera’s general director Matthew Shilvock expressed regret and thanked patrons for their patience. \u003c/p>\n\n\n\n\n\n\u003cp>“It is heartbreaking to have to cancel additional performances, but I remain very hopeful that we will get back to the stage soon. Both the Opera and the Orchestra are working hard to reach a deal, having spent two full days and evenings negotiating immediately following the strike. Everyone at the Opera is eager to get back to doing the thing we all love: producing sublime works of art for this incredible community,” Shilvock said. \u003c/p>\n\n\n\n\u003cp>As \u003ca href=\"https://www.kqed.org/arts/13993840/sf-opera-opener-cancelled-opera-in-the-park-simon-boccanegra-union-contract\">previously reported\u003c/a>, the Opera’s Sept. 12 opening night performance of \u003cem>Simon Boccanegra\u003c/em> was canceled just before curtain with an announcement from the stage at the War Memorial Opera House. The popular annual event Opera in the Park, to be held the following day, was also canceled. \u003c/p>\n\n\n\n\u003cp>Early this month, with no final contract agreement in place, San Francisco Opera rescheduled its annual gala from Sept. 12 at Nov. 12. Today’s cancellations indicate a similar preemptive safeguard. \u003c/p>\n\n\n\n\u003cp>Ticketholders for the cancelled performances may \u003ca href=\"http://sfopera.com/updates\">visit the SF Opera website\u003c/a> to request a refund, exchange their tickets for an upcoming performance in the 2026–27 season or classify their ticket purchase as a donation to the Opera. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Canceled dates include the Sept. 16 and Sept. 19 performances of Giuseppe Verdi’s \u003cem>Simon Boccanegra\u003c/em> and the Sept. 20 performance of Thea Musgrave’s \u003cem>Mary, Queen of Scots\u003c/em>.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“It is heartbreaking to have to cancel additional performances, but I remain very hopeful that we will get back to the stage soon. Both the Opera and the Orchestra are working hard to reach a deal, having spent two full days and evenings negotiating immediately following the strike. Everyone at the Opera is eager to get back to doing the thing we all love: producing sublime works of art for this incredible community,” Shilvock said. \u003c/p>\n",
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"\n\u003cp>“It is heartbreaking to have to cancel additional performances, but I remain very hopeful that we will get back to the stage soon. Both the Opera and the Orchestra are working hard to reach a deal, having spent two full days and evenings negotiating immediately following the strike. Everyone at the Opera is eager to get back to doing the thing we all love: producing sublime works of art for this incredible community,” Shilvock said. \u003c/p>\n"
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"innerHTML": "\n\u003cp>As \u003ca href=\"https://www.kqed.org/arts/13993840/sf-opera-opener-cancelled-opera-in-the-park-simon-boccanegra-union-contract\">previously reported\u003c/a>, the Opera’s Sept. 12 opening night performance of \u003cem>Simon Boccanegra\u003c/em> was canceled just before curtain with an announcement from the stage at the War Memorial Opera House. The popular annual event Opera in the Park, to be held the following day, was also canceled. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Early this month, with no final contract agreement in place, San Francisco Opera rescheduled its annual gala from Sept. 12 at Nov. 12. Today’s cancellations indicate a similar preemptive safeguard. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Ticketholders for the cancelled performances may \u003ca href=\"http://sfopera.com/updates\">visit the SF Opera website\u003c/a> to request a refund, exchange their tickets for an upcoming performance in the 2026–27 season or classify their ticket purchase as a donation to the Opera. \u003c/p>\n",
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"excerpt": "Amid union negotiations, some performances of ‘Simon Boccanegra’ and ‘Mary, Queen of Scots’ have been axed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>San Francisco Opera has announced the cancellation of all performances through Sept. 20 as contract negotiations between the company and the musicians union continue.\u003c/p>\n\n\n\n\u003cp>Canceled dates include the Sept. 16 and Sept. 19 performances of Giuseppe Verdi’s \u003cem>Simon Boccanegra\u003c/em> and the Sept. 20 performance of Thea Musgrave’s \u003cem>Mary, Queen of Scots\u003c/em>.\u003c/p>\n\n\n\n\u003cp>In a statement, San Francisco Opera’s general director Matthew Shilvock expressed regret and thanked patrons for their patience. \u003c/p>\n\n\n\n\n\n\u003cp>“It is heartbreaking to have to cancel additional performances, but I remain very hopeful that we will get back to the stage soon. Both the Opera and the Orchestra are working hard to reach a deal, having spent two full days and evenings negotiating immediately following the strike. Everyone at the Opera is eager to get back to doing the thing we all love: producing sublime works of art for this incredible community,” Shilvock said. \u003c/p>\n\n\n\n\u003cp>As \u003ca href=\"https://www.kqed.org/arts/13993840/sf-opera-opener-cancelled-opera-in-the-park-simon-boccanegra-union-contract\">previously reported\u003c/a>, the Opera’s Sept. 12 opening night performance of \u003cem>Simon Boccanegra\u003c/em> was canceled just before curtain with an announcement from the stage at the War Memorial Opera House. The popular annual event Opera in the Park, to be held the following day, was also canceled. \u003c/p>\n\n\n\n\u003cp>Early this month, with no final contract agreement in place, San Francisco Opera rescheduled its annual gala from Sept. 12 at Nov. 12. Today’s cancellations indicate a similar preemptive safeguard. \u003c/p>\n\n\n\n\u003cp>Ticketholders for the cancelled performances may \u003ca href=\"http://sfopera.com/updates\">visit the SF Opera website\u003c/a> to request a refund, exchange their tickets for an upcoming performance in the 2026–27 season or classify their ticket purchase as a donation to the Opera. \u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "tone-capone-dies-producer-bay-area-i-got-5-on-it-hip-hop",
"title": "Tone Capone, Producer of ‘I Got 5 On It,’ Dies at 59",
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"headTitle": "Tone Capone, Producer of ‘I Got 5 On It,’ Dies at 59 | KQED",
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"content": "\n\u003cp>Tone Capone, a prolific producer who brought the mobb music style of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> to the world with the smash hit “I Got 5 On It,” died on Saturday. He was 59.\u003c/p>\n\n\n\n\u003cp>Capone’s death was reported online Sunday by close family. A cause of death was not immediately revealed. Capone had been living in the Las Vegas area since 2021.\u003c/p>\n\n\n\n\u003cp>Along with the Luniz’ “I Got 5 on It,” Capone produced many regional hip-hop classics that remain in regular rotation. Those include 3xKrazy’s “Keep It on the Real,” Mac Dre’s “Fire” and “Not My Job,” Celly Cel’s “It’s Goin’ Down,” Devin the Dude’s “Sticky Green” and E-40’s “Ring It.”\u003c/p>\n\n\n\n\u003cp>Across his career, Capone produced or worked with a who’s-who of Bay Area rap, including the Jacka, Dru Down, The Click, Conscious Daughters, Mac Mall, Messy Marv, Andre Nickatina, Spice 1, San Quinn and dozens of others. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.41.23-PM.jpg\" alt=\"\" class=\"wp-image-13993850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.41.23-PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.41.23-PM-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.41.23-PM-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.41.23-PM-1536x1137.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Tone Capone, Scarface and Willie Hen pose for a photo backstage at Yoshi’s, in Oakland, in January 2020. (Tone Capone / Instagram)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>As a beatmaker steeped in the funk and soul of the 1970s, Capone’s rap production emphasized the the first downbeat of each measure, accompanied by exaggerated bass tones and live instruments. Along with his charting hits, his sound found receptive ears in Houston, Texas, where he worked with rapper Scarface, Devin the Dude and others. \u003c/p>\n\n\n\n\u003cp>Capone was born Anthony Douglas Gilmour in Berkeley, and was raised in North Oakland, near Bushrod Park. His family home was filled with the music of the era: Earth Wind & Fire, the Crusaders, Parliament, Kool & the Gang, Curtis Mayfield, Donald Byrd.\u003c/p>\n\n\n\n\u003cp>While attending Berkeley High School, he learned how to DJ using a friend’s turntables. Before long, he began DJing at events — parties at fraternity houses, or at the Lake Merritt boathouse — with friend Nick Peace, who would become \u003ca href=\"https://genius.com/artists/Nick-peace\">a notable hip-hop producer himself\u003c/a>. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM.jpg\" alt=\"\" class=\"wp-image-13993848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM-1536x1077.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Tone Capone and friend Nick Peace DJing at a dance party, circa 1982. (Tone Capone / Instagram)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In the mid-1980s, after high school, Capone began making beats with four-track cassette recorders, drum machines, turntables and tape decks. Shortly after buying his first Technics 1200 turntable, he committed himself to making music instead of hustling.\u003c/p>\n\n\n\n\u003cp>While Bay Area rap had been famously independent, some of Capone’s earliest work was commissioned by major labels for the Oakland group \u003ca href=\"https://www.kqed.org/arts/13983670/oakland-is-proud-mural-repainted-graffiti-artist-del-phresh\">Capital Tax\u003c/a> and R&B trio SWV.\u003c/p>\n\n\n\n\u003cp>In 1993, fate intervened. Capone reconnected with a friend from Berkeley High, Mike Marshall, who’d had a hit song with “Rumors,” by his group Timex Social Club. The two were at Capone’s house one day when members of the Luniz happened to visit, bringing song ideas.\u003c/p>\n\n\n\n\u003cp>One of the songs, in a rough sketch, was “I Got 5 On It.” On the spot, Marshall wrote the melody for the hook, Capone created a beat based on the Club Nouveau song “Why You Treat Me So Bad,” and before long, the track was laid down in the studio.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://youtu.be/CiZ3XtGtmQs?si=pV2D1f8zt16jFZ93\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Released in 1995, “I Got 5 On It” was an immediate hit in the Bay Area, and reached the Top Ten on the Billboard Hot 100. Gradually, the song grew to enjoy global recognition, aided by \u003ca href=\"https://youtu.be/CiZ3XtGtmQs?si=pV2D1f8zt16jFZ93\">a remix\u003c/a> featuring Dru Down, Spice-1, E-40, Shock G, and Richie Rich. In 2019, a \u003ca href=\"https://youtu.be/WFGmO1e_sAU?si=2M_wpvyD9gAozhRC\">slow, brooding remake\u003c/a> of Capone’s beat was utilized by director Jordan Peele in the horror film \u003cem>Us\u003c/em>. \u003c/p>\n\n\n\n\u003cp>After chart success, Capone kept working. Through working with Oakland rapper \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#seagram-appears-on-the-jenny-jones-show\">Seagram\u003c/a>, signed to Houston’s Rap-a-Lot Records, Capone met the producer Mike Dean, who suggested he join upcoming sessions for the rapper Scarface.\u003c/p>\n\n\n\n\u003cp>The resulting album, 1997’s \u003cem>The Untouchable\u003c/em>, went platinum, with Capone’s production work throughout. Tracks included the Rick James flip “Mary Jane,” and “\u003ca href=\"https://youtu.be/SjZqtyADPBM?si=3U9-KSXNITDBUJTp\">Smile\u003c/a>,” a major hit featuring one of the last verses recorded by Tupac Shakur. (In his memoir \u003cem>Diary of a Madman\u003c/em>, Scarface named Capone on a list of the all-time greatest producers, alongside Dr. Dre, Pharrell and Timbaland.)\u003c/p>\n\n\n\n\u003cp>Capone also connected with Mac Dre in the late 1990s, going on to produce the Ohio Players-inspired single “\u003ca href=\"https://youtu.be/nyJriMM5K28?si=IzqyyMwhR7wNgNOA\">Fire\u003c/a>,” the street classic “\u003ca href=\"https://youtu.be/5SObi_VrtU8?si=6J7oyui290bCS27g\">Not My Job\u003c/a>,” the track “\u003ca href=\"https://youtu.be/dIKvs-8g6Ow?si=Snuv5tqj4_o483K8\">Genie of the Lamp\u003c/a>” and others before Mac Dre’s death in 2004. \u003c/p>\n\n\n\n\u003cp>In the 21st century, Capone stayed active among a cohort of artists, pushing himself to try new tempos and musical styles. Before his death, he had recently \u003ca href=\"https://www.youtube.com/watch?v=ozoj6lbP8FI\">worked with the Punjabi rapper Kanwar\u003c/a>. He also took a day job, working at a hospital, before retiring.\u003c/p>\n\n\n\n\u003cp>At press time, no services have been announced.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Capone’s death was reported online Sunday by close family. A cause of death was not immediately revealed. Capone had been living in the Las Vegas area since 2021.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Along with the Luniz’ “I Got 5 on It,” Capone produced many regional hip-hop classics that remain in regular rotation. Those include 3xKrazy’s “Keep It on the Real,” Mac Dre’s “Fire” and “Not My Job,” Celly Cel’s “It’s Goin’ Down,” Devin the Dude’s “Sticky Green” and E-40’s “Ring It.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Across his career, Capone produced or worked with a who’s-who of Bay Area rap, including the Jacka, Dru Down, The Click, Conscious Daughters, Mac Mall, Messy Marv, Andre Nickatina, Spice 1, San Quinn and dozens of others. \u003c/p>\n",
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"innerHTML": "\n\u003cp>As a beatmaker steeped in the funk and soul of the 1970s, Capone’s rap production emphasized the the first downbeat of each measure, accompanied by exaggerated bass tones and live instruments. Along with his charting hits, his sound found receptive ears in Houston, Texas, where he worked with rapper Scarface, Devin the Dude and others. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Capone was born Anthony Douglas Gilmour in Berkeley, and was raised in North Oakland, near Bushrod Park. His family home was filled with the music of the era: Earth Wind & Fire, the Crusaders, Parliament, Kool & the Gang, Curtis Mayfield, Donald Byrd.\u003c/p>\n",
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"innerHTML": "\n\u003cp>While attending Berkeley High School, he learned how to DJ using a friend’s turntables. Before long, he began DJing at events — parties at fraternity houses, or at the Lake Merritt boathouse — with friend Nick Peace, who would become \u003ca href=\"https://genius.com/artists/Nick-peace\">a notable hip-hop producer himself\u003c/a>. \u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM.jpg\" alt=\"\" class=\"wp-image-13993848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM-1536x1077.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Tone Capone and friend Nick Peace DJing at a dance party, circa 1982. \u003ccite class=\"wp-inline-image-credit\"> (Tone Capone / Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM.jpg\" alt=\"\" class=\"wp-image-13993848\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Tone Capone and friend Nick Peace DJing at a dance party, circa 1982. \u003ccite class=\"wp-inline-image-credit\"> (Tone Capone / Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>In the mid-1980s, after high school, Capone began making beats with four-track cassette recorders, drum machines, turntables and tape decks. Shortly after buying his first Technics 1200 turntable, he committed himself to making music instead of hustling.\u003c/p>\n",
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"innerHTML": "\n\u003cp>While Bay Area rap had been famously independent, some of Capone’s earliest work was commissioned by major labels for the Oakland group \u003ca href=\"https://www.kqed.org/arts/13983670/oakland-is-proud-mural-repainted-graffiti-artist-del-phresh\">Capital Tax\u003c/a> and R&B trio SWV.\u003c/p>\n",
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"innerHTML": "\n\u003cp>In 1993, fate intervened. Capone reconnected with a friend from Berkeley High, Mike Marshall, who’d had a hit song with “Rumors,” by his group Timex Social Club. The two were at Capone’s house one day when members of the Luniz happened to visit, bringing song ideas.\u003c/p>\n",
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"innerHTML": "\n\u003cp>One of the songs, in a rough sketch, was “I Got 5 On It.” On the spot, Marshall wrote the melody for the hook, Capone created a beat based on the Club Nouveau song “Why You Treat Me So Bad,” and before long, the track was laid down in the studio.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Released in 1995, “I Got 5 On It” was an immediate hit in the Bay Area, and reached the Top Ten on the Billboard Hot 100. Gradually, the song grew to enjoy global recognition, aided by \u003ca href=\"https://youtu.be/CiZ3XtGtmQs?si=pV2D1f8zt16jFZ93\">a remix\u003c/a> featuring Dru Down, Spice-1, E-40, Shock G, and Richie Rich. In 2019, a \u003ca href=\"https://youtu.be/WFGmO1e_sAU?si=2M_wpvyD9gAozhRC\">slow, brooding remake\u003c/a> of Capone’s beat was utilized by director Jordan Peele in the horror film \u003cem>Us\u003c/em>. \u003c/p>\n",
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"\n\u003cp>Released in 1995, “I Got 5 On It” was an immediate hit in the Bay Area, and reached the Top Ten on the Billboard Hot 100. Gradually, the song grew to enjoy global recognition, aided by \u003ca href=\"https://youtu.be/CiZ3XtGtmQs?si=pV2D1f8zt16jFZ93\">a remix\u003c/a> featuring Dru Down, Spice-1, E-40, Shock G, and Richie Rich. In 2019, a \u003ca href=\"https://youtu.be/WFGmO1e_sAU?si=2M_wpvyD9gAozhRC\">slow, brooding remake\u003c/a> of Capone’s beat was utilized by director Jordan Peele in the horror film \u003cem>Us\u003c/em>. \u003c/p>\n"
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"innerHTML": "\n\u003cp>After chart success, Capone kept working. Through working with Oakland rapper \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#seagram-appears-on-the-jenny-jones-show\">Seagram\u003c/a>, signed to Houston’s Rap-a-Lot Records, Capone met the producer Mike Dean, who suggested he join upcoming sessions for the rapper Scarface.\u003c/p>\n",
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"\n\u003cp>After chart success, Capone kept working. Through working with Oakland rapper \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#seagram-appears-on-the-jenny-jones-show\">Seagram\u003c/a>, signed to Houston’s Rap-a-Lot Records, Capone met the producer Mike Dean, who suggested he join upcoming sessions for the rapper Scarface.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The resulting album, 1997’s \u003cem>The Untouchable\u003c/em>, went platinum, with Capone’s production work throughout. Tracks included the Rick James flip “Mary Jane,” and “\u003ca href=\"https://youtu.be/SjZqtyADPBM?si=3U9-KSXNITDBUJTp\">Smile\u003c/a>,” a major hit featuring one of the last verses recorded by Tupac Shakur. (In his memoir \u003cem>Diary of a Madman\u003c/em>, Scarface named Capone on a list of the all-time greatest producers, alongside Dr. Dre, Pharrell and Timbaland.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>Capone also connected with Mac Dre in the late 1990s, going on to produce the Ohio Players-inspired single “\u003ca href=\"https://youtu.be/nyJriMM5K28?si=IzqyyMwhR7wNgNOA\">Fire\u003c/a>,” the street classic “\u003ca href=\"https://youtu.be/5SObi_VrtU8?si=6J7oyui290bCS27g\">Not My Job\u003c/a>,” the track “\u003ca href=\"https://youtu.be/dIKvs-8g6Ow?si=Snuv5tqj4_o483K8\">Genie of the Lamp\u003c/a>” and others before Mac Dre’s death in 2004. \u003c/p>\n",
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"innerHTML": "\n\u003cp>In the 21st century, Capone stayed active among a cohort of artists, pushing himself to try new tempos and musical styles. Before his death, he had recently \u003ca href=\"https://www.youtube.com/watch?v=ozoj6lbP8FI\">worked with the Punjabi rapper Kanwar\u003c/a>. He also took a day job, working at a hospital, before retiring.\u003c/p>\n",
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"\n\u003cp>In the 21st century, Capone stayed active among a cohort of artists, pushing himself to try new tempos and musical styles. Before his death, he had recently \u003ca href=\"https://www.youtube.com/watch?v=ozoj6lbP8FI\">worked with the Punjabi rapper Kanwar\u003c/a>. He also took a day job, working at a hospital, before retiring.\u003c/p>\n"
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"excerpt": "In addition to the Luniz’ global smash, Capone produced hits for Scarface, Mac Dre, E-40 and many others.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Tone Capone, a prolific producer who brought the mobb music style of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> to the world with the smash hit “I Got 5 On It,” died on Saturday. He was 59.\u003c/p>\n\n\n\n\u003cp>Capone’s death was reported online Sunday by close family. A cause of death was not immediately revealed. Capone had been living in the Las Vegas area since 2021.\u003c/p>\n\n\n\n\u003cp>Along with the Luniz’ “I Got 5 on It,” Capone produced many regional hip-hop classics that remain in regular rotation. Those include 3xKrazy’s “Keep It on the Real,” Mac Dre’s “Fire” and “Not My Job,” Celly Cel’s “It’s Goin’ Down,” Devin the Dude’s “Sticky Green” and E-40’s “Ring It.”\u003c/p>\n\n\n\n\u003cp>Across his career, Capone produced or worked with a who’s-who of Bay Area rap, including the Jacka, Dru Down, The Click, Conscious Daughters, Mac Mall, Messy Marv, Andre Nickatina, Spice 1, San Quinn and dozens of others. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.41.23-PM.jpg\" alt=\"\" class=\"wp-image-13993850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.41.23-PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.41.23-PM-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.41.23-PM-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.41.23-PM-1536x1137.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Tone Capone, Scarface and Willie Hen pose for a photo backstage at Yoshi’s, in Oakland, in January 2020. (Tone Capone / Instagram)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>As a beatmaker steeped in the funk and soul of the 1970s, Capone’s rap production emphasized the the first downbeat of each measure, accompanied by exaggerated bass tones and live instruments. Along with his charting hits, his sound found receptive ears in Houston, Texas, where he worked with rapper Scarface, Devin the Dude and others. \u003c/p>\n\n\n\n\u003cp>Capone was born Anthony Douglas Gilmour in Berkeley, and was raised in North Oakland, near Bushrod Park. His family home was filled with the music of the era: Earth Wind & Fire, the Crusaders, Parliament, Kool & the Gang, Curtis Mayfield, Donald Byrd.\u003c/p>\n\n\n\n\u003cp>While attending Berkeley High School, he learned how to DJ using a friend’s turntables. Before long, he began DJing at events — parties at fraternity houses, or at the Lake Merritt boathouse — with friend Nick Peace, who would become \u003ca href=\"https://genius.com/artists/Nick-peace\">a notable hip-hop producer himself\u003c/a>. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM.jpg\" alt=\"\" class=\"wp-image-13993848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Screenshot-2026-09-13-at-9.38.09-PM-1536x1077.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">(L–R) Tone Capone and friend Nick Peace DJing at a dance party, circa 1982. (Tone Capone / Instagram)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In the mid-1980s, after high school, Capone began making beats with four-track cassette recorders, drum machines, turntables and tape decks. Shortly after buying his first Technics 1200 turntable, he committed himself to making music instead of hustling.\u003c/p>\n\n\n\n\u003cp>While Bay Area rap had been famously independent, some of Capone’s earliest work was commissioned by major labels for the Oakland group \u003ca href=\"https://www.kqed.org/arts/13983670/oakland-is-proud-mural-repainted-graffiti-artist-del-phresh\">Capital Tax\u003c/a> and R&B trio SWV.\u003c/p>\n\n\n\n\u003cp>In 1993, fate intervened. Capone reconnected with a friend from Berkeley High, Mike Marshall, who’d had a hit song with “Rumors,” by his group Timex Social Club. The two were at Capone’s house one day when members of the Luniz happened to visit, bringing song ideas.\u003c/p>\n\n\n\n\u003cp>One of the songs, in a rough sketch, was “I Got 5 On It.” On the spot, Marshall wrote the melody for the hook, Capone created a beat based on the Club Nouveau song “Why You Treat Me So Bad,” and before long, the track was laid down in the studio.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\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/CiZ3XtGtmQs'\n title='//www.youtube.com/embed/CiZ3XtGtmQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Released in 1995, “I Got 5 On It” was an immediate hit in the Bay Area, and reached the Top Ten on the Billboard Hot 100. Gradually, the song grew to enjoy global recognition, aided by \u003ca href=\"https://youtu.be/CiZ3XtGtmQs?si=pV2D1f8zt16jFZ93\">a remix\u003c/a> featuring Dru Down, Spice-1, E-40, Shock G, and Richie Rich. In 2019, a \u003ca href=\"https://youtu.be/WFGmO1e_sAU?si=2M_wpvyD9gAozhRC\">slow, brooding remake\u003c/a> of Capone’s beat was utilized by director Jordan Peele in the horror film \u003cem>Us\u003c/em>. \u003c/p>\n\n\n\n\u003cp>After chart success, Capone kept working. Through working with Oakland rapper \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#seagram-appears-on-the-jenny-jones-show\">Seagram\u003c/a>, signed to Houston’s Rap-a-Lot Records, Capone met the producer Mike Dean, who suggested he join upcoming sessions for the rapper Scarface.\u003c/p>\n\n\n\n\u003cp>The resulting album, 1997’s \u003cem>The Untouchable\u003c/em>, went platinum, with Capone’s production work throughout. Tracks included the Rick James flip “Mary Jane,” and “\u003ca href=\"https://youtu.be/SjZqtyADPBM?si=3U9-KSXNITDBUJTp\">Smile\u003c/a>,” a major hit featuring one of the last verses recorded by Tupac Shakur. (In his memoir \u003cem>Diary of a Madman\u003c/em>, Scarface named Capone on a list of the all-time greatest producers, alongside Dr. Dre, Pharrell and Timbaland.)\u003c/p>\n\n\n\n\u003cp>Capone also connected with Mac Dre in the late 1990s, going on to produce the Ohio Players-inspired single “\u003ca href=\"https://youtu.be/nyJriMM5K28?si=IzqyyMwhR7wNgNOA\">Fire\u003c/a>,” the street classic “\u003ca href=\"https://youtu.be/5SObi_VrtU8?si=6J7oyui290bCS27g\">Not My Job\u003c/a>,” the track “\u003ca href=\"https://youtu.be/dIKvs-8g6Ow?si=Snuv5tqj4_o483K8\">Genie of the Lamp\u003c/a>” and others before Mac Dre’s death in 2004. \u003c/p>\n\n\n\n\u003cp>In the 21st century, Capone stayed active among a cohort of artists, pushing himself to try new tempos and musical styles. Before his death, he had recently \u003ca href=\"https://www.youtube.com/watch?v=ozoj6lbP8FI\">worked with the Punjabi rapper Kanwar\u003c/a>. He also took a day job, working at a hospital, before retiring.\u003c/p>\n\n\n\n\u003cp>At press time, no services have been announced.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "SF Opera Opener Canceled as Musicians Strike; Opera in the Park Also Off",
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"content": "\n\u003cp>San Francisco Opera’s season opener — the Sept. 12 performance of Verdi’s \u003cem>Simon Boccanegra\u003c/em> — was canceled at the last minute on Saturday evening when the orchestra musicians went on strike.\u003c/p>\n\n\n\n\u003cp>The popular Opera in the Park event, an annual performance in Golden Gate Park falling this year on Sept. 13, has also been canceled. \u003c/p>\n\n\n\n\u003cp>The strike had been threatened for weeks by the musicians union, should San Francisco Opera fail to offer what the musicians characterized as a fair contract. The previous contract expired on July 31.\u003c/p>\n\n\n\n\u003cp>“A strike is not something we take lightly, and we are deeply sorry to everyone who planned to spend this evening at the opera,” the musicians said in a statement. “We have been clear throughout these negotiations that management’s offers were insufficient, and that without a fair contract we would have no choice but to stop work. Management’s insistence on cuts has left us no other option.”\u003c/p>\n\n\n\n\n\n\u003cp>Matthew Shilvock, General Director of San Francisco Opera, expressed dismay at the development.\u003c/p>\n\n\n\n\u003cp>“This is an incredible difficult time for the arts. As with many organizations, we must adjust to the changing realities of the arts, and we cannot sustain a compensation structure that originated 45 years ago without bringing it into alignment with current reality,” Shilvock said in a statement. \u003c/p>\n\n\n\n\u003cp>Both sides of the bargaining table have publicly made their case to patrons and audiences. The musicians highlight the Opera’s successful recent seasons and increased donations and ticket sales, while pointing out high inflation, San Francisco’s rising living costs and Shilvock’s salary increases.\u003c/p>\n\n\n\n\u003cp>San Francisco Opera counters that “even with strong sales and donations, inflationary expense growth has outpaced revenue growth for decades, resulting in a structural deficit of $15M that must be resolved. San Francisco Opera is increasing revenues as much as possible, but expense reduction is also critical.”\u003c/p>\n\n\n\n\u003cp>The \u003ca href=\"https://www.sfoperaorchestra.org/\">musicians’ statement\u003c/a> can be found \u003ca href=\"https://www.sfoperaorchestra.org/\">here\u003c/a>. The \u003ca href=\"https://www.sfopera.com/economics\">Opera’s statement\u003c/a> can be found here. \u003c/p>\n\n\n\n\u003cp>As of Saturday night, it is unclear whether the Sept. 16 performance of \u003cem>Simon Boccanegra\u003c/em> will carry forth as planned. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“A strike is not something we take lightly, and we are deeply sorry to everyone who planned to spend this evening at the opera,” the musicians said in a statement. “We have been clear throughout these negotiations that management’s offers were insufficient, and that without a fair contract we would have no choice but to stop work. Management’s insistence on cuts has left us no other option.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>“This is an incredible difficult time for the arts. As with many organizations, we must adjust to the changing realities of the arts, and we cannot sustain a compensation structure that originated 45 years ago without bringing it into alignment with current reality,” Shilvock said in a statement. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Both sides of the bargaining table have publicly made their case to patrons and audiences. The musicians highlight the Opera’s successful recent seasons and increased donations and ticket sales, while pointing out high inflation, San Francisco’s rising living costs and Shilvock’s salary increases.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The \u003ca href=\"https://www.sfoperaorchestra.org/\">musicians’ statement\u003c/a> can be found \u003ca href=\"https://www.sfoperaorchestra.org/\">here\u003c/a>. The \u003ca href=\"https://www.sfopera.com/economics\">Opera’s statement\u003c/a> can be found here. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>San Francisco Opera’s season opener — the Sept. 12 performance of Verdi’s \u003cem>Simon Boccanegra\u003c/em> — was canceled at the last minute on Saturday evening when the orchestra musicians went on strike.\u003c/p>\n\n\n\n\u003cp>The popular Opera in the Park event, an annual performance in Golden Gate Park falling this year on Sept. 13, has also been canceled. \u003c/p>\n\n\n\n\u003cp>The strike had been threatened for weeks by the musicians union, should San Francisco Opera fail to offer what the musicians characterized as a fair contract. The previous contract expired on July 31.\u003c/p>\n\n\n\n\u003cp>“A strike is not something we take lightly, and we are deeply sorry to everyone who planned to spend this evening at the opera,” the musicians said in a statement. “We have been clear throughout these negotiations that management’s offers were insufficient, and that without a fair contract we would have no choice but to stop work. Management’s insistence on cuts has left us no other option.”\u003c/p>\n\n\n\n\n\n\u003cp>Matthew Shilvock, General Director of San Francisco Opera, expressed dismay at the development.\u003c/p>\n\n\n\n\u003cp>“This is an incredible difficult time for the arts. As with many organizations, we must adjust to the changing realities of the arts, and we cannot sustain a compensation structure that originated 45 years ago without bringing it into alignment with current reality,” Shilvock said in a statement. \u003c/p>\n\n\n\n\u003cp>Both sides of the bargaining table have publicly made their case to patrons and audiences. The musicians highlight the Opera’s successful recent seasons and increased donations and ticket sales, while pointing out high inflation, San Francisco’s rising living costs and Shilvock’s salary increases.\u003c/p>\n\n\n\n\u003cp>San Francisco Opera counters that “even with strong sales and donations, inflationary expense growth has outpaced revenue growth for decades, resulting in a structural deficit of $15M that must be resolved. San Francisco Opera is increasing revenues as much as possible, but expense reduction is also critical.”\u003c/p>\n\n\n\n\u003cp>The \u003ca href=\"https://www.sfoperaorchestra.org/\">musicians’ statement\u003c/a> can be found \u003ca href=\"https://www.sfoperaorchestra.org/\">here\u003c/a>. The \u003ca href=\"https://www.sfopera.com/economics\">Opera’s statement\u003c/a> can be found here. \u003c/p>\n\n\n\n\u003cp>As of Saturday night, it is unclear whether the Sept. 16 performance of \u003cem>Simon Boccanegra\u003c/em> will carry forth as planned. \u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\n\u003cp>Punk, if you’ll pardon the song reference, has gotten \u003ca href=\"https://youtu.be/AdUBTE9JpgI?si=V4KsdIgONxCJKFO_\">institutionalized\u003c/a> in recent years. There’s now a \u003ca href=\"https://www.ithaca.com/entertainment/books/cornell-university-press-book-sheds-light-on-punk-s-diverse-history/article_942bd11f-7e13-42ed-8c52-f5ab307d05a5.html\">punk archive at Cornell University\u003c/a>, with an accompanying book. The \u003ca href=\"https://www.goethe.de/ins/us/en/kul/kua/pun.html\">Goethe Institute has opened punk exhibitions\u003c/a> in both Los Angeles and San Francisco. Academics, curators and humanities hounds are, suddenly, trying to answer the very broad question: \u003ca href=\"https://youtu.be/PcIX4D6lIZ8?si=9KV-RkbWm0n8QBAX\">what is punk\u003c/a>?\u003c/p>\n\n\n\n\u003cp>Good luck to them. Punk is by nature inscrutable, and so vast as to be undefinable. What’s routinely more valuable, and coherent, are the focused histories of smaller underground scenes and their figureheads, bands and record labels.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/1995_Link-80-Book-Three_0108_a.MATT-BERTINELLI-OLPIN-copy.jpg\" alt=\"\" class=\"wp-image-13993781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/1995_Link-80-Book-Three_0108_a.MATT-BERTINELLI-OLPIN-copy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/1995_Link-80-Book-Three_0108_a.MATT-BERTINELLI-OLPIN-copy-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/1995_Link-80-Book-Three_0108_a.MATT-BERTINELLI-OLPIN-copy-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/1995_Link-80-Book-Three_0108_a.MATT-BERTINELLI-OLPIN-copy-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Link 80, with singer Nick Traina, pictured in 1995. (Matt Bertinelli-Olpin)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>That’s part of what makes Mike Huguenor’s book \u003cem>\u003ca href=\"https://www.clashbooks.com/new-products-2/elvis-is-dead-im-still-alive-mike-huguenor-signed\">Elvis Is Dead, I’m Still Alive: The Story of Asian Man Records\u003c/a>\u003c/em> such a necessary addition to the canon. While decidedly a South Bay operation, Asian Man Records, run since 1996 by Mike Park out of his parents’ Los Gatos garage, has released more than 400 albums by a global who’s-who of punk, ska and emo music, including Alkaline Trio, Less Than Jake, Joyce Manor, Link 80 and Lawrence Arms.\u003c/p>\n\n\n\n\u003cp>The rightful star of \u003cem>Elvis is Dead\u003c/em>’s 344 pages, though, is Mike Park himself. A tireless label owner with a strong set of personal ethics and penchant for pranks, Park may be best known to a certain generation of Bay Area kids as the leader of the early-’90s ska band \u003ca href=\"https://www.facebook.com/profile.php?id=100050384534253&locale=es_LA#\">Skankin’ Pickle\u003c/a>. Through Asian Man, he’s also changed the underground scene for the better, and inspired and/or changed the lives of thousands of fans and musicians around the world.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy.jpg\" alt=\"\" class=\"wp-image-13993779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy-1536x1215.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Skankin’ Pickle, with Mike Park (L) and Lars Nylander (R), performing at 924 Gilman in Berkeley. (Murray Bowles)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Park managed to do this as the Korean son of immigrant parents who settled in Los Gatos when the official city demographics for Koreans was 0.0%. Raised in an era of scant few Asian icons in American pop culture, and incessant “slant-eye” taunts on the playground, Park found a home in the underground scene and gradually expanded it to welcome many, many others.\u003c/p>\n\n\n\n\u003cp>Huguenor, a musician himself once signed to Asian Man, and a \u003ca href=\"https://www.metrosiliconvalley.com/author/ichibanhuguenor/\">columnist\u003c/a> who’s chronicled the South Bay scene for years, approaches the Asian Man story with a fan’s enthusiasm and a cultural historian’s interest. Those who come for the bigger-name bands (or mini-scandals about, say, the \u003ca href=\"https://www.reddit.com/r/punk/comments/jisdi/ben_weasel_gives_official_statement_and_talks_a/\">misfortune of signing Screeching Weasel\u003c/a>) will also get a constellation of adventures, tour stories and scene politics.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/01.-1000011690-copy.jpg\" alt=\"\" class=\"wp-image-13993778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/01.-1000011690-copy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/01.-1000011690-copy-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/01.-1000011690-copy-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/01.-1000011690-copy-1536x1165.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">An early incarnation of Less Than Jake, who would leave Asian Man Records after becoming the label’s very first success story. (Josh Gardner)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Those include some of Park’s absurd volume-eating challenges to friends, right alongside his founding of the Plea for Peace Foundation and the Ska Against Racism tour. Bands like Slow Gherkin pile 10 members in a 1970s van, a “clown car” rivaled only by sedans headed to the post office, packed to the ceiling with Asian Man LP mailers. Nick Traina, singer for Link 80 and the son of romance author Danielle Steel, dies of an overdose at age 19. Fans spend a day hashing out PunkNews.org message board drama during the early stages of the Black Lives Matter movement.\u003c/p>\n\n\n\n\u003cp>For his part, Park tries to stay above the fray, with the slow, steady ritual of filling mailorder in his parents’ garage serving as a nearly spiritual practice. He famously tells newly signed bands “I don’t do anything,” meaning tour support and promotion. He blithely exits business negotiations when he finds himself uninterested. He turns down offers — $100,000 from a major label wanting to acquire an album from his roster, or $2 million from another label wanting to acquire his entire enterprise.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Mail-Order-Car.HIRO-TANAKA.jpg\" alt=\"\" class=\"wp-image-13993777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Mail-Order-Car.HIRO-TANAKA.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Mail-Order-Car.HIRO-TANAKA-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Mail-Order-Car.HIRO-TANAKA-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Mail-Order-Car.HIRO-TANAKA-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A typical load of mailorder packages from Asian Man Records, headed to the post office. (Hiro Tanaka)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In cutthroat Silicon Valley, this might seem self-sabotaging. But Park knows himself too well. Unlike the billionaires in tech with their own garage origin myths, he stayed in the garage. He didn’t sell out. In the process, as \u003cem>Elvis Is Dead, I’m Still Alive\u003c/em> shows in detail, he gained the respect and love of virtually the entire underground music scene.\u003c/p>\n\n\n\n\u003cp>That much was evident at \u003ca href=\"https://www.instagram.com/p/DalM6HQp6sA/?hl=en\">Asian Man’s 30th Anniversary celebration\u003c/a> at the Bottom of the Hill in San Francisco in early September, which despite not announcing performers in advance sold out in minutes on the Asian Man name alone. It was four packed nights, 16 bands, surprise reunions, and Park’s own return to the stage with the Bruce Lee Band.\u003c/p>\n\n\n\n\u003cp>And, after the shows, Park went back to what he’s always done: still filling orders by hand, more than 30 years in, at his parents’ garage.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Correction: A previous version of this article incorrectly identified the location of Asian Man Records’ garage headquarters. It is in Los Gatos, not Los Altos. \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Punk, if you’ll pardon the song reference, has gotten \u003ca href=\"https://youtu.be/AdUBTE9JpgI?si=V4KsdIgONxCJKFO_\">institutionalized\u003c/a> in recent years. There’s now a \u003ca href=\"https://www.ithaca.com/entertainment/books/cornell-university-press-book-sheds-light-on-punk-s-diverse-history/article_942bd11f-7e13-42ed-8c52-f5ab307d05a5.html\">punk archive at Cornell University\u003c/a>, with an accompanying book. The \u003ca href=\"https://www.goethe.de/ins/us/en/kul/kua/pun.html\">Goethe Institute has opened punk exhibitions\u003c/a> in both Los Angeles and San Francisco. Academics, curators and humanities hounds are, suddenly, trying to answer the very broad question: \u003ca href=\"https://youtu.be/PcIX4D6lIZ8?si=9KV-RkbWm0n8QBAX\">what is punk\u003c/a>?\u003c/p>\n",
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"innerHTML": "\n\u003cp>Good luck to them. Punk is by nature inscrutable, and so vast as to be undefinable. What’s routinely more valuable, and coherent, are the focused histories of smaller underground scenes and their figureheads, bands and record labels.\u003c/p>\n",
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"innerHTML": "\n\u003cp>That’s part of what makes Mike Huguenor’s book \u003cem>\u003ca href=\"https://www.clashbooks.com/new-products-2/elvis-is-dead-im-still-alive-mike-huguenor-signed\">Elvis Is Dead, I’m Still Alive: The Story of Asian Man Records\u003c/a>\u003c/em> such a necessary addition to the canon. While decidedly a South Bay operation, Asian Man Records, run since 1996 by Mike Park out of his parents’ Los Gatos garage, has released more than 400 albums by a global who’s-who of punk, ska and emo music, including Alkaline Trio, Less Than Jake, Joyce Manor, Link 80 and Lawrence Arms.\u003c/p>\n",
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"\n\u003cp>That’s part of what makes Mike Huguenor’s book \u003cem>\u003ca href=\"https://www.clashbooks.com/new-products-2/elvis-is-dead-im-still-alive-mike-huguenor-signed\">Elvis Is Dead, I’m Still Alive: The Story of Asian Man Records\u003c/a>\u003c/em> such a necessary addition to the canon. While decidedly a South Bay operation, Asian Man Records, run since 1996 by Mike Park out of his parents’ Los Gatos garage, has released more than 400 albums by a global who’s-who of punk, ska and emo music, including Alkaline Trio, Less Than Jake, Joyce Manor, Link 80 and Lawrence Arms.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The rightful star of \u003cem>Elvis is Dead\u003c/em>’s 344 pages, though, is Mike Park himself. A tireless label owner with a strong set of personal ethics and penchant for pranks, Park may be best known to a certain generation of Bay Area kids as the leader of the early-’90s ska band \u003ca href=\"https://www.facebook.com/profile.php?id=100050384534253&locale=es_LA#\">Skankin’ Pickle\u003c/a>. Through Asian Man, he’s also changed the underground scene for the better, and inspired and/or changed the lives of thousands of fans and musicians around the world.\u003c/p>\n",
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"\n\u003cp>The rightful star of \u003cem>Elvis is Dead\u003c/em>’s 344 pages, though, is Mike Park himself. A tireless label owner with a strong set of personal ethics and penchant for pranks, Park may be best known to a certain generation of Bay Area kids as the leader of the early-’90s ska band \u003ca href=\"https://www.facebook.com/profile.php?id=100050384534253&locale=es_LA#\">Skankin’ Pickle\u003c/a>. Through Asian Man, he’s also changed the underground scene for the better, and inspired and/or changed the lives of thousands of fans and musicians around the world.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy.jpg\" alt=\"\" class=\"wp-image-13993779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy-1536x1215.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Skankin’ Pickle, with Mike Park (L) and Lars Nylander (R), performing at 924 Gilman in Berkeley. \u003ccite class=\"wp-inline-image-credit\"> (Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Park managed to do this as the Korean son of immigrant parents who settled in Los Gatos when the official city demographics for Koreans was 0.0%. Raised in an era of scant few Asian icons in American pop culture, and incessant “slant-eye” taunts on the playground, Park found a home in the underground scene and gradually expanded it to welcome many, many others.\u003c/p>\n",
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"\n\u003cp>Park managed to do this as the Korean son of immigrant parents who settled in Los Gatos when the official city demographics for Koreans was 0.0%. Raised in an era of scant few Asian icons in American pop culture, and incessant “slant-eye” taunts on the playground, Park found a home in the underground scene and gradually expanded it to welcome many, many others.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Huguenor, a musician himself once signed to Asian Man, and a \u003ca href=\"https://www.metrosiliconvalley.com/author/ichibanhuguenor/\">columnist\u003c/a> who’s chronicled the South Bay scene for years, approaches the Asian Man story with a fan’s enthusiasm and a cultural historian’s interest. Those who come for the bigger-name bands (or mini-scandals about, say, the \u003ca href=\"https://www.reddit.com/r/punk/comments/jisdi/ben_weasel_gives_official_statement_and_talks_a/\">misfortune of signing Screeching Weasel\u003c/a>) will also get a constellation of adventures, tour stories and scene politics.\u003c/p>\n",
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"\n\u003cp>Huguenor, a musician himself once signed to Asian Man, and a \u003ca href=\"https://www.metrosiliconvalley.com/author/ichibanhuguenor/\">columnist\u003c/a> who’s chronicled the South Bay scene for years, approaches the Asian Man story with a fan’s enthusiasm and a cultural historian’s interest. Those who come for the bigger-name bands (or mini-scandals about, say, the \u003ca href=\"https://www.reddit.com/r/punk/comments/jisdi/ben_weasel_gives_official_statement_and_talks_a/\">misfortune of signing Screeching Weasel\u003c/a>) will also get a constellation of adventures, tour stories and scene politics.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Those include some of Park’s absurd volume-eating challenges to friends, right alongside his founding of the Plea for Peace Foundation and the Ska Against Racism tour. Bands like Slow Gherkin pile 10 members in a 1970s van, a “clown car” rivaled only by sedans headed to the post office, packed to the ceiling with Asian Man LP mailers. Nick Traina, singer for Link 80 and the son of romance author Danielle Steel, dies of an overdose at age 19. Fans spend a day hashing out PunkNews.org message board drama during the early stages of the Black Lives Matter movement.\u003c/p>\n",
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"\n\u003cp>Those include some of Park’s absurd volume-eating challenges to friends, right alongside his founding of the Plea for Peace Foundation and the Ska Against Racism tour. Bands like Slow Gherkin pile 10 members in a 1970s van, a “clown car” rivaled only by sedans headed to the post office, packed to the ceiling with Asian Man LP mailers. Nick Traina, singer for Link 80 and the son of romance author Danielle Steel, dies of an overdose at age 19. Fans spend a day hashing out PunkNews.org message board drama during the early stages of the Black Lives Matter movement.\u003c/p>\n"
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"innerHTML": "\n\u003cp>For his part, Park tries to stay above the fray, with the slow, steady ritual of filling mailorder in his parents’ garage serving as a nearly spiritual practice. He famously tells newly signed bands “I don’t do anything,” meaning tour support and promotion. He blithely exits business negotiations when he finds himself uninterested. He turns down offers — $100,000 from a major label wanting to acquire an album from his roster, or $2 million from another label wanting to acquire his entire enterprise.\u003c/p>\n",
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"\n\u003cp>For his part, Park tries to stay above the fray, with the slow, steady ritual of filling mailorder in his parents’ garage serving as a nearly spiritual practice. He famously tells newly signed bands “I don’t do anything,” meaning tour support and promotion. He blithely exits business negotiations when he finds himself uninterested. He turns down offers — $100,000 from a major label wanting to acquire an album from his roster, or $2 million from another label wanting to acquire his entire enterprise.\u003c/p>\n"
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Mail-Order-Car.HIRO-TANAKA.jpg\" alt=\"\" class=\"wp-image-13993777\"/>\u003cfigcaption class=\"wp-element-caption\">A typical load of mailorder packages from Asian Man Records, headed to the post office. \u003ccite class=\"wp-inline-image-credit\"> (Hiro Tanaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>In cutthroat Silicon Valley, this might seem self-sabotaging. But Park knows himself too well. Unlike the billionaires in tech with their own garage origin myths, he stayed in the garage. He didn’t sell out. In the process, as \u003cem>Elvis Is Dead, I’m Still Alive\u003c/em> shows in detail, he gained the respect and love of virtually the entire underground music scene.\u003c/p>\n",
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"\n\u003cp>In cutthroat Silicon Valley, this might seem self-sabotaging. But Park knows himself too well. Unlike the billionaires in tech with their own garage origin myths, he stayed in the garage. He didn’t sell out. In the process, as \u003cem>Elvis Is Dead, I’m Still Alive\u003c/em> shows in detail, he gained the respect and love of virtually the entire underground music scene.\u003c/p>\n"
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"innerHTML": "\n\u003cp>That much was evident at \u003ca href=\"https://www.instagram.com/p/DalM6HQp6sA/?hl=en\">Asian Man’s 30th Anniversary celebration\u003c/a> at the Bottom of the Hill in San Francisco in early September, which despite not announcing performers in advance sold out in minutes on the Asian Man name alone. It was four packed nights, 16 bands, surprise reunions, and Park’s own return to the stage with the Bruce Lee Band.\u003c/p>\n",
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"\n\u003cp>That much was evident at \u003ca href=\"https://www.instagram.com/p/DalM6HQp6sA/?hl=en\">Asian Man’s 30th Anniversary celebration\u003c/a> at the Bottom of the Hill in San Francisco in early September, which despite not announcing performers in advance sold out in minutes on the Asian Man name alone. It was four packed nights, 16 bands, surprise reunions, and Park’s own return to the stage with the Bruce Lee Band.\u003c/p>\n"
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"innerHTML": "\n\u003cp>And, after the shows, Park went back to what he’s always done: still filling orders by hand, more than 30 years in, at his parents’ garage.\u003c/p>\n",
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"\n\u003cp>And, after the shows, Park went back to what he’s always done: still filling orders by hand, more than 30 years in, at his parents’ garage.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>Correction: A previous version of this article incorrectly identified the location of Asian Man Records’ garage headquarters. It is in Los Gatos, not Los Altos. \u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Correction: A previous version of this article incorrectly identified the location of Asian Man Records’ garage headquarters. It is in Los Gatos, not Los Altos. \u003c/em>\u003c/p>\n"
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"excerpt": "Mike Park's Asian Man Records is the subject of a new book charting the label’s origins, impact and longevity.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Punk, if you’ll pardon the song reference, has gotten \u003ca href=\"https://youtu.be/AdUBTE9JpgI?si=V4KsdIgONxCJKFO_\">institutionalized\u003c/a> in recent years. There’s now a \u003ca href=\"https://www.ithaca.com/entertainment/books/cornell-university-press-book-sheds-light-on-punk-s-diverse-history/article_942bd11f-7e13-42ed-8c52-f5ab307d05a5.html\">punk archive at Cornell University\u003c/a>, with an accompanying book. The \u003ca href=\"https://www.goethe.de/ins/us/en/kul/kua/pun.html\">Goethe Institute has opened punk exhibitions\u003c/a> in both Los Angeles and San Francisco. Academics, curators and humanities hounds are, suddenly, trying to answer the very broad question: \u003ca href=\"https://youtu.be/PcIX4D6lIZ8?si=9KV-RkbWm0n8QBAX\">what is punk\u003c/a>?\u003c/p>\n\n\n\n\u003cp>Good luck to them. Punk is by nature inscrutable, and so vast as to be undefinable. What’s routinely more valuable, and coherent, are the focused histories of smaller underground scenes and their figureheads, bands and record labels.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/1995_Link-80-Book-Three_0108_a.MATT-BERTINELLI-OLPIN-copy.jpg\" alt=\"\" class=\"wp-image-13993781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/1995_Link-80-Book-Three_0108_a.MATT-BERTINELLI-OLPIN-copy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/1995_Link-80-Book-Three_0108_a.MATT-BERTINELLI-OLPIN-copy-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/1995_Link-80-Book-Three_0108_a.MATT-BERTINELLI-OLPIN-copy-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/1995_Link-80-Book-Three_0108_a.MATT-BERTINELLI-OLPIN-copy-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Link 80, with singer Nick Traina, pictured in 1995. (Matt Bertinelli-Olpin)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>That’s part of what makes Mike Huguenor’s book \u003cem>\u003ca href=\"https://www.clashbooks.com/new-products-2/elvis-is-dead-im-still-alive-mike-huguenor-signed\">Elvis Is Dead, I’m Still Alive: The Story of Asian Man Records\u003c/a>\u003c/em> such a necessary addition to the canon. While decidedly a South Bay operation, Asian Man Records, run since 1996 by Mike Park out of his parents’ Los Gatos garage, has released more than 400 albums by a global who’s-who of punk, ska and emo music, including Alkaline Trio, Less Than Jake, Joyce Manor, Link 80 and Lawrence Arms.\u003c/p>\n\n\n\n\u003cp>The rightful star of \u003cem>Elvis is Dead\u003c/em>’s 344 pages, though, is Mike Park himself. A tireless label owner with a strong set of personal ethics and penchant for pranks, Park may be best known to a certain generation of Bay Area kids as the leader of the early-’90s ska band \u003ca href=\"https://www.facebook.com/profile.php?id=100050384534253&locale=es_LA#\">Skankin’ Pickle\u003c/a>. Through Asian Man, he’s also changed the underground scene for the better, and inspired and/or changed the lives of thousands of fans and musicians around the world.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy.jpg\" alt=\"\" class=\"wp-image-13993779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Scan_20241210-51.-MURRAY-BOWLES-copy-1536x1215.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Skankin’ Pickle, with Mike Park (L) and Lars Nylander (R), performing at 924 Gilman in Berkeley. (Murray Bowles)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Park managed to do this as the Korean son of immigrant parents who settled in Los Gatos when the official city demographics for Koreans was 0.0%. Raised in an era of scant few Asian icons in American pop culture, and incessant “slant-eye” taunts on the playground, Park found a home in the underground scene and gradually expanded it to welcome many, many others.\u003c/p>\n\n\n\n\u003cp>Huguenor, a musician himself once signed to Asian Man, and a \u003ca href=\"https://www.metrosiliconvalley.com/author/ichibanhuguenor/\">columnist\u003c/a> who’s chronicled the South Bay scene for years, approaches the Asian Man story with a fan’s enthusiasm and a cultural historian’s interest. Those who come for the bigger-name bands (or mini-scandals about, say, the \u003ca href=\"https://www.reddit.com/r/punk/comments/jisdi/ben_weasel_gives_official_statement_and_talks_a/\">misfortune of signing Screeching Weasel\u003c/a>) will also get a constellation of adventures, tour stories and scene politics.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/01.-1000011690-copy.jpg\" alt=\"\" class=\"wp-image-13993778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/01.-1000011690-copy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/01.-1000011690-copy-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/01.-1000011690-copy-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/01.-1000011690-copy-1536x1165.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">An early incarnation of Less Than Jake, who would leave Asian Man Records after becoming the label’s very first success story. (Josh Gardner)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Those include some of Park’s absurd volume-eating challenges to friends, right alongside his founding of the Plea for Peace Foundation and the Ska Against Racism tour. Bands like Slow Gherkin pile 10 members in a 1970s van, a “clown car” rivaled only by sedans headed to the post office, packed to the ceiling with Asian Man LP mailers. Nick Traina, singer for Link 80 and the son of romance author Danielle Steel, dies of an overdose at age 19. Fans spend a day hashing out PunkNews.org message board drama during the early stages of the Black Lives Matter movement.\u003c/p>\n\n\n\n\u003cp>For his part, Park tries to stay above the fray, with the slow, steady ritual of filling mailorder in his parents’ garage serving as a nearly spiritual practice. He famously tells newly signed bands “I don’t do anything,” meaning tour support and promotion. He blithely exits business negotiations when he finds himself uninterested. He turns down offers — $100,000 from a major label wanting to acquire an album from his roster, or $2 million from another label wanting to acquire his entire enterprise.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Mail-Order-Car.HIRO-TANAKA.jpg\" alt=\"\" class=\"wp-image-13993777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Mail-Order-Car.HIRO-TANAKA.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Mail-Order-Car.HIRO-TANAKA-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Mail-Order-Car.HIRO-TANAKA-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/02.-Mail-Order-Car.HIRO-TANAKA-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">A typical load of mailorder packages from Asian Man Records, headed to the post office. (Hiro Tanaka)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In cutthroat Silicon Valley, this might seem self-sabotaging. But Park knows himself too well. Unlike the billionaires in tech with their own garage origin myths, he stayed in the garage. He didn’t sell out. In the process, as \u003cem>Elvis Is Dead, I’m Still Alive\u003c/em> shows in detail, he gained the respect and love of virtually the entire underground music scene.\u003c/p>\n\n\n\n\u003cp>That much was evident at \u003ca href=\"https://www.instagram.com/p/DalM6HQp6sA/?hl=en\">Asian Man’s 30th Anniversary celebration\u003c/a> at the Bottom of the Hill in San Francisco in early September, which despite not announcing performers in advance sold out in minutes on the Asian Man name alone. It was four packed nights, 16 bands, surprise reunions, and Park’s own return to the stage with the Bruce Lee Band.\u003c/p>\n\n\n\n\u003cp>And, after the shows, Park went back to what he’s always done: still filling orders by hand, more than 30 years in, at his parents’ garage.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Correction: A previous version of this article incorrectly identified the location of Asian Man Records’ garage headquarters. It is in Los Gatos, not Los Altos. \u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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