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"content": "\u003cp>Tyler, the Creator’s CHROMAKOPIA: The World Tour will be heading to Oakland Arena on Monday, alongside Lil Yachty and L.A.-duo Paris Texas.\u003c/p>\n\u003cp>If you’re planning on attending, you may be looking for a game plan for parking at the venue — or just getting in and out of the crowded, hectic stadium as painlessly as possible.\u003c/p>\n\u003cp>Keep reading for our at-a-glance information on parking options, bag policy, public transit and more for the Tyler, the Creator show.\u003c/p>\n\u003cp>(And if you’re \u003cem>not \u003c/em>attending the show but you live, work or commute in the region? This guide might not be for you, but you should be prepared for I-880 and surrounding routes to potentially be busy on Monday night, both before and after the show.)\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#oaklandarenabagpolicy\">What’s the Oakland Arena bag policy?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#oaklandarenaparking\">What should I know about parking at and near Oakland Arena?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#coliseumpublictransit\">How can I take public transit to the Tyler, the Creator concert?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>What time is the Tyler, the Creator show at Oakland Arena?\u003c/h2>\n\u003cp>The show will start at 7:30 p.m. on Monday, Feb. 24. \u003ca href=\"https://www.theoaklandarena.com/events/detail/nicki-minaj\">The doors at Oakland Area will open that night at 6 p.m. \u003c/a>\u003c/p>\n\u003cp>You can check out \u003ca href=\"https://uproxx.com/music/tyler-the-creator-chromakopia-tour-setlist-2025/\">the setlist at UPROXX.com\u003c/a>.\u003c/p>\n\u003ch2>What will the weather be like on Monday night in Oakland?\u003c/h2>\n\u003cp>Even though the Oakland Arena is an indoor venue, it is best for you to plan ahead for being outdoors (for example, getting in and out of the stadium) and dress warm. The \u003ca href=\"https://forecast.weather.gov/MapClick.php?lat=37.8051&lon=-122.2731\">National Weather Service predicts that Oakland will be foggy that night.\u003c/a>\u003c/p>\n\u003ch2>\u003ca id=\"oaklandarenabagpolicy\">\u003c/a>What’s the Oakland Arena bag policy?\u003c/h2>\n\u003cp>Bag check is not available at Oakland Arena, so you should plan ahead accordingly. \u003ca href=\"https://www.theoaklandarena.com/prohibited-items\">Some things you cannot bring to the Tyler, the Creator show\u003c/a> on Monday include:\u003c/p>\n\u003cul>\n\u003cli>Coolers\u003c/li>\n\u003cli>Any type of backpacks\u003c/li>\n\u003cli>Bags larger than 14″ x 14″ x 6″\u003c/li>\n\u003cli>Cigarettes\u003c/li>\n\u003cli>Weapons or sharp objects\u003c/li>\n\u003cli>Bats and clubs\u003c/li>\n\u003cli>Outside food or beverage (as well as hard side containers like a thermos)\u003c/li>\n\u003cli>Selfie sticks and tripods\u003c/li>\n\u003cli>Strollers and portable chairs\u003c/li>\n\u003cli>Seat cushions\u003c/li>\n\u003cli>Large banners or flags\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977242 aligncenter\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Arena-Prohibited-Items-deea1b7735.png\" alt=\"\" width=\"436\" height=\"779\">\u003c/p>\n\u003cp>\u003cem>Empty\u003c/em> soft plastic bottles are allowed, as well as binoculars and still cameras with lenses shorter than 3 inches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11959799/how-to-avoid-a-car-break-in-bay-area\">Be careful if you’re choosing to stash anything in your vehicle\u003c/a> during the show, as break-ins are unfortunately common around the Bay Area. Don’t leave anything on display in your car, especially electronics like laptops — even if you think they’re hidden from view.\u003c/p>\n\u003ch2>What should I know about accessibility at Oakland Arena?\u003c/h2>\n\u003cp>\u003ca href=\"https://www.theoaklandarena.com/accessibility\">Oakland Arena has an online guide to its accessibility services\u003c/a>. Accessibility highlights include:\u003c/p>\n\u003cul>\n\u003cli>Assisted Listening Devices are available in the First Aid Section 106.\u003c/li>\n\u003cli>The First Aid section also includes \u003ca href=\"https://www.theoaklandarena.com/oakland-a-z\">“(s)ensory bags, equipped with noise canceling headphones, fidget tools, verbal cue cards and weighted lap pads.”\u003c/a>\u003c/li>\n\u003cli>Elevators are available at the west side, near Section 114 and the east side, near Section 101.\u003c/li>\n\u003cli>You can call 510-569-2121 or email customerservice@coliseum.com for information or requests.\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"oaklandarenaparking\">\u003c/a>What should I know about parking at and near Oakland Arena?\u003c/h2>\n\u003cp>Oakland Arena’s website is currently redirecting fans to \u003ca href=\"https://spothero.com/search?kind=event&id=1012292&view=dl\">parking website Spot Hero for any available spaces\u003c/a>. Be sure to secure a parking space quick, as the prices closer to the stadium are reaching $100.\u003c/p>\n\u003cp>Make sure you map the route using a tool like Google Maps, to make sure you know how long you have to walk and the shortest route to do so — and wear comfy footwear.\u003c/p>\n\u003ch2>\u003ca id=\"coliseumpublictransit\">\u003c/a>How to take public transportation to the Tyler, the Creator concert\u003c/h2>\n\u003cp>Public transit schedules can always be subject to change. Check the timings for your route on the day of the show itself, and be sure of your very last service home.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://www.theoaklandarena.com/assets/img/Email-Maps-4-bd72220145.png\">\u003c/p>\n\u003cp>The Oakland Arena is located near \u003ca href=\"https://www.bart.gov/\">BART\u003c/a>, the \u003ca href=\"https://www.amtrak.com/stations/okj\">Capitol Corridor Amtrak train\u003c/a>, and \u003ca href=\"http://www.actransit.org/\">AC Transit\u003c/a>. If you are taking the BART or Amtrak, you \u003ca href=\"https://www.theoaklandarena.com/public-transportation\">would need to get off the Coliseum Station and cross the ramp to the Arena\u003c/a>.\u003c/p>\n\u003cp>If you are going to take an Uber or Lyft to or from the event, you will need to be picked up at Baldwin Gate. Baldwin Gate \u003ca href=\"https://www.theoaklandarena.com/oakland-a-z\">opens two hours before the event starts\u003c/a>. Be aware that there will likely be a surge charge around this time due to the crowds.\u003c/p>\n\u003ch2>\u003cstrong>How do I know if I’ve got a good seat at the Tyler, the Creator show?\u003c/strong>\u003c/h2>\n\u003cp>If you are anxious about anything obscuring your sight of the stage or how you want to get to your seat fast, you can check it out on Oakland \u003ca href=\"https://www.theoaklandarena.com/seating-charts\">Arena’s website\u003c/a> or \u003ca href=\"https://aviewfrommyseat.com/venue/Oakland+Arena/\">A View From My Seat\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>\u003cstrong>Can I still get a ticket for the CHROMAKOPIA tour at Oakland Arena?\u003c/strong>\u003c/h2>\n\u003cp>\u003ca href=\"https://tix.axs.com/YD%2f5CgAAAAAMiQWGAAAAAAAq%2fv%2f%2f%2fwD%2f%2f%2f%2f%2fBXRoZW1lAP%2f%2f%2f%2f%2f%2f%2f%2f%2f%2f/shop/search?skin=theoaklandarena&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%253A%252F%252Fwww.theoaklandarena.com%252F&upgrade=&mkt_campaign=&irclickid=&q=00000000-0000-0000-0000-000000000000&p=2b597fe9-9094-4d2b-99ac-7f98a698e258&ts=1739923918&c=axs&e=1841068488783241&rt=AfterEvent&h=85020744cdc7798b6630bae70f0ab14e\">Tickets are still being offered on AXS\u003c/a>, which is the most official way to secure your seat at the Tyler, the Creator show for $96 and up. (Most tickets are, however, around the $200 to $300 mark.) If you need accessible tickets, be sure to filter for them on the site.\u003c/p>\n\u003cp>You can also find \u003ca href=\"https://www.stubhub.com/tyler-the-creator-oakland-tickets-2-24-2025/event/155908767/\">resales on sites like StubHub\u003c/a> or look for better deals and seats on Facebook marketplace resales and Eventbrite.\u003c/p>\n\u003cp>If you’re buying a resale ticket, a note: \u003ca href=\"https://abc7news.com/taylor-swift-scams-concert-tickets-better-business-bureau/13474055/\">The Better Businesses Bureau issued a warning about resale scams\u003c/a> during Taylor Swift’s 2023 Eras Tour, with many people discovering after sending the money through apps like Venmo or Zelle that these “tickets” never existed. Check out the person’s profile and their past posting history to see if it seems real. And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you do choose to buy a resale, use your credit card,\u003c/a> says the BBB. This at least provides some protection for you if the deal was fake.\u003c/p>\n\u003cp>If you are getting a resale from a friend, \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">make sure you call your friend directly\u003c/a> — to make sure someone isn’t impersonating them online.\u003c/p>\n\u003cp>Also, if you can’t make it to the Oakland show, don’t get too worried. Tyler, the Creator is coming to \u003ca href=\"https://www.ticketmaster.com/tyler-the-creator-chromakopia-the-world-san-francisco-california-03-05-2025/event/1C006155BAC01E10?landing=c\">San Francisco’s Chase Center in early March\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "If you're going to Monday's Tyler, the Creator show at Oakland Arena, here's what to know about venue bag policies, getting in and out of the arena, and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tyler, the Creator’s CHROMAKOPIA: The World Tour will be heading to Oakland Arena on Monday, alongside Lil Yachty and L.A.-duo Paris Texas.\u003c/p>\n\u003cp>If you’re planning on attending, you may be looking for a game plan for parking at the venue — or just getting in and out of the crowded, hectic stadium as painlessly as possible.\u003c/p>\n\u003cp>Keep reading for our at-a-glance information on parking options, bag policy, public transit and more for the Tyler, the Creator show.\u003c/p>\n\u003cp>(And if you’re \u003cem>not \u003c/em>attending the show but you live, work or commute in the region? This guide might not be for you, but you should be prepared for I-880 and surrounding routes to potentially be busy on Monday night, both before and after the show.)\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#oaklandarenabagpolicy\">What’s the Oakland Arena bag policy?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#oaklandarenaparking\">What should I know about parking at and near Oakland Arena?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#coliseumpublictransit\">How can I take public transit to the Tyler, the Creator concert?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>What time is the Tyler, the Creator show at Oakland Arena?\u003c/h2>\n\u003cp>The show will start at 7:30 p.m. on Monday, Feb. 24. \u003ca href=\"https://www.theoaklandarena.com/events/detail/nicki-minaj\">The doors at Oakland Area will open that night at 6 p.m. \u003c/a>\u003c/p>\n\u003cp>You can check out \u003ca href=\"https://uproxx.com/music/tyler-the-creator-chromakopia-tour-setlist-2025/\">the setlist at UPROXX.com\u003c/a>.\u003c/p>\n\u003ch2>What will the weather be like on Monday night in Oakland?\u003c/h2>\n\u003cp>Even though the Oakland Arena is an indoor venue, it is best for you to plan ahead for being outdoors (for example, getting in and out of the stadium) and dress warm. The \u003ca href=\"https://forecast.weather.gov/MapClick.php?lat=37.8051&lon=-122.2731\">National Weather Service predicts that Oakland will be foggy that night.\u003c/a>\u003c/p>\n\u003ch2>\u003ca id=\"oaklandarenabagpolicy\">\u003c/a>What’s the Oakland Arena bag policy?\u003c/h2>\n\u003cp>Bag check is not available at Oakland Arena, so you should plan ahead accordingly. \u003ca href=\"https://www.theoaklandarena.com/prohibited-items\">Some things you cannot bring to the Tyler, the Creator show\u003c/a> on Monday include:\u003c/p>\n\u003cul>\n\u003cli>Coolers\u003c/li>\n\u003cli>Any type of backpacks\u003c/li>\n\u003cli>Bags larger than 14″ x 14″ x 6″\u003c/li>\n\u003cli>Cigarettes\u003c/li>\n\u003cli>Weapons or sharp objects\u003c/li>\n\u003cli>Bats and clubs\u003c/li>\n\u003cli>Outside food or beverage (as well as hard side containers like a thermos)\u003c/li>\n\u003cli>Selfie sticks and tripods\u003c/li>\n\u003cli>Strollers and portable chairs\u003c/li>\n\u003cli>Seat cushions\u003c/li>\n\u003cli>Large banners or flags\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977242 aligncenter\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Arena-Prohibited-Items-deea1b7735.png\" alt=\"\" width=\"436\" height=\"779\">\u003c/p>\n\u003cp>\u003cem>Empty\u003c/em> soft plastic bottles are allowed, as well as binoculars and still cameras with lenses shorter than 3 inches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11959799/how-to-avoid-a-car-break-in-bay-area\">Be careful if you’re choosing to stash anything in your vehicle\u003c/a> during the show, as break-ins are unfortunately common around the Bay Area. Don’t leave anything on display in your car, especially electronics like laptops — even if you think they’re hidden from view.\u003c/p>\n\u003ch2>What should I know about accessibility at Oakland Arena?\u003c/h2>\n\u003cp>\u003ca href=\"https://www.theoaklandarena.com/accessibility\">Oakland Arena has an online guide to its accessibility services\u003c/a>. Accessibility highlights include:\u003c/p>\n\u003cul>\n\u003cli>Assisted Listening Devices are available in the First Aid Section 106.\u003c/li>\n\u003cli>The First Aid section also includes \u003ca href=\"https://www.theoaklandarena.com/oakland-a-z\">“(s)ensory bags, equipped with noise canceling headphones, fidget tools, verbal cue cards and weighted lap pads.”\u003c/a>\u003c/li>\n\u003cli>Elevators are available at the west side, near Section 114 and the east side, near Section 101.\u003c/li>\n\u003cli>You can call 510-569-2121 or email customerservice@coliseum.com for information or requests.\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"oaklandarenaparking\">\u003c/a>What should I know about parking at and near Oakland Arena?\u003c/h2>\n\u003cp>Oakland Arena’s website is currently redirecting fans to \u003ca href=\"https://spothero.com/search?kind=event&id=1012292&view=dl\">parking website Spot Hero for any available spaces\u003c/a>. Be sure to secure a parking space quick, as the prices closer to the stadium are reaching $100.\u003c/p>\n\u003cp>Make sure you map the route using a tool like Google Maps, to make sure you know how long you have to walk and the shortest route to do so — and wear comfy footwear.\u003c/p>\n\u003ch2>\u003ca id=\"coliseumpublictransit\">\u003c/a>How to take public transportation to the Tyler, the Creator concert\u003c/h2>\n\u003cp>Public transit schedules can always be subject to change. Check the timings for your route on the day of the show itself, and be sure of your very last service home.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://www.theoaklandarena.com/assets/img/Email-Maps-4-bd72220145.png\">\u003c/p>\n\u003cp>The Oakland Arena is located near \u003ca href=\"https://www.bart.gov/\">BART\u003c/a>, the \u003ca href=\"https://www.amtrak.com/stations/okj\">Capitol Corridor Amtrak train\u003c/a>, and \u003ca href=\"http://www.actransit.org/\">AC Transit\u003c/a>. If you are taking the BART or Amtrak, you \u003ca href=\"https://www.theoaklandarena.com/public-transportation\">would need to get off the Coliseum Station and cross the ramp to the Arena\u003c/a>.\u003c/p>\n\u003cp>If you are going to take an Uber or Lyft to or from the event, you will need to be picked up at Baldwin Gate. Baldwin Gate \u003ca href=\"https://www.theoaklandarena.com/oakland-a-z\">opens two hours before the event starts\u003c/a>. Be aware that there will likely be a surge charge around this time due to the crowds.\u003c/p>\n\u003ch2>\u003cstrong>How do I know if I’ve got a good seat at the Tyler, the Creator show?\u003c/strong>\u003c/h2>\n\u003cp>If you are anxious about anything obscuring your sight of the stage or how you want to get to your seat fast, you can check it out on Oakland \u003ca href=\"https://www.theoaklandarena.com/seating-charts\">Arena’s website\u003c/a> or \u003ca href=\"https://aviewfrommyseat.com/venue/Oakland+Arena/\">A View From My Seat\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003cstrong>Can I still get a ticket for the CHROMAKOPIA tour at Oakland Arena?\u003c/strong>\u003c/h2>\n\u003cp>\u003ca href=\"https://tix.axs.com/YD%2f5CgAAAAAMiQWGAAAAAAAq%2fv%2f%2f%2fwD%2f%2f%2f%2f%2fBXRoZW1lAP%2f%2f%2f%2f%2f%2f%2f%2f%2f%2f/shop/search?skin=theoaklandarena&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%253A%252F%252Fwww.theoaklandarena.com%252F&upgrade=&mkt_campaign=&irclickid=&q=00000000-0000-0000-0000-000000000000&p=2b597fe9-9094-4d2b-99ac-7f98a698e258&ts=1739923918&c=axs&e=1841068488783241&rt=AfterEvent&h=85020744cdc7798b6630bae70f0ab14e\">Tickets are still being offered on AXS\u003c/a>, which is the most official way to secure your seat at the Tyler, the Creator show for $96 and up. (Most tickets are, however, around the $200 to $300 mark.) If you need accessible tickets, be sure to filter for them on the site.\u003c/p>\n\u003cp>You can also find \u003ca href=\"https://www.stubhub.com/tyler-the-creator-oakland-tickets-2-24-2025/event/155908767/\">resales on sites like StubHub\u003c/a> or look for better deals and seats on Facebook marketplace resales and Eventbrite.\u003c/p>\n\u003cp>If you’re buying a resale ticket, a note: \u003ca href=\"https://abc7news.com/taylor-swift-scams-concert-tickets-better-business-bureau/13474055/\">The Better Businesses Bureau issued a warning about resale scams\u003c/a> during Taylor Swift’s 2023 Eras Tour, with many people discovering after sending the money through apps like Venmo or Zelle that these “tickets” never existed. Check out the person’s profile and their past posting history to see if it seems real. And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you do choose to buy a resale, use your credit card,\u003c/a> says the BBB. This at least provides some protection for you if the deal was fake.\u003c/p>\n\u003cp>If you are getting a resale from a friend, \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">make sure you call your friend directly\u003c/a> — to make sure someone isn’t impersonating them online.\u003c/p>\n\u003cp>Also, if you can’t make it to the Oakland show, don’t get too worried. Tyler, the Creator is coming to \u003ca href=\"https://www.ticketmaster.com/tyler-the-creator-chromakopia-the-world-san-francisco-california-03-05-2025/event/1C006155BAC01E10?landing=c\">San Francisco’s Chase Center in early March\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "how-2-bay-area-artists-built-a-life-music-literature-love",
"title": "Against the Odds: How 2 Bay Area Artists Built a Life of Music, Literature and Love",
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"headTitle": "Against the Odds: How 2 Bay Area Artists Built a Life of Music, Literature and Love | KQED",
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/em>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003cem>Click here to subscribe.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>I met children’s author Aida Salazar back in 2017 at an intensive, weeklong writing class. It was the type of class aspiring writers sign up for to receive feedback and encouragement to keep going, but few end up going pro.\u003c/p>\n\u003cp>Salazar landed a book deal. Since 2020, she has published four young adult novels, several anthologies, a handful of children’s books and translations.\u003c/p>\n\u003cp>I recently caught up with Salazar in the lobby of Freight & Salvage, a live music venue in Berkeley, before her partner, acclaimed Latin jazz percussionist John Santos, took the stage with his sextet. The sold-out show marked the 40th anniversary of Machete Records, the label he founded, and the release of his latest album, “Horizontes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Salazar was in charge of the merchandise table, a role she begrudgingly took when they started dating more than 25 years ago.\u003c/p>\n\u003cp>“When I moved in with him, I said, ‘I’m not going to be the one selling your CDs,’ and now I’m always the one selling his CDs because I know his collection so well,” she said, laughing.\u003c/p>\n\u003cp>That night, she set out copies of her books alongside the rows of CDs, turning the merch table into another symbol of their partnership. Making a living as an artist in the Bay Area is hard enough for one person, let alone two.\u003c/p>\n\u003cfigure id=\"attachment_12026499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12026499\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The John Santos Sextet performs to a sold out crowd at Freight & Salvage in Berkeley, California, Feb. 1, 2025. The concert marked the release of a new album, Horizontes, along with the 40th anniversary of the launch of Santos’ label, Machete Records. The sextet features bassist Saul Sierra, drummer David Flores, flutist John Calloway, saxophonist Charlie Gurke, and pianist and trumpeter Marco Diaz. The band was joined by percussionist Javier Navarrette; pianist Marcel Joao, Santos’ 17-year-old son; vocalists Maria Cora, Christelle Durandy and Juan Luis Pérez; cuatro player Pedro Pastrana; violinist Anthony Blea; and timbales legend Orestes Vilató. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists are often credited with fueling the soul and character of a place, but in the Bay Area, artists are regularly forced to flee the high cost of living.\u003c/p>\n\u003cp>I sat down with Salazar and Santos in their home earlier this year to find out more about how they thrive as a couple — and as working artists in the Bay Area. Art, they said, brought them together as a spiritual practice, a creative practice and a vehicle for social justice.\u003c/p>\n\u003cp>Salazar’s books, including \u003cem>The Moon Within\u003c/em>, \u003cem>A Seed in the Sun\u003c/em> and \u003cem>Ultraviolet\u003c/em>, focus on the experiences of young Latinos navigating everything from their menstrual cycles to immigration to toxic masculinity. Her children’s book, \u003cem>Jovita Wore Pants\u003c/em>, tells the story of her distant aunt who dressed as a man to fight in a civil war over religious rights in 1920s Mexico.\u003c/p>\n\u003cp>[aside postID=news_12021877 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/20241216-KOndaJanuary-JY-009-1020x680.jpg']\u003c/p>\n\u003cp>Santos, 69, was born and raised in the Bernal Heights neighborhood of San Francisco. His mother’s family was originally from Puerto Rico, and his father’s from Cape Verde, a small island nation off the coast of West Africa. He learned traditional Caribbean and African rhythms from the various professional musicians in his family.\u003c/p>\n\u003cp>They met in 2000 in Los Angeles, where Salazar grew up. At 27, she was an artist who made a living producing cultural events for nonprofits and arts organizations. At the time, she had a rule of not dating musicians or actors because they “didn’t know when to stop performing.”\u003c/p>\n\u003cp>“John came in to do a performance at the museum where I was helping produce a concert series,” Salazar, now 52, continued. “He had an energy about him that was really awesome. I had to take him around to different gigs throughout the weekend, and he just made me laugh. He was so down-to-earth and so charismatic. He just didn’t feel like he was performing.”\u003c/p>\n\u003cp>It also didn’t hurt that he was tall and good-looking, she added.\u003c/p>\n\u003cp>“When I met Aida, she was a very beautiful young lady,” Santos said. “She’s very natural, very comfortable in her skin. And smart as a whip and communicative. She was very spunky. That was very attractive. And finding out about her work in the community and her background as an activist, I related to that.”\u003c/p>\n\u003cfigure id=\"attachment_12024525\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12024525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Santos and Aida Salazar pose for a portrait in front of their home in Oakland, California, on Monday, Jan. 27, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They dated long-distance for about a year, exchanging many poetry-filled letters before Aida decided to move to the Bay Area.\u003c/p>\n\u003cp>The foundation of their life in Oakland is their house in the Fruitvale District.\u003c/p>\n\u003cp>The exterior is painted a deep blue with magenta accents. The inside is filled with photos, artwork and decor from Mexico and the Caribbean. A separate building in the back houses a recording studio.\u003c/p>\n\u003cp>Santos bought the house in 1997 because, like many San Francisco natives, he was priced out of his hometown. In retrospect, the purchase was fortuitous, given how much home values have risen in Oakland.[aside postID=news_12014006 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/Rogelio_Garcia_-_Convivir1-e1731360269373-1020x616.png']Santos’ focus on Latin jazz and Afro-Caribbean music could have pulled him to New York City, but he never had the desire to leave the Bay Area.\u003c/p>\n\u003cp>“I’m not interested in the commercial aspect of music. I’m not interested in winning a Grammy. I’m not interested in breaking records sales because I know that’s not realistic,” he said. “I’ve never felt limited being in the Bay Area. It’s kind of in my DNA. It’s more mellow here.”\u003c/p>\n\u003cp>Salazar referred to the house as a blessing.\u003c/p>\n\u003cp>“We call it La Casa Florida because there’s flowers everywhere outside like the big bougainvillea that I just adore,” she said. “It’s been like a canvas to be able to grow all of these plants everywhere and really make this place our home.”\u003c/p>\n\u003cp>They’ve focused on what Salazar calls “the ultimate creation,” their children. Their first child, Amaly Celeste, died a month after she was born — a loss they are still grappling with two decades later.\u003c/p>\n\u003cp>“The arts gave us something to express the grief we have and to dive into it and give us some solace,” Santos said.\u003c/p>\n\u003cp>They have two children. A daughter, Avelina Claridad, 19, is an accomplished dancer. Their son, Marcel Joao, 17, studies music at the Oakland School for the Arts.\u003c/p>\n\u003cp>“We facilitated them to find their own artistic path, and they became artists not because we wanted them to, but just because we were able to expose them to a world of the arts,” Salazar said.\u003c/p>\n\u003cp>Salazar plans to release \u003cem>Stream,\u003c/em> her fifth novel, next year. Santos hopes to perform at SF Jazz for his 70th birthday in November.\u003c/p>\n\u003cp>“We’re lucky to be still doing what we’re doing,” Santos said. “I feel fortunate to have met Aida, who I respect greatly for being an artist. It’s [an] ideal situation because we are coming from the same place in terms of how we see art and the role of art in the community and how it’s such an important voice for sanity and for peace in the world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/em>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003cem>Click here to subscribe.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>I met children’s author Aida Salazar back in 2017 at an intensive, weeklong writing class. It was the type of class aspiring writers sign up for to receive feedback and encouragement to keep going, but few end up going pro.\u003c/p>\n\u003cp>Salazar landed a book deal. Since 2020, she has published four young adult novels, several anthologies, a handful of children’s books and translations.\u003c/p>\n\u003cp>I recently caught up with Salazar in the lobby of Freight & Salvage, a live music venue in Berkeley, before her partner, acclaimed Latin jazz percussionist John Santos, took the stage with his sextet. The sold-out show marked the 40th anniversary of Machete Records, the label he founded, and the release of his latest album, “Horizontes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Salazar was in charge of the merchandise table, a role she begrudgingly took when they started dating more than 25 years ago.\u003c/p>\n\u003cp>“When I moved in with him, I said, ‘I’m not going to be the one selling your CDs,’ and now I’m always the one selling his CDs because I know his collection so well,” she said, laughing.\u003c/p>\n\u003cp>That night, she set out copies of her books alongside the rows of CDs, turning the merch table into another symbol of their partnership. Making a living as an artist in the Bay Area is hard enough for one person, let alone two.\u003c/p>\n\u003cfigure id=\"attachment_12026499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12026499\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/20250201_K-Onda_DMB_04886-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The John Santos Sextet performs to a sold out crowd at Freight & Salvage in Berkeley, California, Feb. 1, 2025. The concert marked the release of a new album, Horizontes, along with the 40th anniversary of the launch of Santos’ label, Machete Records. The sextet features bassist Saul Sierra, drummer David Flores, flutist John Calloway, saxophonist Charlie Gurke, and pianist and trumpeter Marco Diaz. The band was joined by percussionist Javier Navarrette; pianist Marcel Joao, Santos’ 17-year-old son; vocalists Maria Cora, Christelle Durandy and Juan Luis Pérez; cuatro player Pedro Pastrana; violinist Anthony Blea; and timbales legend Orestes Vilató. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists are often credited with fueling the soul and character of a place, but in the Bay Area, artists are regularly forced to flee the high cost of living.\u003c/p>\n\u003cp>I sat down with Salazar and Santos in their home earlier this year to find out more about how they thrive as a couple — and as working artists in the Bay Area. Art, they said, brought them together as a spiritual practice, a creative practice and a vehicle for social justice.\u003c/p>\n\u003cp>Salazar’s books, including \u003cem>The Moon Within\u003c/em>, \u003cem>A Seed in the Sun\u003c/em> and \u003cem>Ultraviolet\u003c/em>, focus on the experiences of young Latinos navigating everything from their menstrual cycles to immigration to toxic masculinity. Her children’s book, \u003cem>Jovita Wore Pants\u003c/em>, tells the story of her distant aunt who dressed as a man to fight in a civil war over religious rights in 1920s Mexico.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Santos, 69, was born and raised in the Bernal Heights neighborhood of San Francisco. His mother’s family was originally from Puerto Rico, and his father’s from Cape Verde, a small island nation off the coast of West Africa. He learned traditional Caribbean and African rhythms from the various professional musicians in his family.\u003c/p>\n\u003cp>They met in 2000 in Los Angeles, where Salazar grew up. At 27, she was an artist who made a living producing cultural events for nonprofits and arts organizations. At the time, she had a rule of not dating musicians or actors because they “didn’t know when to stop performing.”\u003c/p>\n\u003cp>“John came in to do a performance at the museum where I was helping produce a concert series,” Salazar, now 52, continued. “He had an energy about him that was really awesome. I had to take him around to different gigs throughout the weekend, and he just made me laugh. He was so down-to-earth and so charismatic. He just didn’t feel like he was performing.”\u003c/p>\n\u003cp>It also didn’t hurt that he was tall and good-looking, she added.\u003c/p>\n\u003cp>“When I met Aida, she was a very beautiful young lady,” Santos said. “She’s very natural, very comfortable in her skin. And smart as a whip and communicative. She was very spunky. That was very attractive. And finding out about her work in the community and her background as an activist, I related to that.”\u003c/p>\n\u003cfigure id=\"attachment_12024525\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12024525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250127_K-Onda_DB_00109-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Santos and Aida Salazar pose for a portrait in front of their home in Oakland, California, on Monday, Jan. 27, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They dated long-distance for about a year, exchanging many poetry-filled letters before Aida decided to move to the Bay Area.\u003c/p>\n\u003cp>The foundation of their life in Oakland is their house in the Fruitvale District.\u003c/p>\n\u003cp>The exterior is painted a deep blue with magenta accents. The inside is filled with photos, artwork and decor from Mexico and the Caribbean. A separate building in the back houses a recording studio.\u003c/p>\n\u003cp>Santos bought the house in 1997 because, like many San Francisco natives, he was priced out of his hometown. In retrospect, the purchase was fortuitous, given how much home values have risen in Oakland.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Santos’ focus on Latin jazz and Afro-Caribbean music could have pulled him to New York City, but he never had the desire to leave the Bay Area.\u003c/p>\n\u003cp>“I’m not interested in the commercial aspect of music. I’m not interested in winning a Grammy. I’m not interested in breaking records sales because I know that’s not realistic,” he said. “I’ve never felt limited being in the Bay Area. It’s kind of in my DNA. It’s more mellow here.”\u003c/p>\n\u003cp>Salazar referred to the house as a blessing.\u003c/p>\n\u003cp>“We call it La Casa Florida because there’s flowers everywhere outside like the big bougainvillea that I just adore,” she said. “It’s been like a canvas to be able to grow all of these plants everywhere and really make this place our home.”\u003c/p>\n\u003cp>They’ve focused on what Salazar calls “the ultimate creation,” their children. Their first child, Amaly Celeste, died a month after she was born — a loss they are still grappling with two decades later.\u003c/p>\n\u003cp>“The arts gave us something to express the grief we have and to dive into it and give us some solace,” Santos said.\u003c/p>\n\u003cp>They have two children. A daughter, Avelina Claridad, 19, is an accomplished dancer. Their son, Marcel Joao, 17, studies music at the Oakland School for the Arts.\u003c/p>\n\u003cp>“We facilitated them to find their own artistic path, and they became artists not because we wanted them to, but just because we were able to expose them to a world of the arts,” Salazar said.\u003c/p>\n\u003cp>Salazar plans to release \u003cem>Stream,\u003c/em> her fifth novel, next year. Santos hopes to perform at SF Jazz for his 70th birthday in November.\u003c/p>\n\u003cp>“We’re lucky to be still doing what we’re doing,” Santos said. “I feel fortunate to have met Aida, who I respect greatly for being an artist. It’s [an] ideal situation because we are coming from the same place in terms of how we see art and the role of art in the community and how it’s such an important voice for sanity and for peace in the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "how-experimental-composer-and-performer-kishi-bashi-brings-new-ideas-to-life",
"title": "How Experimental Composer and Performer Kishi Bashi Brings New Ideas to Life",
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"content": "\u003cp>Whether Kishi Bashi is composing new music or performing it on stage, he is open to improvisation and imperfection. This might explain why he’s not afraid to release albums that experiment with genre and keep fans guessing. Kishi Bashi’s music moves between classical, rock, electronic, and indie pop — his lyrics are a combination of English and Japanese.\u003c/p>\n\u003cp>At his home near San José, Kishi Bashi demonstrated his spontaneous approach to composition. “If I want something super epic, I imagine what that could be in my head, and then I try to verbalize it,” he said, beatboxing an epic fanfare off the top of his head as an example.\u003c/p>\n\u003cp>Kishi Bashi is also an accomplished multi-instrumentalist. He picked up a guitar and made up a riff on the spot. As he strummed, he began humming and then singing, not worrying if his stray phrases about love and longing made any sense. Kishi Bashi called this “mouthing words.” Even as improvised sketches, his easy playing and sweet falsetto were captivating.\u003c/p>\n\u003cp>Kishi Bashi took the same playful approach to demonstrating how he composes, using each of his violins. The first violin he picked up was tuned differently than a Western classical violin. The second was built with an extra string so that Kishi Bashi could play the violin down into the lower range of a viola. He was playing around on that five-string violin-viola when he composed “For Every Voice That Never Sang.” The finished song is rich with musical layers, but you can hear those initial arpeggios in the background.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kSWMx8-0-i0\u003c/p>\n\u003cp>Whenever Kishi Bashi explores an idea for a new song, he records it onto his phone so he can review it later. For example, “Violin Akai” is the first song on \u003cem>Kantos\u003c/em>, his latest album. In the recording he made of his initial “Violin Akai” idea, he sang a melody with a swinging beat, his voice serving as the violin. It’s a very rough sketch — a few pencil lines, really — that Bashi later built into an exuberant, multi-instrument song for his band.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Yt5jUFjf8qg\u003c/p>\n\u003cp>Before Bashi became the solo artist Kishi Bashi, he was born Kaoru Ishibishi (now Kaoru Dill-Ishibashi). Kishi Bashi’s parents grew up in Japan and met at the University of Washington in Seattle. Kishi Bashi was born there, though the family soon moved to Ithaca, New York.\u003c/p>\n\u003cp>“My parents moved every 5 to 10 years,” Kishi Bashi said. “So I never felt grounded anywhere.” Bashi also regularly visited family in Japan while trying to fit in with predominantly white classmates at school.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Ithaca, Kishi Bashi started learning the Suzuki violin, a method created by Japanese violinist Shinichi Suzuki that teaches children to learn violin as though learning a second language. Kishi Bashi started playing violin at age 7 — relatively late for a Suzuki student — yet he was soon called a child prodigy. By high school, Bashi and his family had moved to Virginia, where Kishi Bashi was exposed to jazz violin and improvisation.\u003c/p>\n\u003cp>After high school, Kishi Bashi attended Cornell University, where he continued playing jazz violin. Officially, though, he was majoring in engineering. It took him a couple of years to realize that music could be more than a hobby. Once that realization hit, he dropped out of Cornell and went to the Berklee School of Music to study film scoring. After graduating, he moved to New York to score films and write jingles for commercials.\u003c/p>\n\u003cfigure id=\"attachment_12020444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020444 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bashi holds a custom guitar decorated with Manga cartoons at his home. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kishi Bashi’s true passion, however, was composing indie rock songs and playing in a band. In 2003, he founded a band called Jupiter One and explored another instrument: his voice. He recalled the moment things started taking off.\u003c/p>\n\u003cp>“[Before], we had tens of people — maybe all our friends — showing up at our shows,” Kishi Bashi said. “But then, once I started singing, more and more people started showing up. Girls and their boyfriends show up when you start singing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7wlpmnAvGwk\u003c/p>\n\u003cp>In 2010, after touring with Jupiter One and opening for \u003ca href=\"https://en.wikipedia.org/wiki/Sondre_Lerche\">Sondre Lerche\u003c/a>, he decided to go solo. This was when he became the artist “Kishi Bashi.” He was 35, married, and had a young daughter. He and his family moved back in with his parents while he made the Kishi Bashi leap.\u003c/p>\n\u003cp>Kishi Bashi was no stranger to the challenge musicians face in making a living and being creative. Going solo was both exciting and risky.\u003c/p>\n\u003cp>“When I was starting my debut album, I was kind of struggling with the idea of imperfection,” he said. “I’m very self-conscious and afraid of judgment because one negative thing can crush my excitement. To me, that’s dangerous.”\u003c/p>\n\u003cfigure id=\"attachment_12020446\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020446 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bashi plays a 1970s Wurlitzer electric piano at his home. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bashi needn’t have been afraid. Once he finally released his first album, \u003cem>151a\u003c/em>, in 2012, it was well-received. When read in Japanese, \u003cem>151a\u003c/em> resembles the Japanese phrase \u003cem>ichi-go ichi-e\u003c/em>, which Bashi explained means “that one time, that one meeting; it is unique to itself, even with its imperfections.”\u003c/p>\n\u003cp>That debut album launched a successful solo career. Kishi Bashi recently released his fifth solo album and went on an international tour. At his San Francisco show last September, long-time fan Kevin Adamski described a typical Kishi Bashi concert as “a very joyful experience, very optimistic, very hopeful. The whole crowd is dancing. There’s confetti.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EewB7xHHIvE\u003c/p>\n\u003cp>Much of that San Francisco show was upbeat and celebratory, but in the middle, there was a moment of calm. The band exited the stage for a costume change, leaving Kishi Bashi standing alone in a spotlight with his violin. He plucked a rhythm, which continued looping as he added layers of mournful strings. Then he sang. As though under a spell, the audience’s boisterous energy settled into momentary stillness.\u003c/p>\n\u003cp>Kishi Bashi looked utterly at ease on stage with the surprises and improvisations of live performance. At one point, he started a violin loop for a new song and then stopped and restarted, saying he could do better. Everyone cheered.\u003c/p>\n\u003cfigure id=\"attachment_12020447\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020447 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kishi Bashi received this award from the Roger Ebert’s Film Festival in 2024, photographed in his home last month. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in Kishi Bashi’s career, messing up on stage felt like a big deal. One time, back when he was opening for Sondre Lerche, he had to restart a loop over and over again because the timing was off.\u003c/p>\n\u003cp>“I started to realize that I was just really not nailing it that night,” he said. That might seem like a panic-inducing moment for a live performer, but Kishi Bashi kept going, and the crowd started cheering. They kept cheering until he finally got the loop right.\u003c/p>\n\u003cp>“They wanted to see me succeed,” he said. It taught him a valuable lesson about live performance. “[The audience] are not just there to hear a perfect iteration of something … they [like] the idea that they’re supporting someone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LJUQzs4n_3c\u003c/p>\n\u003cp>At the end of every Kishi Bashi show, the band does an acoustic encore. Kishi Bashi said it started when a venue told them to stop playing. “I got really annoyed and took the music to the crowd.” Taking the music into the crowd was an unexpected, almost spiritual end to the recent San Francisco show.\u003c/p>\n\u003cp>After playing with mics and amps on an elevated stage during the entire show, the band left the stage, grabbed acoustic instruments, and walked down into the middle of the audience. A couple of hundred fans clustered around the band, and then Kishi Bashi led everyone in a giant and intimate sing-along. Whatever improvisations and imperfections led to this unique moment, it was the perfect experience to share with other people.\u003c/p>\n\u003cfigure id=\"attachment_12020448\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12020448\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Kishi Bashi poses for a portrait at his home. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether Kishi Bashi is composing new music or performing it on stage, he is open to improvisation and imperfection. This might explain why he’s not afraid to release albums that experiment with genre and keep fans guessing. Kishi Bashi’s music moves between classical, rock, electronic, and indie pop — his lyrics are a combination of English and Japanese.\u003c/p>\n\u003cp>At his home near San José, Kishi Bashi demonstrated his spontaneous approach to composition. “If I want something super epic, I imagine what that could be in my head, and then I try to verbalize it,” he said, beatboxing an epic fanfare off the top of his head as an example.\u003c/p>\n\u003cp>Kishi Bashi is also an accomplished multi-instrumentalist. He picked up a guitar and made up a riff on the spot. As he strummed, he began humming and then singing, not worrying if his stray phrases about love and longing made any sense. Kishi Bashi called this “mouthing words.” Even as improvised sketches, his easy playing and sweet falsetto were captivating.\u003c/p>\n\u003cp>Kishi Bashi took the same playful approach to demonstrating how he composes, using each of his violins. The first violin he picked up was tuned differently than a Western classical violin. The second was built with an extra string so that Kishi Bashi could play the violin down into the lower range of a viola. He was playing around on that five-string violin-viola when he composed “For Every Voice That Never Sang.” The finished song is rich with musical layers, but you can hear those initial arpeggios in the background.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kSWMx8-0-i0'\n title='//www.youtube.com/embed/kSWMx8-0-i0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Whenever Kishi Bashi explores an idea for a new song, he records it onto his phone so he can review it later. For example, “Violin Akai” is the first song on \u003cem>Kantos\u003c/em>, his latest album. In the recording he made of his initial “Violin Akai” idea, he sang a melody with a swinging beat, his voice serving as the violin. It’s a very rough sketch — a few pencil lines, really — that Bashi later built into an exuberant, multi-instrument song for his band.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Yt5jUFjf8qg'\n title='//www.youtube.com/embed/Yt5jUFjf8qg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before Bashi became the solo artist Kishi Bashi, he was born Kaoru Ishibishi (now Kaoru Dill-Ishibashi). Kishi Bashi’s parents grew up in Japan and met at the University of Washington in Seattle. Kishi Bashi was born there, though the family soon moved to Ithaca, New York.\u003c/p>\n\u003cp>“My parents moved every 5 to 10 years,” Kishi Bashi said. “So I never felt grounded anywhere.” Bashi also regularly visited family in Japan while trying to fit in with predominantly white classmates at school.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Ithaca, Kishi Bashi started learning the Suzuki violin, a method created by Japanese violinist Shinichi Suzuki that teaches children to learn violin as though learning a second language. Kishi Bashi started playing violin at age 7 — relatively late for a Suzuki student — yet he was soon called a child prodigy. By high school, Bashi and his family had moved to Virginia, where Kishi Bashi was exposed to jazz violin and improvisation.\u003c/p>\n\u003cp>After high school, Kishi Bashi attended Cornell University, where he continued playing jazz violin. Officially, though, he was majoring in engineering. It took him a couple of years to realize that music could be more than a hobby. Once that realization hit, he dropped out of Cornell and went to the Berklee School of Music to study film scoring. After graduating, he moved to New York to score films and write jingles for commercials.\u003c/p>\n\u003cfigure id=\"attachment_12020444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020444 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00056-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bashi holds a custom guitar decorated with Manga cartoons at his home. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kishi Bashi’s true passion, however, was composing indie rock songs and playing in a band. In 2003, he founded a band called Jupiter One and explored another instrument: his voice. He recalled the moment things started taking off.\u003c/p>\n\u003cp>“[Before], we had tens of people — maybe all our friends — showing up at our shows,” Kishi Bashi said. “But then, once I started singing, more and more people started showing up. Girls and their boyfriends show up when you start singing.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7wlpmnAvGwk'\n title='//www.youtube.com/embed/7wlpmnAvGwk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2010, after touring with Jupiter One and opening for \u003ca href=\"https://en.wikipedia.org/wiki/Sondre_Lerche\">Sondre Lerche\u003c/a>, he decided to go solo. This was when he became the artist “Kishi Bashi.” He was 35, married, and had a young daughter. He and his family moved back in with his parents while he made the Kishi Bashi leap.\u003c/p>\n\u003cp>Kishi Bashi was no stranger to the challenge musicians face in making a living and being creative. Going solo was both exciting and risky.\u003c/p>\n\u003cp>“When I was starting my debut album, I was kind of struggling with the idea of imperfection,” he said. “I’m very self-conscious and afraid of judgment because one negative thing can crush my excitement. To me, that’s dangerous.”\u003c/p>\n\u003cfigure id=\"attachment_12020446\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020446 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00140-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bashi plays a 1970s Wurlitzer electric piano at his home. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bashi needn’t have been afraid. Once he finally released his first album, \u003cem>151a\u003c/em>, in 2012, it was well-received. When read in Japanese, \u003cem>151a\u003c/em> resembles the Japanese phrase \u003cem>ichi-go ichi-e\u003c/em>, which Bashi explained means “that one time, that one meeting; it is unique to itself, even with its imperfections.”\u003c/p>\n\u003cp>That debut album launched a successful solo career. Kishi Bashi recently released his fifth solo album and went on an international tour. At his San Francisco show last September, long-time fan Kevin Adamski described a typical Kishi Bashi concert as “a very joyful experience, very optimistic, very hopeful. The whole crowd is dancing. There’s confetti.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EewB7xHHIvE'\n title='//www.youtube.com/embed/EewB7xHHIvE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Much of that San Francisco show was upbeat and celebratory, but in the middle, there was a moment of calm. The band exited the stage for a costume change, leaving Kishi Bashi standing alone in a spotlight with his violin. He plucked a rhythm, which continued looping as he added layers of mournful strings. Then he sang. As though under a spell, the audience’s boisterous energy settled into momentary stillness.\u003c/p>\n\u003cp>Kishi Bashi looked utterly at ease on stage with the surprises and improvisations of live performance. At one point, he started a violin loop for a new song and then stopped and restarted, saying he could do better. Everyone cheered.\u003c/p>\n\u003cfigure id=\"attachment_12020447\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12020447 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00151-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kishi Bashi received this award from the Roger Ebert’s Film Festival in 2024, photographed in his home last month. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in Kishi Bashi’s career, messing up on stage felt like a big deal. One time, back when he was opening for Sondre Lerche, he had to restart a loop over and over again because the timing was off.\u003c/p>\n\u003cp>“I started to realize that I was just really not nailing it that night,” he said. That might seem like a panic-inducing moment for a live performer, but Kishi Bashi kept going, and the crowd started cheering. They kept cheering until he finally got the loop right.\u003c/p>\n\u003cp>“They wanted to see me succeed,” he said. It taught him a valuable lesson about live performance. “[The audience] are not just there to hear a perfect iteration of something … they [like] the idea that they’re supporting someone.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LJUQzs4n_3c'\n title='//www.youtube.com/embed/LJUQzs4n_3c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the end of every Kishi Bashi show, the band does an acoustic encore. Kishi Bashi said it started when a venue told them to stop playing. “I got really annoyed and took the music to the crowd.” Taking the music into the crowd was an unexpected, almost spiritual end to the recent San Francisco show.\u003c/p>\n\u003cp>After playing with mics and amps on an elevated stage during the entire show, the band left the stage, grabbed acoustic instruments, and walked down into the middle of the audience. A couple of hundred fans clustered around the band, and then Kishi Bashi led everyone in a giant and intimate sing-along. Whatever improvisations and imperfections led to this unique moment, it was the perfect experience to share with other people.\u003c/p>\n\u003cfigure id=\"attachment_12020448\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12020448\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/20250106_KishiBashi_DMB_00206-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Kishi Bashi poses for a portrait at his home. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "billie-eilish-at-san-jose-s-sap-center-what-to-know-from-parking-to-bag-policy",
"title": "Billie Eilish at San José's SAP Center: What to Know, From Parking to Bag Policy",
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"headTitle": "Billie Eilish at San José’s SAP Center: What to Know, From Parking to Bag Policy | KQED",
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"content": "\u003cp>Billie Eilish is bringing the \u003ca href=\"https://store.billieeilish.com/pages/tour?srsltid=AfmBOoq2eASfgCymyq7bTBd9zoGeRpy1GjTfUL7EzORz-cKu6q6DxHhT\">\u003cem>Hit Me Hard and Soft\u003c/em> tour\u003c/a> to San José on Dec. 10 and Dec. 11, with \u003ca href=\"https://www.instagram.com/themarias/?hl=en\">Los Angeles pop band The Marías\u003c/a> as the opener.\u003c/p>\n\u003cp>The tour is named after her critically acclaimed album released earlier this year, coming right after the high of her second Oscar win for her \u003cem>Barbie \u003c/em>ballad, “What Was I Made For?” Eilish was also part of \u003ca href=\"https://www.kqed.org/arts/13967133/charli-xcx-fans-election-2024-harris-trump\">the whirlwind that was brat summer\u003c/a> as a featured singer on \u003ca href=\"https://www.youtube.com/watch?v=huGd4efgdPA\">Charli XCX’s “Guess.”\u003c/a>\u003c/p>\n\u003cp>Keep reading for everything you need to know about seeing Billie Eilish next week, from SAP Center’s bag policy to parking, tickets and more.\u003c/p>\n\u003cp>Keep reading, or jump straight to:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#parkingSAPcenter\">Where can I find parking for SAP Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#SAPcenterbanneditems\">What’s the bag policy at SAP Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#pesoplumatickets\">Can I still buy Billie Eilish tickets?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>How can I get to SAP Center by car?\u003c/h2>\n\u003cp>If you’re driving from out of town, you have several options to get to downtown San José. If you’re coming from San Francisco or the Peninsula, both Highway 101 and the I-280 freeways (and El Camino Real, if you have a lot of time to spare) take you straight to the city’s center. If you’re coming in from the East Bay, you can take either the I-680 or the I-880.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#tellus\">Tell us: What else do you need an explainer on right now?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>For \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">past concerts\u003c/a>, \u003ca href=\"https://trends.google.com/trends/explore?date=today%201-m&geo=US-CA-807&q=peso%20pluma%20concert&hl=en\">places in the North Bay, including Santa Rosa and Larkspur, have shown some of the strongest interest.\u003c/a> If that’s where you’re coming from, the fastest option will likely be getting on the I-580, crossing the Richmond Bridge and then transferring on to I-880 that will take you straight to downtown San José.\u003c/p>\n\u003ch2>\u003ca id=\"parkingSAPcenter\">\u003c/a>Where can I find parking at SAP Center?\u003c/h2>\n\u003cp>One word: timing.\u003c/p>\n\u003cp>SAP Center has \u003ca href=\"https://www.sapcenter.com/directions-parking/parking-pricing-and-directions\">on-site parking\u003c/a> at their ABC Lot but anyone who has been to a concert here knows that parking can fill up fast. “I’d just encourage everybody to arrive early,” says Jim Sparaco, director of public relations for SAP Center during \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">the Peso Pluma concert\u003c/a>. “Most people like to arrive before the concert starts, but of course, that’s when everyone wants to arrive — and that can create longer lines.”\u003c/p>\n\u003cp>[aside postID=\"news_11959799\" hero=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/GettyImages-1258762861-1-1-1020x680.jpg\"]\u003c/p>\n\u003cp>The show is scheduled to start at 7 p.m., and Sparaco recommends you get to SAP Center at least an hour before the concert begins. Concert tickets are usually not cheap, and if you want to make the most of the show, make sure you’re in your seat when it begins — not sitting in your car waiting for a parking spot.\u003c/p>\n\u003cp>You can also reserve parking ahead of time, either at the main ABC Lot or at another, nearby parking lot, using \u003ca href=\"https://spothero.com/search?kind=destination&id=56099&%243p=a_hasoffers&%24affiliate_json=http%3A%2F%2Ftracking.spothero.com%2Faff_c%3Foffer_id%3D1%26aff_id%3D1822%26source%3Dsapcenter%26aff_sub2%3Dparkingpage%26aff_sub3%3Dlink%26format%3Djson&operator_id=16236&_branch_match_id=1355649275202063070&utm_source=Partnerships&utm_campaign=Tune_Platform&utm_medium=paid+advertising&_branch_referrer=H4sIAAAAAAAAA31Ry07DMBD8mvjYJk4bGiQLIaoeuSDO0dbZ1KZpbNYOiAvfzrot4VUh%2BTKz9s7DJkYfrufz4F00SG4G3s96O%2BznMRRe3j8%2FYHGzt0OrWgzRDhCtG4Rt1bLK61pkclF6BY2B4LoOKVxmoOtsbyFi8xTcoAyLZuVtJjd8IoFmgd1ssqDdgXl%2B0%2Bis3By3NLbNynWRySrRJ7CSknFwI2lkHMBrHCLS%2BVIYt5JpD5S2e9jh16DkQQrJTOfoAJFxciacR4Lokp4qKllWYqT%2B6DdMhv9UlUJMZbHjTC5TCbzzWw0s9SvJu%2B6t3p9xLhfbZQVVh8tqVbdwpYs6b69quSoX8njZhdjokQgH%2FcYvHh%2FWE%2F0C%2FZgqyBMTULuhBXpr%2FLjtbWCrPEpNGWimjzhTl8rbOehTc1IEbfCAp%2FjCsJL6k114iEb9aEAcFygpPvOqQpyE1CQjpvDq%2F%2BjiZ3DFscW30CoX74QsQ%2FzHzZbca0BSd4bcAT8Ategf%2B9sCAAA%3D&view=dl\">parking reservation website Spot Hero\u003c/a>. Reservations range from $20 to $45.\u003c/p>\n\u003cp>You can also try looking for street parking — but keep in mind that others will have the same idea, and you may have to walk 15–20 minutes from your car to the venue depending on how busy it gets. And check signs for any parking restrictions, as you don’t want to return to your car after the concert to find a hefty parking ticket.\u003c/p>\n\u003ch2>How can I get to SAP Center using public transit?\u003c/h2>\n\u003cp>You’re in luck: downtown San José is very well connected by several public transit agencies.\u003c/p>\n\u003cp>If you’re coming from the city’s Eastside, you can take the light rail VTA from Alum Rock station straight to San José-Diridon, which is only one block away from SAP Center.\u003c/p>\n\u003cp>Caltrain — which runs from San Francisco through San Mateo County to the South Bay — also stops at San José-Diridon.\u003c/p>\n\u003cp>In fact, Caltrain is offering \u003ca href=\"https://www.caltrain.com/billie\">$1 fares to fans younger than 18 \u003c/a>and \u003ca href=\"https://www.caltrain.com/fares/ticket-types/group-sales\">10% off for parties of 15 or more\u003c/a>.\u003c/p>\n\u003cp>On Dec. 10, there will be a “Billie Car” with both Billie Eilish and Caltrain merch available for fans. The schedule for the \u003ca href=\"https://www.caltrain.com/billie\">“Billie Car” can be found on Caltrain’s website.\u003c/a>\u003c/p>\n\u003cp>Coming in from the East Bay? You can take BART and get off at Berryessa/North San José station and then get on a VTA bus, specifically the Rapid 500 bus line, which will quickly take you straight to SAP Center.\u003c/p>\n\u003cp>Keep in mind that public transportation in San José does not run the whole night and usually the “last two trains depart San José-Diridon at 10:30 p.m. and 11:12 p.m.” If you’re getting home from the Billie Eilish concert by public transit, be very sure of when you need to get up from your seat and start heading out — you don’t want to be stranded.\u003c/p>\n\u003ch2>\u003ca id=\"SAPcenterbanneditems\">\u003c/a>Bag policy: What’s not allowed into SAP Center?\u003c/h2>\n\u003cp>\u003cstrong>No food.\u003c/strong>\u003c/p>\n\u003cp>Long-time San José residents know this well: Their city is \u003ca href=\"https://www.kqed.org/sanjosefood\">a treasure trove of delicious cuisine from all over the world\u003c/a>. And \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/san-jose-mexican-food-18167782.php\">the SR 408 is a particularly fantastic place to eat Sinaloa-style Mexican food.\u003c/a>\u003c/p>\n\u003cp>But if you’re thinking of grabbing some dinner before the concert, you will have to finish it before heading to the show as you are \u003cem>not\u003c/em> allowed to bring outside food into SAP Center.\u003c/p>\n\u003cp>And major news for vegans: The SAP Center is also offering \u003ci>only\u003c/i> vegan meals as tribute to Eilish’s advocacy for \u003ca href=\"https://www.mercurynews.com/2024/12/07/billie-eilish-vegan-sap-center-san-jose/\">plant-based diets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>No alcohol.\u003c/strong>\u003c/p>\n\u003cp>Nope, you won’t be allowed in with \u003ca href=\"https://www.sapcenter.com/plan-your-visit/arena-faqs\">outside alcoholic beverages\u003c/a>. Cans, glass bottles and coolers are also not allowed in — doesn’t matter if they are open or closed. (Plastic bottles are fine, however, and you can refill your water bottle inside SAP Center.)\u003c/p>\n\u003cp>There are, however, several spots inside SAP Center where you can pick up a drink that you can enjoy at your seat. But lines get long, especially as the concert is starting, so that’s another reason to make it to the concert with extra time.\u003c/p>\n\u003cp>\u003cstrong>What kind of bag can I bring?\u003c/strong>\u003c/p>\n\u003cp>If your bag or clutch is smaller than \u003ca href=\"https://www.sapcenter.com/plan-your-visit/bag-policy\">5 x 9 x 2 inches\u003c/a>, you can pass through security without a problem.\u003c/p>\n\u003cp>But if your bag is bigger than that — including larger fanny packs or diaper bags — your bag may go through X-ray inspection.\u003c/p>\n\u003cp>There \u003cem>are\u003c/em> size limits, however. You can’t enter SAP Center with bags bigger than 20 x 14 x 11 inches (which is roughly similar to a medium-sized tote bag). So don’t try coming in with your backpack and ask to check it in as \u003ca href=\"https://www.sapcenter.com/plan-your-visit/bag-policy\">SAP Center no longer offers a bag check option or storage lockers onsite\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"pesoplumatickets\">\u003c/a>Can I still find tickets for Billie Eilish in San José?\u003c/h2>\n\u003cp>According to \u003ca href=\"https://www.ticketmaster.com/billie-eilish-hit-me-hard-and-san-jose-california-12-10-2024/event/1C0060939D8E20BB\">Ticketmaster\u003c/a>, both Billie Eilish shows are\u003ca href=\"https://www.ticketmaster.com/billie-eilish-hit-me-hard-and-san-jose-california-12-11-2024/event/1C00609AC3B345A8\"> sold out\u003c/a>.\u003c/p>\n\u003cp>You may also want to check out Facebook Marketplace, \u003ca href=\"https://www.stubhub.com/billie-eilish-san-jose-tickets-12-10-2024/event/153501246/?quantity=2\">Stubhub\u003c/a>, or other social media, with the lower end of prices ranging around $350 to $400. \u003ca href=\"https://abc7news.com/taylor-swift-scams-concert-tickets-better-business-bureau/13474055/\">The Better Business Bureau (BBB) issued a warning about resale scams\u003c/a>, with many people discovering after sending money through apps like Venmo or Zelle that these “tickets” never existed. Check out the person’s profile and their past posting history to see if it seems real. And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you do choose to buy a resale ticket, use your credit card\u003c/a>, says the BBB. This at least provides some protection for you if the deal was fake.[aside label='More guides from KQED' tag='audience-news']And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you’re in a large group chat and get a ticket offer from someone you know\u003c/a>, call this person directly — to make sure someone isn’t impersonating them online.\u003c/p>\n\u003cp>The website\u003ca href=\"https://aviewfrommyseat.com/venue/SAP+Center/seating/all/?photo_type=concert\"> a view from my seat\u003c/a> shares what fans who have gone to SAP Center already could see from where they sat. You can check out different sections in the arena to see what works best for you.\u003c/p>\n\u003cp>\u003cem>This story includes reporting from KQED’s Paloma Abarca. \u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"tellus\">\u003c/a>Tell us: What else do you need information about?\u003c/h2>\n\u003cp>At KQED News, we know that it can sometimes be hard to track down the answers to navigate life in the Bay Area in 2023. We’ve published \u003ca href=\"https://www.kqed.org/news/tag/coronavirus-resources-and-explainers\">clear, practical explainers and guides about COVID\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11936674/how-to-prepare-for-this-weeks-atmospheric-river-storm-sandbags-emergency-kits-and-more\">how to cope with intense winter weather\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11821950/how-to-safely-attend-a-protest-in-the-bay-area\">how to exercise your right to protest safely\u003c/a>.\u003c/p>\n\u003cp>So tell us: What do you need to know more about? Tell us, and you could see your question answered online or on social media. What you submit will make our reporting stronger, and help us decide what to cover here on our site, and on KQED Public Radio, too.\u003c/p>\n\u003cp>[hearken id=\"10483\" src=\"https://modules.wearehearken.com/kqed/embed/10483.js\"]\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "If you're attending Billie Eilish's upcoming concert at SAP Center in San José, here's everything you need to know about getting there, including parking, public transit and more.",
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"title": "Billie Eilish at San José's SAP Center: What to Know, From Parking to Bag Policy | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billie Eilish is bringing the \u003ca href=\"https://store.billieeilish.com/pages/tour?srsltid=AfmBOoq2eASfgCymyq7bTBd9zoGeRpy1GjTfUL7EzORz-cKu6q6DxHhT\">\u003cem>Hit Me Hard and Soft\u003c/em> tour\u003c/a> to San José on Dec. 10 and Dec. 11, with \u003ca href=\"https://www.instagram.com/themarias/?hl=en\">Los Angeles pop band The Marías\u003c/a> as the opener.\u003c/p>\n\u003cp>The tour is named after her critically acclaimed album released earlier this year, coming right after the high of her second Oscar win for her \u003cem>Barbie \u003c/em>ballad, “What Was I Made For?” Eilish was also part of \u003ca href=\"https://www.kqed.org/arts/13967133/charli-xcx-fans-election-2024-harris-trump\">the whirlwind that was brat summer\u003c/a> as a featured singer on \u003ca href=\"https://www.youtube.com/watch?v=huGd4efgdPA\">Charli XCX’s “Guess.”\u003c/a>\u003c/p>\n\u003cp>Keep reading for everything you need to know about seeing Billie Eilish next week, from SAP Center’s bag policy to parking, tickets and more.\u003c/p>\n\u003cp>Keep reading, or jump straight to:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#parkingSAPcenter\">Where can I find parking for SAP Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#SAPcenterbanneditems\">What’s the bag policy at SAP Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#pesoplumatickets\">Can I still buy Billie Eilish tickets?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>How can I get to SAP Center by car?\u003c/h2>\n\u003cp>If you’re driving from out of town, you have several options to get to downtown San José. If you’re coming from San Francisco or the Peninsula, both Highway 101 and the I-280 freeways (and El Camino Real, if you have a lot of time to spare) take you straight to the city’s center. If you’re coming in from the East Bay, you can take either the I-680 or the I-880.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#tellus\">Tell us: What else do you need an explainer on right now?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>For \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">past concerts\u003c/a>, \u003ca href=\"https://trends.google.com/trends/explore?date=today%201-m&geo=US-CA-807&q=peso%20pluma%20concert&hl=en\">places in the North Bay, including Santa Rosa and Larkspur, have shown some of the strongest interest.\u003c/a> If that’s where you’re coming from, the fastest option will likely be getting on the I-580, crossing the Richmond Bridge and then transferring on to I-880 that will take you straight to downtown San José.\u003c/p>\n\u003ch2>\u003ca id=\"parkingSAPcenter\">\u003c/a>Where can I find parking at SAP Center?\u003c/h2>\n\u003cp>One word: timing.\u003c/p>\n\u003cp>SAP Center has \u003ca href=\"https://www.sapcenter.com/directions-parking/parking-pricing-and-directions\">on-site parking\u003c/a> at their ABC Lot but anyone who has been to a concert here knows that parking can fill up fast. “I’d just encourage everybody to arrive early,” says Jim Sparaco, director of public relations for SAP Center during \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">the Peso Pluma concert\u003c/a>. “Most people like to arrive before the concert starts, but of course, that’s when everyone wants to arrive — and that can create longer lines.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show is scheduled to start at 7 p.m., and Sparaco recommends you get to SAP Center at least an hour before the concert begins. Concert tickets are usually not cheap, and if you want to make the most of the show, make sure you’re in your seat when it begins — not sitting in your car waiting for a parking spot.\u003c/p>\n\u003cp>You can also reserve parking ahead of time, either at the main ABC Lot or at another, nearby parking lot, using \u003ca href=\"https://spothero.com/search?kind=destination&id=56099&%243p=a_hasoffers&%24affiliate_json=http%3A%2F%2Ftracking.spothero.com%2Faff_c%3Foffer_id%3D1%26aff_id%3D1822%26source%3Dsapcenter%26aff_sub2%3Dparkingpage%26aff_sub3%3Dlink%26format%3Djson&operator_id=16236&_branch_match_id=1355649275202063070&utm_source=Partnerships&utm_campaign=Tune_Platform&utm_medium=paid+advertising&_branch_referrer=H4sIAAAAAAAAA31Ry07DMBD8mvjYJk4bGiQLIaoeuSDO0dbZ1KZpbNYOiAvfzrot4VUh%2BTKz9s7DJkYfrufz4F00SG4G3s96O%2BznMRRe3j8%2FYHGzt0OrWgzRDhCtG4Rt1bLK61pkclF6BY2B4LoOKVxmoOtsbyFi8xTcoAyLZuVtJjd8IoFmgd1ssqDdgXl%2B0%2Bis3By3NLbNynWRySrRJ7CSknFwI2lkHMBrHCLS%2BVIYt5JpD5S2e9jh16DkQQrJTOfoAJFxciacR4Lokp4qKllWYqT%2B6DdMhv9UlUJMZbHjTC5TCbzzWw0s9SvJu%2B6t3p9xLhfbZQVVh8tqVbdwpYs6b69quSoX8njZhdjokQgH%2FcYvHh%2FWE%2F0C%2FZgqyBMTULuhBXpr%2FLjtbWCrPEpNGWimjzhTl8rbOehTc1IEbfCAp%2FjCsJL6k114iEb9aEAcFygpPvOqQpyE1CQjpvDq%2F%2BjiZ3DFscW30CoX74QsQ%2FzHzZbca0BSd4bcAT8Ategf%2B9sCAAA%3D&view=dl\">parking reservation website Spot Hero\u003c/a>. Reservations range from $20 to $45.\u003c/p>\n\u003cp>You can also try looking for street parking — but keep in mind that others will have the same idea, and you may have to walk 15–20 minutes from your car to the venue depending on how busy it gets. And check signs for any parking restrictions, as you don’t want to return to your car after the concert to find a hefty parking ticket.\u003c/p>\n\u003ch2>How can I get to SAP Center using public transit?\u003c/h2>\n\u003cp>You’re in luck: downtown San José is very well connected by several public transit agencies.\u003c/p>\n\u003cp>If you’re coming from the city’s Eastside, you can take the light rail VTA from Alum Rock station straight to San José-Diridon, which is only one block away from SAP Center.\u003c/p>\n\u003cp>Caltrain — which runs from San Francisco through San Mateo County to the South Bay — also stops at San José-Diridon.\u003c/p>\n\u003cp>In fact, Caltrain is offering \u003ca href=\"https://www.caltrain.com/billie\">$1 fares to fans younger than 18 \u003c/a>and \u003ca href=\"https://www.caltrain.com/fares/ticket-types/group-sales\">10% off for parties of 15 or more\u003c/a>.\u003c/p>\n\u003cp>On Dec. 10, there will be a “Billie Car” with both Billie Eilish and Caltrain merch available for fans. The schedule for the \u003ca href=\"https://www.caltrain.com/billie\">“Billie Car” can be found on Caltrain’s website.\u003c/a>\u003c/p>\n\u003cp>Coming in from the East Bay? You can take BART and get off at Berryessa/North San José station and then get on a VTA bus, specifically the Rapid 500 bus line, which will quickly take you straight to SAP Center.\u003c/p>\n\u003cp>Keep in mind that public transportation in San José does not run the whole night and usually the “last two trains depart San José-Diridon at 10:30 p.m. and 11:12 p.m.” If you’re getting home from the Billie Eilish concert by public transit, be very sure of when you need to get up from your seat and start heading out — you don’t want to be stranded.\u003c/p>\n\u003ch2>\u003ca id=\"SAPcenterbanneditems\">\u003c/a>Bag policy: What’s not allowed into SAP Center?\u003c/h2>\n\u003cp>\u003cstrong>No food.\u003c/strong>\u003c/p>\n\u003cp>Long-time San José residents know this well: Their city is \u003ca href=\"https://www.kqed.org/sanjosefood\">a treasure trove of delicious cuisine from all over the world\u003c/a>. And \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/san-jose-mexican-food-18167782.php\">the SR 408 is a particularly fantastic place to eat Sinaloa-style Mexican food.\u003c/a>\u003c/p>\n\u003cp>But if you’re thinking of grabbing some dinner before the concert, you will have to finish it before heading to the show as you are \u003cem>not\u003c/em> allowed to bring outside food into SAP Center.\u003c/p>\n\u003cp>And major news for vegans: The SAP Center is also offering \u003ci>only\u003c/i> vegan meals as tribute to Eilish’s advocacy for \u003ca href=\"https://www.mercurynews.com/2024/12/07/billie-eilish-vegan-sap-center-san-jose/\">plant-based diets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>No alcohol.\u003c/strong>\u003c/p>\n\u003cp>Nope, you won’t be allowed in with \u003ca href=\"https://www.sapcenter.com/plan-your-visit/arena-faqs\">outside alcoholic beverages\u003c/a>. Cans, glass bottles and coolers are also not allowed in — doesn’t matter if they are open or closed. (Plastic bottles are fine, however, and you can refill your water bottle inside SAP Center.)\u003c/p>\n\u003cp>There are, however, several spots inside SAP Center where you can pick up a drink that you can enjoy at your seat. But lines get long, especially as the concert is starting, so that’s another reason to make it to the concert with extra time.\u003c/p>\n\u003cp>\u003cstrong>What kind of bag can I bring?\u003c/strong>\u003c/p>\n\u003cp>If your bag or clutch is smaller than \u003ca href=\"https://www.sapcenter.com/plan-your-visit/bag-policy\">5 x 9 x 2 inches\u003c/a>, you can pass through security without a problem.\u003c/p>\n\u003cp>But if your bag is bigger than that — including larger fanny packs or diaper bags — your bag may go through X-ray inspection.\u003c/p>\n\u003cp>There \u003cem>are\u003c/em> size limits, however. You can’t enter SAP Center with bags bigger than 20 x 14 x 11 inches (which is roughly similar to a medium-sized tote bag). So don’t try coming in with your backpack and ask to check it in as \u003ca href=\"https://www.sapcenter.com/plan-your-visit/bag-policy\">SAP Center no longer offers a bag check option or storage lockers onsite\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"pesoplumatickets\">\u003c/a>Can I still find tickets for Billie Eilish in San José?\u003c/h2>\n\u003cp>According to \u003ca href=\"https://www.ticketmaster.com/billie-eilish-hit-me-hard-and-san-jose-california-12-10-2024/event/1C0060939D8E20BB\">Ticketmaster\u003c/a>, both Billie Eilish shows are\u003ca href=\"https://www.ticketmaster.com/billie-eilish-hit-me-hard-and-san-jose-california-12-11-2024/event/1C00609AC3B345A8\"> sold out\u003c/a>.\u003c/p>\n\u003cp>You may also want to check out Facebook Marketplace, \u003ca href=\"https://www.stubhub.com/billie-eilish-san-jose-tickets-12-10-2024/event/153501246/?quantity=2\">Stubhub\u003c/a>, or other social media, with the lower end of prices ranging around $350 to $400. \u003ca href=\"https://abc7news.com/taylor-swift-scams-concert-tickets-better-business-bureau/13474055/\">The Better Business Bureau (BBB) issued a warning about resale scams\u003c/a>, with many people discovering after sending money through apps like Venmo or Zelle that these “tickets” never existed. Check out the person’s profile and their past posting history to see if it seems real. And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you do choose to buy a resale ticket, use your credit card\u003c/a>, says the BBB. This at least provides some protection for you if the deal was fake.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you’re in a large group chat and get a ticket offer from someone you know\u003c/a>, call this person directly — to make sure someone isn’t impersonating them online.\u003c/p>\n\u003cp>The website\u003ca href=\"https://aviewfrommyseat.com/venue/SAP+Center/seating/all/?photo_type=concert\"> a view from my seat\u003c/a> shares what fans who have gone to SAP Center already could see from where they sat. You can check out different sections in the arena to see what works best for you.\u003c/p>\n\u003cp>\u003cem>This story includes reporting from KQED’s Paloma Abarca. \u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"tellus\">\u003c/a>Tell us: What else do you need information about?\u003c/h2>\n\u003cp>At KQED News, we know that it can sometimes be hard to track down the answers to navigate life in the Bay Area in 2023. We’ve published \u003ca href=\"https://www.kqed.org/news/tag/coronavirus-resources-and-explainers\">clear, practical explainers and guides about COVID\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11936674/how-to-prepare-for-this-weeks-atmospheric-river-storm-sandbags-emergency-kits-and-more\">how to cope with intense winter weather\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11821950/how-to-safely-attend-a-protest-in-the-bay-area\">how to exercise your right to protest safely\u003c/a>.\u003c/p>\n\u003cp>So tell us: What do you need to know more about? Tell us, and you could see your question answered online or on social media. What you submit will make our reporting stronger, and help us decide what to cover here on our site, and on KQED Public Radio, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Francisco’s Wave Organ Brings Sounds of the Bay to Life",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">View the full episode transcript\u003c/a>\u003c/p>\n\u003cp>Ever wondered what the San Francisco Bay sounds like beneath the water’s surface? The Wave Organ, a sound sculpture maintained by San Francisco’s Exploratorium, has 25 pipes that shoot down into the bay, creating a unique sonic experience for visitors above. You can find the sculpture, made of recycled granite, at the end of the man-made jetty across the street from the Palace of Fine Arts. There, you can put your ear to a pipe made of PVC and concrete to hear the “music” of the bay.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>The Wave Organ is nothing like the trumpeting organs in a church. The art installation stretches about 60 feet across and is made of rock slabs with different seating levels that visitors can climb on. The artists behind the sculpture chose to use recycled debris from the 1906 earthquake, and remnants of headstones leftover from century-old cemetery relocations.\u003c/p>\n\u003cp>As far as the sound the organ makes — you probably wouldn’t call it musical. This art piece features an orchestra of gurgles, splashes, and booms.\u003c/p>\n\u003cfigure id=\"attachment_12014153\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED.jpg 2000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A plaque for the Wave Organ in San Francisco on Nov. 12, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Wave Organ’s origins\u003c/h3>\n\u003cp>Understanding the Wave Organ’s origins requires a little lesson in San Francisco art history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This environmental sculpture was created in 1986 by artist Peter Richards in collaboration with master stonemason George Gonzalez.\u003c/p>\n\u003cp>Richards was inspired to create the Wave Organ after moving to San Francisco in 1970. He was fascinated by how the tides in the bay showed an intimate connection between the sea and the moon.\u003c/p>\n\u003cfigure id=\"attachment_12014150\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014150\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-800x522.jpg\" alt=\"\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1536x1002.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1920x1253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED.jpg 2000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Water flows out of a pipe at the Wave Organ in San Francisco on Nov. 12, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was the first time I was near a place that had tides,” said Richards, a senior artist emeritus at the Exploratorium in San Francisco, about moving to the West Coast. “I was inherently curious about [tides] and how they worked.”\u003c/p>\n\u003cp>Richards was also inspired by artist Bill Fontana, who had recorded the sounds of pipes in a concrete dock in Sydney, Australia, in 1976. Fontana’s sonic art piece amplified and distorted bubbling and splashing sounds from the water. Richards was intrigued by the connection between physics and art to create the acoustic rhythm.\u003c/p>\n\u003cp>Richards wanted to see if he could do the same using San Francisco’s waters. So he took PVC pipes to the jetty in the city’s Marina district and began testing the sounds of different pipe configurations.\u003c/p>\n\u003cfigure id=\"attachment_12015192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12015192 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize.jpg 2000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual design of the Wave Organ originally shared at the New Music ’81 Festival. (Courtesy of the Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>What he found was that the sound from the organ pipes changed depending on the water level within the pipe.\u003c/p>\n\u003ch3>How does it work?\u003c/h3>\n\u003cp>In the Wave Organ, each pipe creates a vibrating column of air that amplifies sounds produced by moving water. Certain sound frequencies created by the waves are amplified, depending on the length of the pipe and water level within it.\u003c/p>\n\u003cp>“At high tides, the air columns are shorter, so the sounds are higher,” Richards explains. “The low tides produce lower frequencies.”\u003c/p>\n\u003cfigure id=\"attachment_12014154\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED.jpg 2000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pipes made of PVC and concrete at the Wave Organ in San Francisco on Nov. 12, 2024. The installation has 25 organ pipes, which sound best during high tide. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richards prototyped his design for the Wave Organ and presented a rudimentary version of the sculpture for the New Music ’81 Festival in San Francisco, a festival for experimental music and instruments.\u003c/p>\n\u003cp>After securing funding to create a permanent installation, Richards met fellow Bay Area-based stonemason George Gonzalez and invited him to be a collaborator on the project. Richard says that before he met Gonzalez, he had made models and drawings of what he imagined the final installation to look like, but Gonzalez brought an innovative vision and elevated the overall project.\u003c/p>\n\u003cp>“When we started working on it, the first thing we did was throw the drawings away and… just allow the stonework to determine what was needed. George [had an] amazing ability to look at this beautiful stonework and be able to put it together in a very clever and functional way,” said Richards.\u003c/p>\n\u003cp>In 1986, the Wave Organ opened to the public. Decades later, it is still a favorite spot for San Franciscans who stop by on their morning walks. It’s also a destination for tourists who want to get off the beaten path and a place for fishermen to cast their lines.\u003c/p>\n\u003cp>Craig Easley, a San Franciscan who visits the Wave Organ twice a week to fish, says, “Fish or no fish, this is heaven. It’s a little bit of paradise with a 360-degree view of the bay and the city that I love.”\u003c/p>\n\u003cp>The Wave Organ is free to visit. It’s one of the few Exploratorium exhibits that is located outside the walls of the museum.\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> During the early days of the COVID-19 pandemic, we all had our little escapes. Places away from the confines of our quarantined homes to get some fresh air … and remind us that despite the distance, the rest of the world still exists. After moving to San Francisco in 2020, Robbie Rock discovered his special spot: a public art installation called the Wave Organ. It’s at the very end of a jetty sitting out in the bay, across the way from The Palace of Fine Arts.\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> It’s just a really cool place to sit, watch the waves, and also to, like, hear the organ.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> The Wave organ is not like the massive trumpeting organs that you’ll find in a church. Its appearance and sounds are a bit less opulent, but the organ still produces a pretty grand orchestra of gurgles, hisses, and booms.\u003c/p>\n\u003cp>\u003cem>[distorted gurgling from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> But after all of his visits, Robbie still never really knew what, exactly, he was listening to.\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> I just had so many questions about it. Why is it there, and how does it even work?\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> And of course…\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> When is the best time to hear it?\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> I’m Olivia Allen-Price. This is Bay Curious — the podcast that answers your questions about the San Francisco Bay Area. This week, we’re turning an ear to the waters of the bay.\u003c/p>\n\u003cp>Now, this episode is probably going to sound best with headphones, but if you’re listening on speakers, you might just want to crank it up. Stay with us.\u003c/p>\n\u003cp>\u003cem>[SPONSOR MESSAGE]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> To learn more about this instrument that’s being played by the bay itself, we sent out Bay Curious intern, Ana De Almeida Amaral.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Out in the Marina district of San Francisco, just off Marina Boulevard, a jetty stretches out into the bay — It’s a man-made stretch of land protecting the docks of St Francis Yacht Club. I went there on a windy morning to visit the Wave Organ. The Wave Organ is an art installation that is partially underwater at the edge of the jetty. It’s an environmental sculpture that interacts with the natural sounds of the waves to create a unique auditory experience.\u003c/p>\n\u003cp>\u003cem>[Ambient sound of the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> I called up Ken Finn, an educator at the Exploratorium, which is the interactive science and arts museum in San Francisco. The organ is one of the few exploratorium exhibits that is outside the walls of the museum, and it’s free! I asked Ken to show me around the Wave Organ for the first time.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> A personal favorite time to come out here…[laughs] when a storm is brewing.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The Wave Organ is a really unique installation. It looks kind of like a Roman ruin — with various slabs of granite creating different viewing levels and stone stairs leading down to the water’s edge. The organ itself is all around the installation. There are 25 organ pipes that peek out like periscopes. And visitors can place their ear next to each pipe in order to hear what is going on underwater. As I climbed around the installation with Ken, we approached an organ pipe.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> Here’s one of the first pipes. And you can see now that the tide is low. You can almost trace it in its winding path down into the bay. I’m going to give it a listen here… Oh, nice.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Then, it was my turn to listen….\u003c/p>\n\u003cp>\u003cem>[Distorted swishing sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> That’s beautiful!\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> With the tide out, the lower water level exposes the length of the pipes. Some only reach out 3 or 4 feet into the bay, while others extend out deep into the water. Then, Ken points at a stone slab on the staircase.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> I like to call out that on some of these, you can see the leftover red paint, so you can tell there’s a red zone. So, some of these were old curb stones from parts of San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> That’s because most of the stone slabs used to make the sculpture are recycled pieces of granite. The jetty was originally built using stone slabs from fallen buildings after the 1906 earthquake and headstone remnants from the cemetery relocations of the early 1900s. Many still had beautiful carvings and designs, and they were given a new life with the creation of the Wave Organ.\u003c/p>\n\u003cp>The Wave Organ was created by artist Peter Richards in collaboration with master stonemason, George Gonzalez. Peter Richards is now a senior artist emeritus at the Exploratorium, but back in 1970 he was a recent MFA graduate and new to San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> It was the first time I was near a place that had tides. So, I was inherently curious about them and how they worked.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> He was enamored by the changing tides and the way they revealed an intimate connection between us — and the sun and the moon. He was also inspired by a recording he had heard from artist Bill Fontana — who had recorded the sounds of cylindrical pipes he found in a concrete dock in Sydney, Australia. Peter was drawn in by the rhythmic, distorted, and almost mesmerizing qualities of this audio portrait.\u003c/p>\n\u003cp>Here’s a little excerpt of that.\u003c/p>\n\u003cp>\u003cem>[Splashing sounds]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Peter wanted to see if he could intentionally create this phenomenon. So he took PVC pipes out onto the jetty just across from the Exploratorium, which at the time was housed at the Palace of Fine Arts. And he began testing the sounds of different pipe lengths and configurations. What he found was that the sound from the pipes changed depending on the water level within the pipe…\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> So at High tides, the air columns are shorter, so the sounds are higher. And if you go to the low tide, it produces lower frequencies.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The pipes function like a pan flute. In the Wave Organ, each pipe is a vibrating column of air that amplifies the sounds produced by the moving water. Certain sound frequencies created by the waves are amplified depending on the length of the pipe. And this is what creates a distorted orchestra of underwater sounds.\u003c/p>\n\u003cp>Once he made this discovery, Peter built a prototype of the Wave Organ for an experimental music festival in 1981. He constructed a rudimentary version at the same spot on the jetty.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> At that point, it was done very crudely. But we did mic it and run a telephone wire back to the Exploratorium.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The telephone wire ran across Marina Boulevard and all the way to the Palace of Fine Arts.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> So we had the sounds from the Wave Organ sort of echoing through the museum.\u003c/p>\n\u003cp>\u003cem>[Sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> And visitors loved it!\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> At that point the Director Frank Oppenheimer said, “Well, we’ve got to do something with this.” So that’s when I started working seriously on it.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> After working to secure funding, the Exploratorium was ready to break ground on a permanent installation. That is when Peter met George Gonzalez and invited him to be the stonemason on the project.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> During the conceptual development of the project, I had built some models, and I made a drawing of what I envisioned happening. And when we started working on it, the first thing we did is to throw the drawings away and put the model away and just allow the stonework to determine what was needed there. And there was George’s amazing ability to look at this beautiful stonework and be able to put it together in a very clever and functional way.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> With an attention to the beautifully carved granite slabs and to the tides… the Wave Organ rose from the rocks on the jetty in 1986. The Wave Organ is a magical integration of the natural and constructed world. It’s an art piece that sits at the center of many intersections — between the sea and moon and between science and art. And here, you get to be an audience to all of it. But before I left the Wave Organ, I had to ask Ken, the educator from the Exploratorium, the question we are all waiting for: When is the best time to hear the Wave Organ?\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> Definitely check the tides. And I think that visiting the Wave Organ at high tide is the best time. And it’s definitely a lot more enjoyable to be there when the tide is high, and it’s making some tones that are much more easy for us to hear.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> But, in case you are not able to make it out to the Wave Organ at high tide — we’ll bring it to you. Here’s 30 seconds of oceanic art.\u003c/p>\n\u003cp>\u003cem>[Sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> That was KQED’s Ana De Almeida Amaral.\u003c/p>\n\u003cp>Thanks to Robbie Rock for asking the question and to Bill Fontana for letting us share a piece of his sonic art.\u003c/p>\n\u003cp>The Bay Curious team is taking a little breather next week, so we won’t have a new episode.\u003cbr>\nBut, we did create a kid-friendly Spotify playlist with some of our greatest hits from over the years. If you’ve got travel plans and need to fill some time — check it out! We’ll drop a link in our show notes. We’ll be back in your feeds on Dec. 5.\u003c/p>\n\u003cp>Gift-buying season is on the way, and I know, at least for some of you, it’s been here since Halloween, so I’d love to humbly suggest you consider giving the Bay Curious book this year. It’s chock full of history, culture, fun facts and more all about the San Francisco Bay Area. You can find it at most local bookstores and all the big online retailers. If audiobooks are more your jam, we’ve got one of those too. Learn more at \u003ca href=\"https://www.kqed.org/podcasts/baycurious\">KQED.org/BayCuriousBook\u003c/a>.\u003c/p>\n\u003cp>Bay Curious is made in San Francisco by Ana De Almeida Amaral, Amanda Font, Christopher Beale and me, Olivia Allen-Price.\u003c/p>\n\u003cp>With additional support from Jen Chien, Katie Sprenger, Maha Sanad, Chris Hambrick, Holly Kernan, Chris Egusa and the whole KQED family.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m Olivia Allen-Price. Have a wonderful week!\u003c/p>\n\n",
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"description": "View the full episode transcript Ever wondered what the San Francisco Bay sounds like beneath the water’s surface? The Wave Organ, a sound sculpture maintained by San Francisco’s Exploratorium, has 25 pipes that shoot down into the bay, creating a unique sonic experience for visitors above. You can find the sculpture, made of recycled granite, at the end of the man-made jetty across the street from the Palace of Fine Arts. There, you can put your ear to a pipe made of PVC and concrete to hear the “music” of the bay. The Wave Organ is nothing like the trumpeting",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">View the full episode transcript\u003c/a>\u003c/p>\n\u003cp>Ever wondered what the San Francisco Bay sounds like beneath the water’s surface? The Wave Organ, a sound sculpture maintained by San Francisco’s Exploratorium, has 25 pipes that shoot down into the bay, creating a unique sonic experience for visitors above. You can find the sculpture, made of recycled granite, at the end of the man-made jetty across the street from the Palace of Fine Arts. There, you can put your ear to a pipe made of PVC and concrete to hear the “music” of the bay.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Wave Organ is nothing like the trumpeting organs in a church. The art installation stretches about 60 feet across and is made of rock slabs with different seating levels that visitors can climb on. The artists behind the sculpture chose to use recycled debris from the 1906 earthquake, and remnants of headstones leftover from century-old cemetery relocations.\u003c/p>\n\u003cp>As far as the sound the organ makes — you probably wouldn’t call it musical. This art piece features an orchestra of gurgles, splashes, and booms.\u003c/p>\n\u003cfigure id=\"attachment_12014153\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED.jpg 2000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A plaque for the Wave Organ in San Francisco on Nov. 12, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Wave Organ’s origins\u003c/h3>\n\u003cp>Understanding the Wave Organ’s origins requires a little lesson in San Francisco art history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This environmental sculpture was created in 1986 by artist Peter Richards in collaboration with master stonemason George Gonzalez.\u003c/p>\n\u003cp>Richards was inspired to create the Wave Organ after moving to San Francisco in 1970. He was fascinated by how the tides in the bay showed an intimate connection between the sea and the moon.\u003c/p>\n\u003cfigure id=\"attachment_12014150\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014150\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-800x522.jpg\" alt=\"\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1536x1002.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1920x1253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED.jpg 2000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Water flows out of a pipe at the Wave Organ in San Francisco on Nov. 12, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was the first time I was near a place that had tides,” said Richards, a senior artist emeritus at the Exploratorium in San Francisco, about moving to the West Coast. “I was inherently curious about [tides] and how they worked.”\u003c/p>\n\u003cp>Richards was also inspired by artist Bill Fontana, who had recorded the sounds of pipes in a concrete dock in Sydney, Australia, in 1976. Fontana’s sonic art piece amplified and distorted bubbling and splashing sounds from the water. Richards was intrigued by the connection between physics and art to create the acoustic rhythm.\u003c/p>\n\u003cp>Richards wanted to see if he could do the same using San Francisco’s waters. So he took PVC pipes to the jetty in the city’s Marina district and began testing the sounds of different pipe configurations.\u003c/p>\n\u003cfigure id=\"attachment_12015192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12015192 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize.jpg 2000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual design of the Wave Organ originally shared at the New Music ’81 Festival. (Courtesy of the Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>What he found was that the sound from the organ pipes changed depending on the water level within the pipe.\u003c/p>\n\u003ch3>How does it work?\u003c/h3>\n\u003cp>In the Wave Organ, each pipe creates a vibrating column of air that amplifies sounds produced by moving water. Certain sound frequencies created by the waves are amplified, depending on the length of the pipe and water level within it.\u003c/p>\n\u003cp>“At high tides, the air columns are shorter, so the sounds are higher,” Richards explains. “The low tides produce lower frequencies.”\u003c/p>\n\u003cfigure id=\"attachment_12014154\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED.jpg 2000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pipes made of PVC and concrete at the Wave Organ in San Francisco on Nov. 12, 2024. The installation has 25 organ pipes, which sound best during high tide. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richards prototyped his design for the Wave Organ and presented a rudimentary version of the sculpture for the New Music ’81 Festival in San Francisco, a festival for experimental music and instruments.\u003c/p>\n\u003cp>After securing funding to create a permanent installation, Richards met fellow Bay Area-based stonemason George Gonzalez and invited him to be a collaborator on the project. Richard says that before he met Gonzalez, he had made models and drawings of what he imagined the final installation to look like, but Gonzalez brought an innovative vision and elevated the overall project.\u003c/p>\n\u003cp>“When we started working on it, the first thing we did was throw the drawings away and… just allow the stonework to determine what was needed. George [had an] amazing ability to look at this beautiful stonework and be able to put it together in a very clever and functional way,” said Richards.\u003c/p>\n\u003cp>In 1986, the Wave Organ opened to the public. Decades later, it is still a favorite spot for San Franciscans who stop by on their morning walks. It’s also a destination for tourists who want to get off the beaten path and a place for fishermen to cast their lines.\u003c/p>\n\u003cp>Craig Easley, a San Franciscan who visits the Wave Organ twice a week to fish, says, “Fish or no fish, this is heaven. It’s a little bit of paradise with a 360-degree view of the bay and the city that I love.”\u003c/p>\n\u003cp>The Wave Organ is free to visit. It’s one of the few Exploratorium exhibits that is located outside the walls of the museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> During the early days of the COVID-19 pandemic, we all had our little escapes. Places away from the confines of our quarantined homes to get some fresh air … and remind us that despite the distance, the rest of the world still exists. After moving to San Francisco in 2020, Robbie Rock discovered his special spot: a public art installation called the Wave Organ. It’s at the very end of a jetty sitting out in the bay, across the way from The Palace of Fine Arts.\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> It’s just a really cool place to sit, watch the waves, and also to, like, hear the organ.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> The Wave organ is not like the massive trumpeting organs that you’ll find in a church. Its appearance and sounds are a bit less opulent, but the organ still produces a pretty grand orchestra of gurgles, hisses, and booms.\u003c/p>\n\u003cp>\u003cem>[distorted gurgling from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> But after all of his visits, Robbie still never really knew what, exactly, he was listening to.\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> I just had so many questions about it. Why is it there, and how does it even work?\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> And of course…\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> When is the best time to hear it?\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> I’m Olivia Allen-Price. This is Bay Curious — the podcast that answers your questions about the San Francisco Bay Area. This week, we’re turning an ear to the waters of the bay.\u003c/p>\n\u003cp>Now, this episode is probably going to sound best with headphones, but if you’re listening on speakers, you might just want to crank it up. Stay with us.\u003c/p>\n\u003cp>\u003cem>[SPONSOR MESSAGE]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> To learn more about this instrument that’s being played by the bay itself, we sent out Bay Curious intern, Ana De Almeida Amaral.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Out in the Marina district of San Francisco, just off Marina Boulevard, a jetty stretches out into the bay — It’s a man-made stretch of land protecting the docks of St Francis Yacht Club. I went there on a windy morning to visit the Wave Organ. The Wave Organ is an art installation that is partially underwater at the edge of the jetty. It’s an environmental sculpture that interacts with the natural sounds of the waves to create a unique auditory experience.\u003c/p>\n\u003cp>\u003cem>[Ambient sound of the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> I called up Ken Finn, an educator at the Exploratorium, which is the interactive science and arts museum in San Francisco. The organ is one of the few exploratorium exhibits that is outside the walls of the museum, and it’s free! I asked Ken to show me around the Wave Organ for the first time.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> A personal favorite time to come out here…[laughs] when a storm is brewing.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The Wave Organ is a really unique installation. It looks kind of like a Roman ruin — with various slabs of granite creating different viewing levels and stone stairs leading down to the water’s edge. The organ itself is all around the installation. There are 25 organ pipes that peek out like periscopes. And visitors can place their ear next to each pipe in order to hear what is going on underwater. As I climbed around the installation with Ken, we approached an organ pipe.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> Here’s one of the first pipes. And you can see now that the tide is low. You can almost trace it in its winding path down into the bay. I’m going to give it a listen here… Oh, nice.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Then, it was my turn to listen….\u003c/p>\n\u003cp>\u003cem>[Distorted swishing sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> That’s beautiful!\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> With the tide out, the lower water level exposes the length of the pipes. Some only reach out 3 or 4 feet into the bay, while others extend out deep into the water. Then, Ken points at a stone slab on the staircase.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> I like to call out that on some of these, you can see the leftover red paint, so you can tell there’s a red zone. So, some of these were old curb stones from parts of San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> That’s because most of the stone slabs used to make the sculpture are recycled pieces of granite. The jetty was originally built using stone slabs from fallen buildings after the 1906 earthquake and headstone remnants from the cemetery relocations of the early 1900s. Many still had beautiful carvings and designs, and they were given a new life with the creation of the Wave Organ.\u003c/p>\n\u003cp>The Wave Organ was created by artist Peter Richards in collaboration with master stonemason, George Gonzalez. Peter Richards is now a senior artist emeritus at the Exploratorium, but back in 1970 he was a recent MFA graduate and new to San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> It was the first time I was near a place that had tides. So, I was inherently curious about them and how they worked.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> He was enamored by the changing tides and the way they revealed an intimate connection between us — and the sun and the moon. He was also inspired by a recording he had heard from artist Bill Fontana — who had recorded the sounds of cylindrical pipes he found in a concrete dock in Sydney, Australia. Peter was drawn in by the rhythmic, distorted, and almost mesmerizing qualities of this audio portrait.\u003c/p>\n\u003cp>Here’s a little excerpt of that.\u003c/p>\n\u003cp>\u003cem>[Splashing sounds]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Peter wanted to see if he could intentionally create this phenomenon. So he took PVC pipes out onto the jetty just across from the Exploratorium, which at the time was housed at the Palace of Fine Arts. And he began testing the sounds of different pipe lengths and configurations. What he found was that the sound from the pipes changed depending on the water level within the pipe…\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> So at High tides, the air columns are shorter, so the sounds are higher. And if you go to the low tide, it produces lower frequencies.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The pipes function like a pan flute. In the Wave Organ, each pipe is a vibrating column of air that amplifies the sounds produced by the moving water. Certain sound frequencies created by the waves are amplified depending on the length of the pipe. And this is what creates a distorted orchestra of underwater sounds.\u003c/p>\n\u003cp>Once he made this discovery, Peter built a prototype of the Wave Organ for an experimental music festival in 1981. He constructed a rudimentary version at the same spot on the jetty.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> At that point, it was done very crudely. But we did mic it and run a telephone wire back to the Exploratorium.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The telephone wire ran across Marina Boulevard and all the way to the Palace of Fine Arts.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> So we had the sounds from the Wave Organ sort of echoing through the museum.\u003c/p>\n\u003cp>\u003cem>[Sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> And visitors loved it!\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> At that point the Director Frank Oppenheimer said, “Well, we’ve got to do something with this.” So that’s when I started working seriously on it.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> After working to secure funding, the Exploratorium was ready to break ground on a permanent installation. That is when Peter met George Gonzalez and invited him to be the stonemason on the project.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> During the conceptual development of the project, I had built some models, and I made a drawing of what I envisioned happening. And when we started working on it, the first thing we did is to throw the drawings away and put the model away and just allow the stonework to determine what was needed there. And there was George’s amazing ability to look at this beautiful stonework and be able to put it together in a very clever and functional way.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> With an attention to the beautifully carved granite slabs and to the tides… the Wave Organ rose from the rocks on the jetty in 1986. The Wave Organ is a magical integration of the natural and constructed world. It’s an art piece that sits at the center of many intersections — between the sea and moon and between science and art. And here, you get to be an audience to all of it. But before I left the Wave Organ, I had to ask Ken, the educator from the Exploratorium, the question we are all waiting for: When is the best time to hear the Wave Organ?\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> Definitely check the tides. And I think that visiting the Wave Organ at high tide is the best time. And it’s definitely a lot more enjoyable to be there when the tide is high, and it’s making some tones that are much more easy for us to hear.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> But, in case you are not able to make it out to the Wave Organ at high tide — we’ll bring it to you. Here’s 30 seconds of oceanic art.\u003c/p>\n\u003cp>\u003cem>[Sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> That was KQED’s Ana De Almeida Amaral.\u003c/p>\n\u003cp>Thanks to Robbie Rock for asking the question and to Bill Fontana for letting us share a piece of his sonic art.\u003c/p>\n\u003cp>The Bay Curious team is taking a little breather next week, so we won’t have a new episode.\u003cbr>\nBut, we did create a kid-friendly Spotify playlist with some of our greatest hits from over the years. If you’ve got travel plans and need to fill some time — check it out! We’ll drop a link in our show notes. We’ll be back in your feeds on Dec. 5.\u003c/p>\n\u003cp>Gift-buying season is on the way, and I know, at least for some of you, it’s been here since Halloween, so I’d love to humbly suggest you consider giving the Bay Curious book this year. It’s chock full of history, culture, fun facts and more all about the San Francisco Bay Area. You can find it at most local bookstores and all the big online retailers. If audiobooks are more your jam, we’ve got one of those too. Learn more at \u003ca href=\"https://www.kqed.org/podcasts/baycurious\">KQED.org/BayCuriousBook\u003c/a>.\u003c/p>\n\u003cp>Bay Curious is made in San Francisco by Ana De Almeida Amaral, Amanda Font, Christopher Beale and me, Olivia Allen-Price.\u003c/p>\n\u003cp>With additional support from Jen Chien, Katie Sprenger, Maha Sanad, Chris Hambrick, Holly Kernan, Chris Egusa and the whole KQED family.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m Olivia Allen-Price. Have a wonderful week!\u003c/p>\n\n\u003c/div>"
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"slug": "charli-xcx-troye-sivan-san-franciscos-chase-center-october-20-bag-policy-parking",
"title": "Seeing Charli xcx and Troye Sivan at San Francisco's Chase Center? From Bag Policy to Parking, What to Know",
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"headTitle": "Seeing Charli xcx and Troye Sivan at San Francisco’s Chase Center? From Bag Policy to Parking, What to Know | KQED",
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"content": "\u003cp>If you’ve got tickets for Charli xcx and Troye Sivan’s \u003cem>Sweat\u003c/em> tour at San Francisco’s Chase Center on Oct. 20, you’ll be \u003ca href=\"https://www.youtube.com/watch?v=bg9EmWTRt3Y\">hearing those club classics\u003c/a>.\u003c/p>\n\u003cp>And while Charli herself has declared \u003ca href=\"https://www.kqed.org/news/11997647/brat-kamala-harris-charli-xcx-coconut-tree-donald-trump\">brat summer\u003c/a> \u003ca href=\"https://x.com/charli_xcx/status/1830695037925237025\">officially over\u003c/a>, the SF show — which also features\u003ca href=\"https://chasecenter.com/events/charli-xcx-and-troye-sivan-20241020/\"> special guest Shygirl \u003c/a>— comes on the heels of her new album \u003ca href=\"https://www.youtube.com/watch?v=bvy6aox2Sgw&list=PL-2HG0C5jJQE-D-1odtlA47fbP7oCg62e\">\u003cem>Brat, and it’s completely different but also still brat\u003c/em>, \u003c/a>with remixes and new tracks featuring artists like \u003ca href=\"https://www.youtube.com/watch?v=6YO2_O1L_YY\">kesha\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=jfL8Vu9PfW8&list=PL-2HG0C5jJQE-D-1odtlA47fbP7oCg62e&index=3\">Ariana Grande\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=99dsnI6M-a4&list=PL-2HG0C5jJQE-D-1odtlA47fbP7oCg62e&index=7\">Caroline Polachek\u003c/a>:\u003c/p>\n\u003cp>https://twitter.com/charli_xcx/status/1844916739550908789?s=46&t=7BBzFwo6eYLzJIVfAlumEQ\u003c/p>\n\u003cp>Keep reading for everything you need to know about seeing Charli xcx on Sunday, from the Chase Center’s bag policy to parking, tickets and more. Be sure to \u003ca href=\"https://twitter.com/ChaseCenter\">follow Chase Center on social media\u003c/a> for any last-minute updates.\u003c/p>\n\u003cp>(And if you’re going to Sunday’s show, look for the KQED mics — we’ll be there, talking to Charli and Troye Sivan fans about the afterlife of \u003ca href=\"https://www.kqed.org/news/11997449/why-kamala-harris-is-having-a-brat-summer\">brat summer \u003c/a>in the run-up to the November election, as part of \u003ca href=\"https://www.kqed.org/fandomvote\">our Fandom Vote interview series\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#chase-center-bag-policy\">What’s the Chase Center bag policy for the Charli xcx show?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#charli-xcx-tickets\">Can I still get Charli xcx \u003cem>Sweat\u003c/em> tour tickets?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#chase-center-parking\">Where is parking for Chase Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>\u003cstrong>What time does the show at Chase Center start?\u003c/strong>\u003c/h2>\n\u003cp>Doors are \u003ca href=\"https://chasecenter.com/events/charli-xcx-and-troye-sivan-20241020/\">slated to open at 6:30 p.m., and the show starts at 7:30 p.m. \u003c/a>\u003c/p>\n\u003cp>As with many concerts, be prepared for a long night. If you don’t mind spoilers, you can view \u003ca href=\"https://open.spotify.com/playlist/5TTFhDs8EU1qPf54tlQuX6\">Charli xcx and Troye Sivan’s likely setlist for San Francisco on Spotify\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.orlandoweekly.com/music/charli-xcx-and-troye-sivan-put-the-sweat-in-the-sweat-tour-at-orlandos-kia-center-37955300\">Concertgoers on the Sweat tour have reported heavy use of strobe lighting\u003c/a>, so folks with light sensitivity should be advised. Even if you don’t have any documented issues with strobe lights, you may want to consider taking a style note from Charli herself and packing a pair of large dark sunglasses.\u003c/p>\n\u003ch2>\u003cstrong>\u003ca id=\"chase-center-bag-policy\">\u003c/a>What’s the Chase Center bag policy?\u003c/strong>\u003c/h2>\n\u003cp>Backpacks (except for single-compartment drawstring bags) and hard-sided bags of any kind are prohibited from entering Chase Center.\u003c/p>\n\u003cp>Any other bag you bring must be smaller than 14 x 14 x 6 inches in size.\u003c/p>\n\u003cp>Bags that do not meet the requirements can be checked at one of Chase’s two bag check locations for a fee of $10. Bag check is at the corner of 16th Street and Terry Francois Boulevard.\u003c/p>\n\u003cp>Here are some more \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">things you cannot bring into the \u003cem>Sweat\u003c/em> tour show at Chase Center\u003c/a>:\u003c/p>\n\u003cul>\n\u003cli>Bottles and cans\u003c/li>\n\u003cli>Refillable water bottles\u003c/li>\n\u003cli>Signs over 11 x 17 inches or attached to any pole or stick\u003c/li>\n\u003cli>Masks that cover the whole face. (Face coverings to lower your risks of catching — or spreading — COVID-19, like N95 masks, are allowed)\u003c/li>\n\u003cli>Lights, tripods and professional recording equipment. Flash photography is not allowed\u003c/li>\n\u003cli>Noise-making devices, such as air horns, whistles or cowbells\u003c/li>\n\u003cli>Weapons and self-defense items of any kind, including mace, knives and tasers\u003c/li>\n\u003cli>Selfie sticks\u003c/li>\n\u003c/ul>\n\u003cp>What else \u003cem>can\u003c/em> you bring to Chase Center? These items include:\u003c/p>\n\u003cul>\n\u003cli>Baby bags, plastic bottles and formula\u003c/li>\n\u003cli>Diaper bags (with a child)\u003c/li>\n\u003cli>Bags accepted as medical bags\u003c/li>\n\u003cli>Umbrellas\u003c/li>\n\u003cli>Binoculars\u003c/li>\n\u003c/ul>\n\u003cp>While portable phone chargers are not prohibited, Chase Center also offers charging stations compatible with most cellphone devices. Guests may rent a portable charger to take back to their seats for $2 per 30 minutes.\u003c/p>\n\u003ch2>\u003cstrong>How do I know if I’ve got a good seat at the \u003cem>Sweat \u003c/em>tour Chase Center show?\u003c/strong>\u003c/h2>\n\u003cp>If you are anxious about anything obscuring your sight of the stage or how you want to get to your seat fast, you can check out the view from your seat using \u003ca href=\"https://warriors.io-media.com/web/index.html\">Chase Center’s Virtual Venue map\u003c/a>.\u003c/p>\n\u003ch2>\u003cstrong>What should I know about accessibility at Chase Center?\u003c/strong>\u003c/h2>\n\u003cp>Chase Center addresses questions about accessibility in its online \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">A to Z Guide\u003c/a>, which includes information about accessible parking, hearing assistance, ADA-compliant restrooms and service animals.\u003c/p>\n\u003cp>The venue says guests can request complimentary wheelchair escorts by visiting the kiosks located at \u003ca href=\"https://cdn.nba.com/teams/uploads/sites/1610612744/2024/02/CC_Portals_Map_Update_3202x2550_2024-.jpg\">Portal 13 and Portal 52\u003c/a> or texting 833-CC4-FANS.\u003c/p>\n\u003cp>To schedule an American Sign Language interpreter, guests should contact guestexperiences@warriors.com ahead of time.\u003c/p>\n\u003ch2>\u003cstrong>\u003ca id=\"chase-center-parking\">\u003c/a>What should I know about parking at and near Chase Center?\u003c/strong>\u003c/h2>\n\u003cp>Chase Center has \u003ca href=\"https://chasecenter.com/plan-your-visit/transportation/parking/\">a guide to its parking garage.\u003c/a> Tickets for the \u003ca href=\"https://www.ticketmaster.com/chase-center-parking-charli-xcx-troye-san-francisco-california-10-20-2024/event/1C006091DEDE445F\">parking garage are $50\u003c/a>.\u003c/p>\n\u003cp>The venue’s website also refers fans to the \u003ca href=\"https://spothero.com/search?kind=event&id=907572&view=dl\">third-party parking website SpotHero\u003c/a> for other non-Chase Center parking options nearby. It costs $75 to reserve a spot nearest to the stadium, with a two-minute walk.\u003c/p>\n\u003cp>There are also cheaper parking options farther away. So, if you’re driving to the show but haven’t secured your parking yet, consider wearing comfier shoes for the walk over and back.\u003c/p>\n\u003ch2>\u003cstrong>What about using rideshare services like Lyft and Uber at Chase Center?\u003c/strong>\u003c/h2>\n\u003cp>While getting to the venue using a rideshare service might be fairly smooth, trying to find a car after the show is almost \u003cem>certainly\u003c/em> going to be a challenge — and this author is speaking from personal experience. Due to surge pricing, it will also be far more expensive to get an Uber or Lyft as you exit the venue.\u003c/p>\n\u003cp>There are\u003ca href=\"https://images.ctfassets.net/0lzgl3qjkmm1/6k8OJ6yu4tTfjV4wHsmKTG/0b4cc696d2b3f2360ad34bbc16ffbffd/uber-map.png\"> multiple designated pickup and drop-off zones\u003c/a> located within one block of Chase Center. Upon arrival, use one of the designated passenger loading zones (white curbs) along Terry A Francois Boulevard for a safe curbside drop-off. The website also notes, under “\u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">Drop-off Locations,\u003c/a>” that “if you prefer to walk/take the train to a location where it’s easier to ride-hail, we encourage taking the train/walking along Forth Street towards the Forth and King Caltrain Station.”\u003c/p>\n\u003cp>As you leave the show, rideshare apps will automatically display the best places to get picked up within a five-minute walk radius.\u003c/p>\n\u003cp>Accessible drop-offs and pickups are along the curb of 16th Street and Terry Francois Boulevard, with accessible entry and exit from the East Entrance. For folks with mobility considerations, the venue can provide a wheelchair to transport guests from Thrive City Plaza or the main lobby to their seats.\u003c/p>\n\u003ch2>\u003cstrong>What’s the best way to take public transit to the \u003cem>Sweat\u003c/em> tour?\u003c/strong>\u003c/h2>\n\u003cp>Public transit schedules can always be subject to change. Check the timings for your route on the day of the show itself, and be sure of your very last service home. Chase Center has a \u003ca href=\"https://chasecenter.com/transportation-guide\">comprehensive guide to public transportation\u003c/a> on its website.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080.jpg\" width=\"1080\" height=\"1080\">\u003c/p>\n\u003cp>\u003cstrong>SF Muni\u003c/strong>\u003c/p>\n\u003cp>Any Chase Center patron who shows their event ticket at Muni turnstiles and boarding platforms can \u003ca href=\"https://www.sfmta.com/fares/your-chase-center-event-ticket-your-muni-fare\">ride Muni \u003cem>without \u003c/em>charge\u003c/a>.\u003c/p>\n\u003cp>There is a Muni Metro rail stop serving the venue on the T Third Street line, which connects Chinatown and Sunnydale. See \u003ca href=\"https://www.sfmta.com/routes/t-third-street\">the Muni Metro schedule\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>BART\u003c/strong>\u003c/p>\n\u003cp>Several BART stations have convenient connections to get to the venue.\u003c/p>\n\u003cp>Muni Route 22 connects to the 16th Street and Mission BART station. This stop is located on Third Street and Gene Friend Way.\u003c/p>\n\u003cp>Muni Route 15 serves as a connection to Montgomery Street BART station. This stop is located on Third Street and Warriors Way.\u003c/p>\n\u003cp>You can transfer to the new Union Square Muni Metro rail station from Powell BART station via the underground corridor to take the T Third Street line or S Shuttle Mission Bay line to the UCSF/Chase Center stop.\u003c/p>\n\u003cp>You can find more information and schedules \u003ca href=\"https://www.bart.gov/\">on the BART website\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Caltrain\u003c/strong>\u003c/p>\n\u003cp>If you take Caltrain to San Francisco, you can walk 15–20 minutes along Fourth Street and turn left on Gene Friend Way to Chase Center.\u003c/p>\n\u003cp>You can also transfer from the Caltrain station to the Muni Metro T Third Street platform, which is located across the street, and take Muni to the UCSF/Chase Center stop.\u003c/p>\n\u003cp>Since the show is on a Sunday, the last train leaving San Francisco is around 12 a.m., but be sure to check \u003ca href=\"https://www.caltrain.com/media/33908\">the Caltrain’s weekend schedule.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Biking\u003c/strong>\u003c/p>\n\u003cp>Chase Center offers guests free bike valet for the first 300 bikes an hour before start time. The valet is available along 16th Street. Public bike parking is available along 16th Street and Terry Francois Boulevard.\u003c/p>\n\u003cp>There is also a \u003ca href=\"https://www.lyft.com/bikes/bay-wheels\">Lyft/Bay Wheels bike share station\u003c/a> at the intersection of Warriors Way and Terry Francois Boulevard. While they’re convenient and easy to use, the limited availability of these bikes means you should have a backup plan — or you might get stranded.\u003c/p>\n\u003ch2>\u003cstrong>\u003ca id=\"charli-xcx-tickets\">\u003c/a>Can I still get a ticket to the \u003cem>Sweat\u003c/em> tour?\u003c/strong>\u003c/h2>\n\u003cp>According to Ticketmaster, \u003ca href=\"https://www.ticketmaster.com/event/1C00608C0CE59BEB\">tickets are still available\u003c/a>, with the lowest at $279\u003c/p>\n\u003cp>You may find better deals with resale tickets on sites like \u003ca href=\"https://www.stubhub.com/charli-xcx-san-francisco-tickets-10-20-2024/event/153441948/?quantity=1\">StubHub, \u003c/a> but you should make sure you are not purchasing fake tickets. Read more tips about \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets#taylorswifttickets\">avoiding ticket resale scams\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve got tickets for Charli xcx and Troye Sivan’s \u003cem>Sweat\u003c/em> tour at San Francisco’s Chase Center on Oct. 20, you’ll be \u003ca href=\"https://www.youtube.com/watch?v=bg9EmWTRt3Y\">hearing those club classics\u003c/a>.\u003c/p>\n\u003cp>And while Charli herself has declared \u003ca href=\"https://www.kqed.org/news/11997647/brat-kamala-harris-charli-xcx-coconut-tree-donald-trump\">brat summer\u003c/a> \u003ca href=\"https://x.com/charli_xcx/status/1830695037925237025\">officially over\u003c/a>, the SF show — which also features\u003ca href=\"https://chasecenter.com/events/charli-xcx-and-troye-sivan-20241020/\"> special guest Shygirl \u003c/a>— comes on the heels of her new album \u003ca href=\"https://www.youtube.com/watch?v=bvy6aox2Sgw&list=PL-2HG0C5jJQE-D-1odtlA47fbP7oCg62e\">\u003cem>Brat, and it’s completely different but also still brat\u003c/em>, \u003c/a>with remixes and new tracks featuring artists like \u003ca href=\"https://www.youtube.com/watch?v=6YO2_O1L_YY\">kesha\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=jfL8Vu9PfW8&list=PL-2HG0C5jJQE-D-1odtlA47fbP7oCg62e&index=3\">Ariana Grande\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=99dsnI6M-a4&list=PL-2HG0C5jJQE-D-1odtlA47fbP7oCg62e&index=7\">Caroline Polachek\u003c/a>:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Keep reading for everything you need to know about seeing Charli xcx on Sunday, from the Chase Center’s bag policy to parking, tickets and more. Be sure to \u003ca href=\"https://twitter.com/ChaseCenter\">follow Chase Center on social media\u003c/a> for any last-minute updates.\u003c/p>\n\u003cp>(And if you’re going to Sunday’s show, look for the KQED mics — we’ll be there, talking to Charli and Troye Sivan fans about the afterlife of \u003ca href=\"https://www.kqed.org/news/11997449/why-kamala-harris-is-having-a-brat-summer\">brat summer \u003c/a>in the run-up to the November election, as part of \u003ca href=\"https://www.kqed.org/fandomvote\">our Fandom Vote interview series\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#chase-center-bag-policy\">What’s the Chase Center bag policy for the Charli xcx show?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#charli-xcx-tickets\">Can I still get Charli xcx \u003cem>Sweat\u003c/em> tour tickets?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#chase-center-parking\">Where is parking for Chase Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003cstrong>What time does the show at Chase Center start?\u003c/strong>\u003c/h2>\n\u003cp>Doors are \u003ca href=\"https://chasecenter.com/events/charli-xcx-and-troye-sivan-20241020/\">slated to open at 6:30 p.m., and the show starts at 7:30 p.m. \u003c/a>\u003c/p>\n\u003cp>As with many concerts, be prepared for a long night. If you don’t mind spoilers, you can view \u003ca href=\"https://open.spotify.com/playlist/5TTFhDs8EU1qPf54tlQuX6\">Charli xcx and Troye Sivan’s likely setlist for San Francisco on Spotify\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.orlandoweekly.com/music/charli-xcx-and-troye-sivan-put-the-sweat-in-the-sweat-tour-at-orlandos-kia-center-37955300\">Concertgoers on the Sweat tour have reported heavy use of strobe lighting\u003c/a>, so folks with light sensitivity should be advised. Even if you don’t have any documented issues with strobe lights, you may want to consider taking a style note from Charli herself and packing a pair of large dark sunglasses.\u003c/p>\n\u003ch2>\u003cstrong>\u003ca id=\"chase-center-bag-policy\">\u003c/a>What’s the Chase Center bag policy?\u003c/strong>\u003c/h2>\n\u003cp>Backpacks (except for single-compartment drawstring bags) and hard-sided bags of any kind are prohibited from entering Chase Center.\u003c/p>\n\u003cp>Any other bag you bring must be smaller than 14 x 14 x 6 inches in size.\u003c/p>\n\u003cp>Bags that do not meet the requirements can be checked at one of Chase’s two bag check locations for a fee of $10. Bag check is at the corner of 16th Street and Terry Francois Boulevard.\u003c/p>\n\u003cp>Here are some more \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">things you cannot bring into the \u003cem>Sweat\u003c/em> tour show at Chase Center\u003c/a>:\u003c/p>\n\u003cul>\n\u003cli>Bottles and cans\u003c/li>\n\u003cli>Refillable water bottles\u003c/li>\n\u003cli>Signs over 11 x 17 inches or attached to any pole or stick\u003c/li>\n\u003cli>Masks that cover the whole face. (Face coverings to lower your risks of catching — or spreading — COVID-19, like N95 masks, are allowed)\u003c/li>\n\u003cli>Lights, tripods and professional recording equipment. Flash photography is not allowed\u003c/li>\n\u003cli>Noise-making devices, such as air horns, whistles or cowbells\u003c/li>\n\u003cli>Weapons and self-defense items of any kind, including mace, knives and tasers\u003c/li>\n\u003cli>Selfie sticks\u003c/li>\n\u003c/ul>\n\u003cp>What else \u003cem>can\u003c/em> you bring to Chase Center? These items include:\u003c/p>\n\u003cul>\n\u003cli>Baby bags, plastic bottles and formula\u003c/li>\n\u003cli>Diaper bags (with a child)\u003c/li>\n\u003cli>Bags accepted as medical bags\u003c/li>\n\u003cli>Umbrellas\u003c/li>\n\u003cli>Binoculars\u003c/li>\n\u003c/ul>\n\u003cp>While portable phone chargers are not prohibited, Chase Center also offers charging stations compatible with most cellphone devices. Guests may rent a portable charger to take back to their seats for $2 per 30 minutes.\u003c/p>\n\u003ch2>\u003cstrong>How do I know if I’ve got a good seat at the \u003cem>Sweat \u003c/em>tour Chase Center show?\u003c/strong>\u003c/h2>\n\u003cp>If you are anxious about anything obscuring your sight of the stage or how you want to get to your seat fast, you can check out the view from your seat using \u003ca href=\"https://warriors.io-media.com/web/index.html\">Chase Center’s Virtual Venue map\u003c/a>.\u003c/p>\n\u003ch2>\u003cstrong>What should I know about accessibility at Chase Center?\u003c/strong>\u003c/h2>\n\u003cp>Chase Center addresses questions about accessibility in its online \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">A to Z Guide\u003c/a>, which includes information about accessible parking, hearing assistance, ADA-compliant restrooms and service animals.\u003c/p>\n\u003cp>The venue says guests can request complimentary wheelchair escorts by visiting the kiosks located at \u003ca href=\"https://cdn.nba.com/teams/uploads/sites/1610612744/2024/02/CC_Portals_Map_Update_3202x2550_2024-.jpg\">Portal 13 and Portal 52\u003c/a> or texting 833-CC4-FANS.\u003c/p>\n\u003cp>To schedule an American Sign Language interpreter, guests should contact guestexperiences@warriors.com ahead of time.\u003c/p>\n\u003ch2>\u003cstrong>\u003ca id=\"chase-center-parking\">\u003c/a>What should I know about parking at and near Chase Center?\u003c/strong>\u003c/h2>\n\u003cp>Chase Center has \u003ca href=\"https://chasecenter.com/plan-your-visit/transportation/parking/\">a guide to its parking garage.\u003c/a> Tickets for the \u003ca href=\"https://www.ticketmaster.com/chase-center-parking-charli-xcx-troye-san-francisco-california-10-20-2024/event/1C006091DEDE445F\">parking garage are $50\u003c/a>.\u003c/p>\n\u003cp>The venue’s website also refers fans to the \u003ca href=\"https://spothero.com/search?kind=event&id=907572&view=dl\">third-party parking website SpotHero\u003c/a> for other non-Chase Center parking options nearby. It costs $75 to reserve a spot nearest to the stadium, with a two-minute walk.\u003c/p>\n\u003cp>There are also cheaper parking options farther away. So, if you’re driving to the show but haven’t secured your parking yet, consider wearing comfier shoes for the walk over and back.\u003c/p>\n\u003ch2>\u003cstrong>What about using rideshare services like Lyft and Uber at Chase Center?\u003c/strong>\u003c/h2>\n\u003cp>While getting to the venue using a rideshare service might be fairly smooth, trying to find a car after the show is almost \u003cem>certainly\u003c/em> going to be a challenge — and this author is speaking from personal experience. Due to surge pricing, it will also be far more expensive to get an Uber or Lyft as you exit the venue.\u003c/p>\n\u003cp>There are\u003ca href=\"https://images.ctfassets.net/0lzgl3qjkmm1/6k8OJ6yu4tTfjV4wHsmKTG/0b4cc696d2b3f2360ad34bbc16ffbffd/uber-map.png\"> multiple designated pickup and drop-off zones\u003c/a> located within one block of Chase Center. Upon arrival, use one of the designated passenger loading zones (white curbs) along Terry A Francois Boulevard for a safe curbside drop-off. The website also notes, under “\u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">Drop-off Locations,\u003c/a>” that “if you prefer to walk/take the train to a location where it’s easier to ride-hail, we encourage taking the train/walking along Forth Street towards the Forth and King Caltrain Station.”\u003c/p>\n\u003cp>As you leave the show, rideshare apps will automatically display the best places to get picked up within a five-minute walk radius.\u003c/p>\n\u003cp>Accessible drop-offs and pickups are along the curb of 16th Street and Terry Francois Boulevard, with accessible entry and exit from the East Entrance. For folks with mobility considerations, the venue can provide a wheelchair to transport guests from Thrive City Plaza or the main lobby to their seats.\u003c/p>\n\u003ch2>\u003cstrong>What’s the best way to take public transit to the \u003cem>Sweat\u003c/em> tour?\u003c/strong>\u003c/h2>\n\u003cp>Public transit schedules can always be subject to change. Check the timings for your route on the day of the show itself, and be sure of your very last service home. Chase Center has a \u003ca href=\"https://chasecenter.com/transportation-guide\">comprehensive guide to public transportation\u003c/a> on its website.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080.jpg\" width=\"1080\" height=\"1080\">\u003c/p>\n\u003cp>\u003cstrong>SF Muni\u003c/strong>\u003c/p>\n\u003cp>Any Chase Center patron who shows their event ticket at Muni turnstiles and boarding platforms can \u003ca href=\"https://www.sfmta.com/fares/your-chase-center-event-ticket-your-muni-fare\">ride Muni \u003cem>without \u003c/em>charge\u003c/a>.\u003c/p>\n\u003cp>There is a Muni Metro rail stop serving the venue on the T Third Street line, which connects Chinatown and Sunnydale. See \u003ca href=\"https://www.sfmta.com/routes/t-third-street\">the Muni Metro schedule\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>BART\u003c/strong>\u003c/p>\n\u003cp>Several BART stations have convenient connections to get to the venue.\u003c/p>\n\u003cp>Muni Route 22 connects to the 16th Street and Mission BART station. This stop is located on Third Street and Gene Friend Way.\u003c/p>\n\u003cp>Muni Route 15 serves as a connection to Montgomery Street BART station. This stop is located on Third Street and Warriors Way.\u003c/p>\n\u003cp>You can transfer to the new Union Square Muni Metro rail station from Powell BART station via the underground corridor to take the T Third Street line or S Shuttle Mission Bay line to the UCSF/Chase Center stop.\u003c/p>\n\u003cp>You can find more information and schedules \u003ca href=\"https://www.bart.gov/\">on the BART website\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Caltrain\u003c/strong>\u003c/p>\n\u003cp>If you take Caltrain to San Francisco, you can walk 15–20 minutes along Fourth Street and turn left on Gene Friend Way to Chase Center.\u003c/p>\n\u003cp>You can also transfer from the Caltrain station to the Muni Metro T Third Street platform, which is located across the street, and take Muni to the UCSF/Chase Center stop.\u003c/p>\n\u003cp>Since the show is on a Sunday, the last train leaving San Francisco is around 12 a.m., but be sure to check \u003ca href=\"https://www.caltrain.com/media/33908\">the Caltrain’s weekend schedule.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Biking\u003c/strong>\u003c/p>\n\u003cp>Chase Center offers guests free bike valet for the first 300 bikes an hour before start time. The valet is available along 16th Street. Public bike parking is available along 16th Street and Terry Francois Boulevard.\u003c/p>\n\u003cp>There is also a \u003ca href=\"https://www.lyft.com/bikes/bay-wheels\">Lyft/Bay Wheels bike share station\u003c/a> at the intersection of Warriors Way and Terry Francois Boulevard. While they’re convenient and easy to use, the limited availability of these bikes means you should have a backup plan — or you might get stranded.\u003c/p>\n\u003ch2>\u003cstrong>\u003ca id=\"charli-xcx-tickets\">\u003c/a>Can I still get a ticket to the \u003cem>Sweat\u003c/em> tour?\u003c/strong>\u003c/h2>\n\u003cp>According to Ticketmaster, \u003ca href=\"https://www.ticketmaster.com/event/1C00608C0CE59BEB\">tickets are still available\u003c/a>, with the lowest at $279\u003c/p>\n\u003cp>You may find better deals with resale tickets on sites like \u003ca href=\"https://www.stubhub.com/charli-xcx-san-francisco-tickets-10-20-2024/event/153441948/?quantity=1\">StubHub, \u003c/a> but you should make sure you are not purchasing fake tickets. Read more tips about \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets#taylorswifttickets\">avoiding ticket resale scams\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "hardly-strictly-bluegrass-2024-schedule-parking-maps-road-closures-alcohol",
"title": "Hardly Strictly 2024: The Schedule, Parking, Maps and What You Can Bring",
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"headTitle": "Hardly Strictly 2024: The Schedule, Parking, Maps and What You Can Bring | KQED",
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"content": "\u003cp>This weekend, you might get your chance to see \u003ca href=\"https://www.kqed.org/arts/13961499/hardly-strictly-bluegrass-2024-initial-lineup-free-golden-gate-park\">\u003cem>the\u003c/em> Patti Smith\u003c/a> for free — and many more artists.\u003c/p>\n\u003cp>Hardly Strictly Bluegrass, often just called “Hardly Strictly” or HSB, is San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13961499/hardly-strictly-bluegrass-2024-initial-lineup-free-golden-gate-park\">free music festival for all ages\u003c/a> and has a long lineup this year, with performances from country, folk, and R&B performers — and, of course, bluegrass too. No tickets or RSVP is needed for the festival.\u003c/p>\n\u003cp>Can’t make the festival but want to watch? KQED.org will\u003ca href=\"https://www.kqed.org/event/4680\"> livestream Hardly Strictly on Friday, Oct. 4\u003c/a>, with performances from the Banjo Stage all weekend.\u003c/p>\n\u003cp>If it’s been a while since you attended the festival, there are \u003ca href=\"https://www.hardlystrictlybluegrass.com/info/#venue\">some newer rules to keep in mind before you head in this year. \u003c/a>Read more to learn how to best plan for Hardly Strictly.\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#schedule\">What’s the Hardly Strictly schedule?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#parking\">Where is parking for Hardly Strictly?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#bring\">What food and drink can I still bring into Hardly Strictly (and what’s now banned)?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>What are the basics at Hardly Strictly?\u003c/h2>\n\u003cp>Hardly Strictly will be held at Hellman Hollow and Lindley and Marx meadows in Golden Gate Park on Friday, Oct. 4, Saturday, Oct. 5 and Sunday, Oct. 6.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Entrances will open on Friday at 11 a.m. and at 9 a.m. on both Saturday and Sunday. Attendees are asked to enter via \u003ca href=\"https://www.hardlystrictlybluegrass.com/faq-info\">any of these four openings\u003c/a>:\u003c/p>\n\u003cul>\n\u003cli>JFK Drive and Transverse Drive.\u003c/li>\n\u003cli>Fulton Street and 30th Avenue.\u003c/li>\n\u003cli>JFK Drive and 36th Avenue.\u003c/li>\n\u003cli>South Polo Field.\u003c/li>\n\u003c/ul>\n\u003cp>Here is a map of entrances, bathrooms and more:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12007138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-800x542.png\" alt=\"\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Performances end daily at 7 p.m.\u003c/p>\n\u003cp>It gets crowded at Hardly Strictly, so it’s good to get there early to claim your spot (although this might make subsequent stage-hopping hard). There is also a \u003ca href=\"https://www.hardlystrictlybluegrass.com/info/#venue\">“sweep” of the park by waste management\u003c/a> each night after performances end, so you can’t “save your place” the day before.\u003c/p>\n\u003ch2>What will the weather be like this year?\u003c/h2>\n\u003cp>Usually, Golden Gate Park is an area of San Francisco that you can rely on to bring the chill even on the balmiest days.\u003c/p>\n\u003cp>That said, \u003ca href=\"https://www.kqed.org/science/1994574/bay-area-faces-another-heat-wave-this-week-as-fire-risk-rises\">the Bay Area is in the middle of a heat wave right now\u003c/a>, bringing a heat advisory that the National Weather Service’s Bay Area office says could be extended beyond Wednesday.\u003c/p>\n\u003cp>\u003ca href=\"https://forecast.weather.gov/product.php?format=ci&glossary=1&issuedby=mtr&product=afd&site=mtr&version=1\">Keep an eye on the weather forecast \u003c/a>and plan to bring the usual Golden Gate Park survival kit: water, sunscreen and layers.\u003c/p>\n\u003ch2>\u003ca id=\"schedule\">\u003c/a>What’s the Hardly Strictly schedule, and which artists are playing?\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.hardlystrictlybluegrass.com/schedule\">entire lineup and schedule can be found on the Hardly Strictly website\u003c/a>. Highlights include:\u003c/p>\n\u003cul>\n\u003cli>Famed singer, writer, and poet \u003ca href=\"https://www.pattismith.net/intro.html\">Patti Smith\u003c/a>\u003c/li>\n\u003cli>Singer-songwriter \u003ca href=\"https://www.haley-heynderickx.com/about\">Haley Heynderickx\u003c/a>\u003c/li>\n\u003cli>Pop band \u003ca href=\"https://youtu.be/gn5EWQtlevI?si=F6NwtasjKqDYnh8R\">Big Star\u003c/a>, who are celebrating the 50th anniversary of their influential album \u003cem>Radio City\u003c/em>\u003c/li>\n\u003cli>2024 Grammy winner \u003ca href=\"https://youtu.be/1Q_pdutDQPs?si=Hl2zC9n5F83LIPCh\">Bobby Rush\u003c/a>\u003c/li>\n\u003cli>Folk band \u003ca href=\"https://youtu.be/KQKPmO2vgjc?si=e2jaHWmaisznXqEu\">The Wood Brothers \u003c/a>\u003c/li>\n\u003cli>Folk-meets-art pop singer \u003ca href=\"https://youtu.be/ng-m9CCgyCc?si=JN4uyWSpY-npqcCX\">The Bones of J.R. Jones\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"bring\">\u003c/a>What can I bring to Hardly Strictly?\u003c/h2>\n\u003cp>Expect a security presence at Hardly Strictly, meaning body scanners and a potential search of bags and coolers.\u003c/p>\n\u003cp>If you haven’t been to HSB for a while, many of these measures will be new to you — including the fences and being asked to enter at the four main entry points (as described above). These \u003ca href=\"https://datebook.sfchronicle.com/music/hardly-strictly-announces-new-security-measures-leave-your-cooler-at-home\">security measures were implemented in 2019\u003c/a> after a wave of mass shootings across the U.S. at large events.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12007148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB24dodonts.png\" alt=\"\" width=\"757\" height=\"885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB24dodonts.png 757w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB24dodonts-160x187.png 160w\" sizes=\"(max-width: 757px) 100vw, 757px\">\u003c/p>\n\u003cp>Clear bags are recommended for the easiest access. Regular bags (like a non-transparent backpack) over 22″ x 15″ x 10″ will be redirected to a physical search, which will probably cause some delay as you enter the festival.\u003c/p>\n\u003cp>Larger hard-sided coolers, like the one seen in the image above, are “discouraged” and will be searched before you can bring them in — which HSB organizers advise may also cause delays in entering. Organizers say that the festival “reserves the right to reject any cooler for any reason.”\u003c/p>\n\u003cp>Beer and wine can be brought, but should be in non-glass containers.\u003c/p>\n\u003cp>Blankets and tarps up to 5′ x 7′ and short-backed chairs and collapsible wagons are allowed.\u003c/p>\n\u003cp>Dogs are allowed to join in, but they must be on a leash.\u003c/p>\n\u003cp>\u003cstrong>You cannot bring:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>High-backed chairs\u003c/li>\n\u003cli>Tables\u003c/li>\n\u003cli>Tents\u003c/li>\n\u003cli>Umbrellas and shade structures\u003c/li>\n\u003cli>Items with an open flame, firearms, drones, fireworks\u003c/li>\n\u003cli>Kegs, beverages for the purpose of vending\u003c/li>\n\u003cli>Glass containers\u003c/li>\n\u003cli>Devices for amplified sound or any item/device that could cause damage or injury\u003c/li>\n\u003cli>Cameras are okay but without tripods or \u003ca href=\"https://www.hardlystrictlybluegrass.com/info/#venue\">“intrusive equipment.”\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>Smoking is also not allowed in any area in Golden Gate Park due to a San Francisco ordinance.\u003c/p>\n\u003ch2>What about food at Hardly Strictly?\u003c/h2>\n\u003cp>Guests are also allowed to bring their own food (just no glass containers).\u003c/p>\n\u003cp>You can \u003ca href=\"https://www.hardlystrictlybluegrass.com/food-and-beverages\">scope out the list of vendors on Hardly Strictly’s website\u003c/a>. Plan for things to be cashless, and see \u003ca href=\"https://b694fae9-cb85-4756-bccc-c3c83afc8c36.usrfiles.com/ugd/b694fa_6dc56242d3f14a7aa23894a5a1e1386c.pdf\">a map of where the vendors will be (PDF)\u003c/a>.\u003c/p>\n\u003cp>The Bluegrass General Store also allows attendees to pick up picnic supplies, clothing, ice, water and more. There is free water available near bathrooms, between Banjo Stage and Arrow Meadow, as well as McClaren Pass.\u003c/p>\n\u003ch2>Will there be a bus running in the park during Hardly Strictly?\u003c/h2>\n\u003cp>The park service will be \u003ca href=\"https://www.sfrecpark.org/1617/Golden-Gate-Park-Free-Shuttle\">running their shuttle during the music festival\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfrecpark.org/1617/Golden-Gate-Park-Free-Shuttle\">Get the shuttle hours and schedule.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12007196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Mapshuttle2024-800x303.png\" alt=\"\" width=\"800\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Mapshuttle2024-800x303.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Mapshuttle2024-1020x386.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Mapshuttle2024-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Mapshuttle2024.png 1212w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>What does public transit look like during Hardly Strictly?\u003c/h2>\n\u003cp>You can consult \u003ca class=\"c-link\" href=\"https://www.sfmta.com/travel-updates/hardly-strictly-bluegrass-october-4-6-2024\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.sfmta.com/travel-updates/hardly-strictly-bluegrass-october-4-6-2024\" data-sk=\"tooltip_parent\">SFMTA’s webpage for the quickest updates for Muni\u003c/a>, including extra service during festival days.\u003c/p>\n\u003cp>There will be no bike valet this year, but places to park your bike can be found on the HSB map. Organizers ask people not to “lock bikes to trees or fences.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12007198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1-800x542.png\" alt=\"\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>What roads will be closed around Golden Gate Park?\u003c/h2>\n\u003cp>According to \u003ca href=\"https://www.hardlystrictlybluegrass.com/faq-info\">Hardly Strictly’s website\u003c/a>, these roads will be closed before and during the event:\u003c/p>\n\u003cul>\n\u003cli>JFK Drive between Transverse Drive and Chain of Lakes Drive.\u003c/li>\n\u003cli>36th Avenue between Fulton and JFK Drive.\u003c/li>\n\u003cli>30th Avenue between Fulton and JFK Drive.\u003c/li>\n\u003cli>Transverse Drive between Crossover Drive (25th Avenue) and MLK Drive.\u003c/li>\n\u003cli>Overlook Drive between Transverse and Middle Drive West.\u003c/li>\n\u003cli>Middle Drive West between Transverse and Martin Luther King Jr. Drive.\u003c/li>\n\u003cli>Metson Drive between Middle Drive West and MLK.\u003c/li>\n\u003cli>Parking area at Polo Fields at North Stables and on Metson Drive (south side of Polo fields).\u003c/li>\n\u003cli>MLK Westbound Between 25th Avenue and Chain of Lakes\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"parking\">\u003c/a>What parking is available at Hardly Strictly?\u003c/h2>\n\u003cp>Hardly Strictly encourages public transportation to the event. If you choose to drive, however, there may be paid parking on a first-come, first-serve basis.\u003c/p>\n\u003cp>Below are the paid parking lots that are usually available during this event. However, they are independently owned, so Hardly Strictly \u003ca href=\"https://www.hardlystrictlybluegrass.com/info/#transportation\">cannot guarantee it will be the same this year.\u003c/a>\u003c/p>\n\u003cul>\n\u003cli>George Washington High School — 600 32nd Ave.\u003c/li>\n\u003cli>Argonne — 680 18th Ave.\u003c/li>\n\u003cli>Jefferson Elementary School — 1725 Irving St.\u003c/li>\n\u003cli>Lawton Alternative School — 1570 31st Ave.\u003c/li>\n\u003cli>Lafayette Elementary — 4545 Anza St.\u003c/li>\n\u003c/ul>\n\u003cp>Accessible parking is available along JFK, west of Chain of Lakes. There will be shuttle stops at JFK & Bernice Rodgers Way, JFK & Chain of Lakes, JFK near Gate 3 entry and GGP Senior Center, 6101 Fulton St.\u003c/p>\n\u003cp>Remember, if you’re choosing to try to park near Hardly Strictly, \u003ca href=\"https://www.kqed.org/news/11959477/car-break-ins-bay-area-glass-repair-what-to-do\">break-ins are common in San Francisco\u003c/a> — so leave nothing visible in your vehicle, and if at all possible, leave your trunk exposed to show it’s empty. Don’t leave any electronics like laptops in your vehicle, even if you think they’re hidden. \u003ca href=\"https://www.kqed.org/news/11959799/how-to-avoid-a-car-break-in-bay-area\">Read more about how to potentially reduce your risk of getting your car broken into.\u003c/a>\u003c/p>\n\u003cp>During Hardly Strictly, the SFMTA will enforce blocked driveways “on a complaint basis only,” says SFMTA. Of course, that’s not giving you free rein to block a person’s driveway — they’ll almost certainly make that complaint and have you towed if they don’t recognize your car.\u003c/p>\n\u003ch2>How does rideshare pickup/drop-off work at Hardly Strictly?\u003c/h2>\n\u003cp>There will be taxi stands at Fulton from 22nd Avenue to 24th Avenue.\u003c/p>\n\u003cp>There are pickups and drop-offs for rideshares like Lyft and Uber around “Washington High School on both 30th Avenue between Anza and Balboa and on Balboa between 30th and 31st [avenues],” according to the \u003ca href=\"https://www.hardlystrictlybluegrass.com/info/\">Hardly Strictly website\u003c/a>.\u003c/p>\n\u003cp>There are pickups on Irving between 25th Avenue and 27th Avenue.\u003c/p>\n\u003cp>“Due to the large amounts of traffic coming to and from the park, ridesharing apps will only allow pin drops from the designated pickup area, so you should make your way to the drop-off/pickup location before calling for your ride,” the website notes.\u003c/p>\n\u003ch2>What should I know about accessibility at Hardly Strictly?\u003c/h2>\n\u003cp>Guests who seek \u003ca href=\"https://www.hardlystrictlybluegrass.com/faq-info\">accessible services can get a wristband\u003c/a>. The map below highlights accessible services at Hardly Strictly, like entrances, viewing spots and accessible portable bathrooms.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12007200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024-800x597.png\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024.png 1019w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There are also shuttles throughout the park; the stops include:\u003c/p>\n\u003cul>\n\u003cli>JFK and Bernice Rodgers Way.\u003c/li>\n\u003cli>JFK and Chain of Lakes.\u003c/li>\n\u003cli>JFK near the Gate 3 entry.\u003c/li>\n\u003cli>GGP Senior Center — 6101 Fulton St.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12007201\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024more-800x596.png\" alt=\"\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024more-800x596.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024more-1020x760.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024more-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024more.png 1022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Accessible parking is available along JFK, west of Chain of Lakes.\u003c/p>\n\u003cp>The Accessibility Ambassador tent is at “JFK and 36th Ave., adjacent to Gate 3 at Spreckels Lake,” according to their website. You will get a number at the tent to text, in case you need to request a golf cart to reach you.\u003c/p>\n\u003cp>Accessible golf-cart stops are along JFK:\u003c/p>\n\u003cul>\n\u003cli>Lloyd Lake (pedestrian path) for Banjo and Arrow.\u003c/li>\n\u003cli>Marx Meadow for Rooster.\u003c/li>\n\u003cli>30th Avenue for Swan and Towers of Gold.\u003c/li>\n\u003c/ul>\n\u003cp>There will be a medical team at the festival. The nearest hospital is Health Connection St. Mary’s Hospital & Medical Center at 450 Stanyan St.\u003c/p>\n\u003ch2>What should I do in a crowd?\u003c/h2>\n\u003cp>Crowds can be overwhelming for some people. With \u003ca href=\"https://www.npr.org/2021/11/11/1054765905/what-went-wrong-at-astroworld-the-deadly-dynamics-of-crowd-surge\">past tragic incidents at other festivals\u003c/a>, it does not hurt to be cautious and prepared. Read \u003ca href=\"https://www.npr.org/2021/11/09/1053828800/south-korea-seoul-halloween-crowd-safety-tips\">NPR’s full guide on what to do if you find yourself caught in a crowd crush\u003c/a>.\u003c/p>\n\u003cp>According to Mehdi Moussaïd, a research scientist in Berlin who studies crowd behavior, rely on your instincts and senses if you feel like the crowd is getting too dense. If you get stuck in a crush, move with the crowd, put your arms out in front of your chest and hold them there.\u003c/p>\n\u003cp>“In this position, you would have some space, just a little bit, to push for half a centimeter or just 1 centimeter — enough for you to keep breathing,” \u003ca href=\"https://www.npr.org/2021/11/09/1053828800/south-korea-seoul-halloween-crowd-safety-tips\">Moussaïd told NPR in 2022\u003c/a>. “It’s not going to be comfortable. You’re going to be feeling really bad, but at least you’ll survive.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nastia Voynovskaya and Gabe Meline contributed to this report.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Hardly Strictly Bluegrass is San Francisco's 20-year-plus music festival for all ages with a 73-artist lineup this year. With new rules in effect, learn how to best plan for the free festival.",
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"title": "Hardly Strictly 2024: The Schedule, Parking, Maps and What You Can Bring | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, you might get your chance to see \u003ca href=\"https://www.kqed.org/arts/13961499/hardly-strictly-bluegrass-2024-initial-lineup-free-golden-gate-park\">\u003cem>the\u003c/em> Patti Smith\u003c/a> for free — and many more artists.\u003c/p>\n\u003cp>Hardly Strictly Bluegrass, often just called “Hardly Strictly” or HSB, is San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13961499/hardly-strictly-bluegrass-2024-initial-lineup-free-golden-gate-park\">free music festival for all ages\u003c/a> and has a long lineup this year, with performances from country, folk, and R&B performers — and, of course, bluegrass too. No tickets or RSVP is needed for the festival.\u003c/p>\n\u003cp>Can’t make the festival but want to watch? KQED.org will\u003ca href=\"https://www.kqed.org/event/4680\"> livestream Hardly Strictly on Friday, Oct. 4\u003c/a>, with performances from the Banjo Stage all weekend.\u003c/p>\n\u003cp>If it’s been a while since you attended the festival, there are \u003ca href=\"https://www.hardlystrictlybluegrass.com/info/#venue\">some newer rules to keep in mind before you head in this year. \u003c/a>Read more to learn how to best plan for Hardly Strictly.\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#schedule\">What’s the Hardly Strictly schedule?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#parking\">Where is parking for Hardly Strictly?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#bring\">What food and drink can I still bring into Hardly Strictly (and what’s now banned)?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>What are the basics at Hardly Strictly?\u003c/h2>\n\u003cp>Hardly Strictly will be held at Hellman Hollow and Lindley and Marx meadows in Golden Gate Park on Friday, Oct. 4, Saturday, Oct. 5 and Sunday, Oct. 6.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Entrances will open on Friday at 11 a.m. and at 9 a.m. on both Saturday and Sunday. Attendees are asked to enter via \u003ca href=\"https://www.hardlystrictlybluegrass.com/faq-info\">any of these four openings\u003c/a>:\u003c/p>\n\u003cul>\n\u003cli>JFK Drive and Transverse Drive.\u003c/li>\n\u003cli>Fulton Street and 30th Avenue.\u003c/li>\n\u003cli>JFK Drive and 36th Avenue.\u003c/li>\n\u003cli>South Polo Field.\u003c/li>\n\u003c/ul>\n\u003cp>Here is a map of entrances, bathrooms and more:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12007138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-800x542.png\" alt=\"\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Performances end daily at 7 p.m.\u003c/p>\n\u003cp>It gets crowded at Hardly Strictly, so it’s good to get there early to claim your spot (although this might make subsequent stage-hopping hard). There is also a \u003ca href=\"https://www.hardlystrictlybluegrass.com/info/#venue\">“sweep” of the park by waste management\u003c/a> each night after performances end, so you can’t “save your place” the day before.\u003c/p>\n\u003ch2>What will the weather be like this year?\u003c/h2>\n\u003cp>Usually, Golden Gate Park is an area of San Francisco that you can rely on to bring the chill even on the balmiest days.\u003c/p>\n\u003cp>That said, \u003ca href=\"https://www.kqed.org/science/1994574/bay-area-faces-another-heat-wave-this-week-as-fire-risk-rises\">the Bay Area is in the middle of a heat wave right now\u003c/a>, bringing a heat advisory that the National Weather Service’s Bay Area office says could be extended beyond Wednesday.\u003c/p>\n\u003cp>\u003ca href=\"https://forecast.weather.gov/product.php?format=ci&glossary=1&issuedby=mtr&product=afd&site=mtr&version=1\">Keep an eye on the weather forecast \u003c/a>and plan to bring the usual Golden Gate Park survival kit: water, sunscreen and layers.\u003c/p>\n\u003ch2>\u003ca id=\"schedule\">\u003c/a>What’s the Hardly Strictly schedule, and which artists are playing?\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.hardlystrictlybluegrass.com/schedule\">entire lineup and schedule can be found on the Hardly Strictly website\u003c/a>. Highlights include:\u003c/p>\n\u003cul>\n\u003cli>Famed singer, writer, and poet \u003ca href=\"https://www.pattismith.net/intro.html\">Patti Smith\u003c/a>\u003c/li>\n\u003cli>Singer-songwriter \u003ca href=\"https://www.haley-heynderickx.com/about\">Haley Heynderickx\u003c/a>\u003c/li>\n\u003cli>Pop band \u003ca href=\"https://youtu.be/gn5EWQtlevI?si=F6NwtasjKqDYnh8R\">Big Star\u003c/a>, who are celebrating the 50th anniversary of their influential album \u003cem>Radio City\u003c/em>\u003c/li>\n\u003cli>2024 Grammy winner \u003ca href=\"https://youtu.be/1Q_pdutDQPs?si=Hl2zC9n5F83LIPCh\">Bobby Rush\u003c/a>\u003c/li>\n\u003cli>Folk band \u003ca href=\"https://youtu.be/KQKPmO2vgjc?si=e2jaHWmaisznXqEu\">The Wood Brothers \u003c/a>\u003c/li>\n\u003cli>Folk-meets-art pop singer \u003ca href=\"https://youtu.be/ng-m9CCgyCc?si=JN4uyWSpY-npqcCX\">The Bones of J.R. Jones\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"bring\">\u003c/a>What can I bring to Hardly Strictly?\u003c/h2>\n\u003cp>Expect a security presence at Hardly Strictly, meaning body scanners and a potential search of bags and coolers.\u003c/p>\n\u003cp>If you haven’t been to HSB for a while, many of these measures will be new to you — including the fences and being asked to enter at the four main entry points (as described above). These \u003ca href=\"https://datebook.sfchronicle.com/music/hardly-strictly-announces-new-security-measures-leave-your-cooler-at-home\">security measures were implemented in 2019\u003c/a> after a wave of mass shootings across the U.S. at large events.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12007148\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB24dodonts.png\" alt=\"\" width=\"757\" height=\"885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB24dodonts.png 757w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB24dodonts-160x187.png 160w\" sizes=\"(max-width: 757px) 100vw, 757px\">\u003c/p>\n\u003cp>Clear bags are recommended for the easiest access. Regular bags (like a non-transparent backpack) over 22″ x 15″ x 10″ will be redirected to a physical search, which will probably cause some delay as you enter the festival.\u003c/p>\n\u003cp>Larger hard-sided coolers, like the one seen in the image above, are “discouraged” and will be searched before you can bring them in — which HSB organizers advise may also cause delays in entering. Organizers say that the festival “reserves the right to reject any cooler for any reason.”\u003c/p>\n\u003cp>Beer and wine can be brought, but should be in non-glass containers.\u003c/p>\n\u003cp>Blankets and tarps up to 5′ x 7′ and short-backed chairs and collapsible wagons are allowed.\u003c/p>\n\u003cp>Dogs are allowed to join in, but they must be on a leash.\u003c/p>\n\u003cp>\u003cstrong>You cannot bring:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>High-backed chairs\u003c/li>\n\u003cli>Tables\u003c/li>\n\u003cli>Tents\u003c/li>\n\u003cli>Umbrellas and shade structures\u003c/li>\n\u003cli>Items with an open flame, firearms, drones, fireworks\u003c/li>\n\u003cli>Kegs, beverages for the purpose of vending\u003c/li>\n\u003cli>Glass containers\u003c/li>\n\u003cli>Devices for amplified sound or any item/device that could cause damage or injury\u003c/li>\n\u003cli>Cameras are okay but without tripods or \u003ca href=\"https://www.hardlystrictlybluegrass.com/info/#venue\">“intrusive equipment.”\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>Smoking is also not allowed in any area in Golden Gate Park due to a San Francisco ordinance.\u003c/p>\n\u003ch2>What about food at Hardly Strictly?\u003c/h2>\n\u003cp>Guests are also allowed to bring their own food (just no glass containers).\u003c/p>\n\u003cp>You can \u003ca href=\"https://www.hardlystrictlybluegrass.com/food-and-beverages\">scope out the list of vendors on Hardly Strictly’s website\u003c/a>. Plan for things to be cashless, and see \u003ca href=\"https://b694fae9-cb85-4756-bccc-c3c83afc8c36.usrfiles.com/ugd/b694fa_6dc56242d3f14a7aa23894a5a1e1386c.pdf\">a map of where the vendors will be (PDF)\u003c/a>.\u003c/p>\n\u003cp>The Bluegrass General Store also allows attendees to pick up picnic supplies, clothing, ice, water and more. There is free water available near bathrooms, between Banjo Stage and Arrow Meadow, as well as McClaren Pass.\u003c/p>\n\u003ch2>Will there be a bus running in the park during Hardly Strictly?\u003c/h2>\n\u003cp>The park service will be \u003ca href=\"https://www.sfrecpark.org/1617/Golden-Gate-Park-Free-Shuttle\">running their shuttle during the music festival\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfrecpark.org/1617/Golden-Gate-Park-Free-Shuttle\">Get the shuttle hours and schedule.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12007196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Mapshuttle2024-800x303.png\" alt=\"\" width=\"800\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Mapshuttle2024-800x303.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Mapshuttle2024-1020x386.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Mapshuttle2024-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Mapshuttle2024.png 1212w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>What does public transit look like during Hardly Strictly?\u003c/h2>\n\u003cp>You can consult \u003ca class=\"c-link\" href=\"https://www.sfmta.com/travel-updates/hardly-strictly-bluegrass-october-4-6-2024\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.sfmta.com/travel-updates/hardly-strictly-bluegrass-october-4-6-2024\" data-sk=\"tooltip_parent\">SFMTA’s webpage for the quickest updates for Muni\u003c/a>, including extra service during festival days.\u003c/p>\n\u003cp>There will be no bike valet this year, but places to park your bike can be found on the HSB map. Organizers ask people not to “lock bikes to trees or fences.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12007198\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1-800x542.png\" alt=\"\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/HSB2024map-1.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>What roads will be closed around Golden Gate Park?\u003c/h2>\n\u003cp>According to \u003ca href=\"https://www.hardlystrictlybluegrass.com/faq-info\">Hardly Strictly’s website\u003c/a>, these roads will be closed before and during the event:\u003c/p>\n\u003cul>\n\u003cli>JFK Drive between Transverse Drive and Chain of Lakes Drive.\u003c/li>\n\u003cli>36th Avenue between Fulton and JFK Drive.\u003c/li>\n\u003cli>30th Avenue between Fulton and JFK Drive.\u003c/li>\n\u003cli>Transverse Drive between Crossover Drive (25th Avenue) and MLK Drive.\u003c/li>\n\u003cli>Overlook Drive between Transverse and Middle Drive West.\u003c/li>\n\u003cli>Middle Drive West between Transverse and Martin Luther King Jr. Drive.\u003c/li>\n\u003cli>Metson Drive between Middle Drive West and MLK.\u003c/li>\n\u003cli>Parking area at Polo Fields at North Stables and on Metson Drive (south side of Polo fields).\u003c/li>\n\u003cli>MLK Westbound Between 25th Avenue and Chain of Lakes\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"parking\">\u003c/a>What parking is available at Hardly Strictly?\u003c/h2>\n\u003cp>Hardly Strictly encourages public transportation to the event. If you choose to drive, however, there may be paid parking on a first-come, first-serve basis.\u003c/p>\n\u003cp>Below are the paid parking lots that are usually available during this event. However, they are independently owned, so Hardly Strictly \u003ca href=\"https://www.hardlystrictlybluegrass.com/info/#transportation\">cannot guarantee it will be the same this year.\u003c/a>\u003c/p>\n\u003cul>\n\u003cli>George Washington High School — 600 32nd Ave.\u003c/li>\n\u003cli>Argonne — 680 18th Ave.\u003c/li>\n\u003cli>Jefferson Elementary School — 1725 Irving St.\u003c/li>\n\u003cli>Lawton Alternative School — 1570 31st Ave.\u003c/li>\n\u003cli>Lafayette Elementary — 4545 Anza St.\u003c/li>\n\u003c/ul>\n\u003cp>Accessible parking is available along JFK, west of Chain of Lakes. There will be shuttle stops at JFK & Bernice Rodgers Way, JFK & Chain of Lakes, JFK near Gate 3 entry and GGP Senior Center, 6101 Fulton St.\u003c/p>\n\u003cp>Remember, if you’re choosing to try to park near Hardly Strictly, \u003ca href=\"https://www.kqed.org/news/11959477/car-break-ins-bay-area-glass-repair-what-to-do\">break-ins are common in San Francisco\u003c/a> — so leave nothing visible in your vehicle, and if at all possible, leave your trunk exposed to show it’s empty. Don’t leave any electronics like laptops in your vehicle, even if you think they’re hidden. \u003ca href=\"https://www.kqed.org/news/11959799/how-to-avoid-a-car-break-in-bay-area\">Read more about how to potentially reduce your risk of getting your car broken into.\u003c/a>\u003c/p>\n\u003cp>During Hardly Strictly, the SFMTA will enforce blocked driveways “on a complaint basis only,” says SFMTA. Of course, that’s not giving you free rein to block a person’s driveway — they’ll almost certainly make that complaint and have you towed if they don’t recognize your car.\u003c/p>\n\u003ch2>How does rideshare pickup/drop-off work at Hardly Strictly?\u003c/h2>\n\u003cp>There will be taxi stands at Fulton from 22nd Avenue to 24th Avenue.\u003c/p>\n\u003cp>There are pickups and drop-offs for rideshares like Lyft and Uber around “Washington High School on both 30th Avenue between Anza and Balboa and on Balboa between 30th and 31st [avenues],” according to the \u003ca href=\"https://www.hardlystrictlybluegrass.com/info/\">Hardly Strictly website\u003c/a>.\u003c/p>\n\u003cp>There are pickups on Irving between 25th Avenue and 27th Avenue.\u003c/p>\n\u003cp>“Due to the large amounts of traffic coming to and from the park, ridesharing apps will only allow pin drops from the designated pickup area, so you should make your way to the drop-off/pickup location before calling for your ride,” the website notes.\u003c/p>\n\u003ch2>What should I know about accessibility at Hardly Strictly?\u003c/h2>\n\u003cp>Guests who seek \u003ca href=\"https://www.hardlystrictlybluegrass.com/faq-info\">accessible services can get a wristband\u003c/a>. The map below highlights accessible services at Hardly Strictly, like entrances, viewing spots and accessible portable bathrooms.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12007200\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024-800x597.png\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024.png 1019w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There are also shuttles throughout the park; the stops include:\u003c/p>\n\u003cul>\n\u003cli>JFK and Bernice Rodgers Way.\u003c/li>\n\u003cli>JFK and Chain of Lakes.\u003c/li>\n\u003cli>JFK near the Gate 3 entry.\u003c/li>\n\u003cli>GGP Senior Center — 6101 Fulton St.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12007201\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024more-800x596.png\" alt=\"\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024more-800x596.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024more-1020x760.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024more-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/access2024more.png 1022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Accessible parking is available along JFK, west of Chain of Lakes.\u003c/p>\n\u003cp>The Accessibility Ambassador tent is at “JFK and 36th Ave., adjacent to Gate 3 at Spreckels Lake,” according to their website. You will get a number at the tent to text, in case you need to request a golf cart to reach you.\u003c/p>\n\u003cp>Accessible golf-cart stops are along JFK:\u003c/p>\n\u003cul>\n\u003cli>Lloyd Lake (pedestrian path) for Banjo and Arrow.\u003c/li>\n\u003cli>Marx Meadow for Rooster.\u003c/li>\n\u003cli>30th Avenue for Swan and Towers of Gold.\u003c/li>\n\u003c/ul>\n\u003cp>There will be a medical team at the festival. The nearest hospital is Health Connection St. Mary’s Hospital & Medical Center at 450 Stanyan St.\u003c/p>\n\u003ch2>What should I do in a crowd?\u003c/h2>\n\u003cp>Crowds can be overwhelming for some people. With \u003ca href=\"https://www.npr.org/2021/11/11/1054765905/what-went-wrong-at-astroworld-the-deadly-dynamics-of-crowd-surge\">past tragic incidents at other festivals\u003c/a>, it does not hurt to be cautious and prepared. Read \u003ca href=\"https://www.npr.org/2021/11/09/1053828800/south-korea-seoul-halloween-crowd-safety-tips\">NPR’s full guide on what to do if you find yourself caught in a crowd crush\u003c/a>.\u003c/p>\n\u003cp>According to Mehdi Moussaïd, a research scientist in Berlin who studies crowd behavior, rely on your instincts and senses if you feel like the crowd is getting too dense. If you get stuck in a crush, move with the crowd, put your arms out in front of your chest and hold them there.\u003c/p>\n\u003cp>“In this position, you would have some space, just a little bit, to push for half a centimeter or just 1 centimeter — enough for you to keep breathing,” \u003ca href=\"https://www.npr.org/2021/11/09/1053828800/south-korea-seoul-halloween-crowd-safety-tips\">Moussaïd told NPR in 2022\u003c/a>. “It’s not going to be comfortable. You’re going to be feeling really bad, but at least you’ll survive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nastia Voynovskaya and Gabe Meline contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Analog Dog: 'Disco Dani, Part One'",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop\u003c/a> is a weekly radio series hosted by the KQED weekend news team. In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>This week’s episode of Sunday Music Drop is about a band that came about following a discussion on … the universe.\u003c/p>\n\u003cp>“On a fateful day, we played a show together, and then a few months later, [fellow band member Rob Nicol] was at Hardly Strictly Bluegrass on a blanket, and we sat down for like a good couple hours together and talked about the nature of reality in the universe,” says Austin Wasielewski, vocalist, guitarist, keyboard and synth player for Analog Dog. “Then we found our other mates and the five years have gone by, like, in the blink of an eye.”\u003c/p>\n\u003cp>In that blink of the eye, Analog Dog has become a project that Wasielewski says embraces “magical thinking” in a way that enables them to “break beyond those boundaries and see the depth of our connection to each other and the depth of our connection to the earth.”\u003c/p>\n\u003cp>“So I think that we strive to awaken that magic within people so that we can kind of exist in a more community space and in a more magical space,” Wasielewski says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Analog Dog is a San Francisco band inspired by the Bay Area, which Nicol considers a “hotbed of ideas and cultural growth” — and yet, none of the band members are from the Bay Area.\u003c/p>\n\u003cp>“We hail almost like, distinctly from every corner of the country except for California and the West Coast,” Nicol says. “And so we all ended up here, and I think what brought us all out here is ideas.\u003c/p>\n\u003cp>“If you look at like the Grateful Dead and you look at California in general and all the artists that have come out from the West, I think that there’s just a there’s a pull and their gravity that brought us all here that I don’t think is in any way coincidence.”\u003c/p>\n\u003cp>So, what does Analog Dog sound like?\u003c/p>\n\u003cp>“… Its music is essentially genre fluid … encompassed in rock and roll roots, indie vibes, disco-dance passion, some improvisation and jam philosophy, with a little bit of jazz sprinkled on top.”\u003c/p>\n\u003cp>Their song “Disco Dani, Part One” is not just any song for them, it’s the one they close almost every show with, because “by then, everybody’s warmed up and it just hits in such a simple, fun way.”\u003c/p>\n\u003cp>“People lose it because we lose it because we know no matter where we’re at in the set, no matter how the set went, we just have this closer that everybody’s going to lose their pants … you wouldn’t believe the pants!”\u003c/p>\n\u003cp>There’s a song called Patience by Tame Impala. And I was super into it, and I was like, let’s write one like this and our keyboardist Jason. He kind of had a lick based on that, and we worked through that.\u003c/p>\n\u003cp>We also felt that if it was just part one — that’s been done a million times — It’s a great song, but it’s still just like a pop song. And so [we made] part two [which] has these… just like we got into three different keys and there’s time changes and it just goes crazy!\u003c/p>\n\u003cp>Rob Nicol describes the “flux” that underlies the song.\u003c/p>\n\u003cp>“[On the one hand, it’s a] kind of pop and really palatable, easy-to-digest music. And then this other hand in a more complex, challenging musical landscape that we’re both inspired by. And so it’s finding that right balance that people can connect with, but also that will keep things, keep people, keep people coming back to find something new.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.analogdogband.com/\">Analog Dog\u003c/a> also includes Celia Ford on bass and vocals; Jason Blasingame on keyboard, synth and saxophone; and Kale Frank on drums. They will perform live at \u003ca href=\"https://www.jamcellarsballroom.com/tm-attraction/analog-dog/\">JaM Cellars Ballroom in Napa on Oct. 18\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop\u003c/a> is a weekly radio series hosted by the KQED weekend news team. In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>This week’s episode of Sunday Music Drop is about a band that came about following a discussion on … the universe.\u003c/p>\n\u003cp>“On a fateful day, we played a show together, and then a few months later, [fellow band member Rob Nicol] was at Hardly Strictly Bluegrass on a blanket, and we sat down for like a good couple hours together and talked about the nature of reality in the universe,” says Austin Wasielewski, vocalist, guitarist, keyboard and synth player for Analog Dog. “Then we found our other mates and the five years have gone by, like, in the blink of an eye.”\u003c/p>\n\u003cp>In that blink of the eye, Analog Dog has become a project that Wasielewski says embraces “magical thinking” in a way that enables them to “break beyond those boundaries and see the depth of our connection to each other and the depth of our connection to the earth.”\u003c/p>\n\u003cp>“So I think that we strive to awaken that magic within people so that we can kind of exist in a more community space and in a more magical space,” Wasielewski says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Analog Dog is a San Francisco band inspired by the Bay Area, which Nicol considers a “hotbed of ideas and cultural growth” — and yet, none of the band members are from the Bay Area.\u003c/p>\n\u003cp>“We hail almost like, distinctly from every corner of the country except for California and the West Coast,” Nicol says. “And so we all ended up here, and I think what brought us all out here is ideas.\u003c/p>\n\u003cp>“If you look at like the Grateful Dead and you look at California in general and all the artists that have come out from the West, I think that there’s just a there’s a pull and their gravity that brought us all here that I don’t think is in any way coincidence.”\u003c/p>\n\u003cp>So, what does Analog Dog sound like?\u003c/p>\n\u003cp>“… Its music is essentially genre fluid … encompassed in rock and roll roots, indie vibes, disco-dance passion, some improvisation and jam philosophy, with a little bit of jazz sprinkled on top.”\u003c/p>\n\u003cp>Their song “Disco Dani, Part One” is not just any song for them, it’s the one they close almost every show with, because “by then, everybody’s warmed up and it just hits in such a simple, fun way.”\u003c/p>\n\u003cp>“People lose it because we lose it because we know no matter where we’re at in the set, no matter how the set went, we just have this closer that everybody’s going to lose their pants … you wouldn’t believe the pants!”\u003c/p>\n\u003cp>There’s a song called Patience by Tame Impala. And I was super into it, and I was like, let’s write one like this and our keyboardist Jason. He kind of had a lick based on that, and we worked through that.\u003c/p>\n\u003cp>We also felt that if it was just part one — that’s been done a million times — It’s a great song, but it’s still just like a pop song. And so [we made] part two [which] has these… just like we got into three different keys and there’s time changes and it just goes crazy!\u003c/p>\n\u003cp>Rob Nicol describes the “flux” that underlies the song.\u003c/p>\n\u003cp>“[On the one hand, it’s a] kind of pop and really palatable, easy-to-digest music. And then this other hand in a more complex, challenging musical landscape that we’re both inspired by. And so it’s finding that right balance that people can connect with, but also that will keep things, keep people, keep people coming back to find something new.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.analogdogband.com/\">Analog Dog\u003c/a> also includes Celia Ford on bass and vocals; Jason Blasingame on keyboard, synth and saxophone; and Kale Frank on drums. They will perform live at \u003ca href=\"https://www.jamcellarsballroom.com/tm-attraction/analog-dog/\">JaM Cellars Ballroom in Napa on Oct. 18\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "pinole-honors-punk-icons-green-day-with-key-to-the-city",
"title": "Pinole Honors Punk Icons Green Day With Key to the City",
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"headTitle": "Pinole Honors Punk Icons Green Day With Key to the City | KQED",
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"content": "\u003cp>Hundreds of fans of the punk rock band Green Day cheered as Pinole city officials honored the band members for their impact and ties to the local community with the key to the city, a commemorative plaque and mural outside a 7-Eleven store on Sunday afternoon.\u003c/p>\n\u003cp>As eager fans wearing Green Day T-shirts waited for the band to show up, they sang along to their favorite songs and held instruments and memorabilia they hoped to get autographed.\u003c/p>\n\u003cfigure id=\"attachment_12005877\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005877\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg\" alt=\"A man wearing sun glasses writes on an object as several people reach out to him behind a gate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Billie Joe Armstrong signs autographs outside of a 7-Eleven in Pinole, the band’s go-to spot in high school. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Just to be in close proximity with them is really exciting for me,” says Jasmine Buckles, who arrived in the morning from San Ramon to wait for the event. “I just went to their concert on Friday night at Oracle Park, and it was amazing.”\u003c/p>\n\u003cp>Buckles brought along Funko Pop figures modeled after the band members to get signed.\u003c/p>\n\u003cfigure id=\"attachment_12005873\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg\" alt=\"A person holds three toy figurines next to a crowd of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Green Day fan with Funko Pops of the Green Day band members attends the event honoring the band. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green Day first formed in 1986 in the town of Rodeo, 3 miles north of Sunday’s event. Band members Billie Joe Armstrong and Mike Dirnt both attended Pinole Valley High School, right across the street from the 7-Eleven.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I didn’t quite make it all the way through high school,” Armstrong says in a short speech. “But Mike did, and the day after he graduated from high school, we took off on our first tour.”\u003c/p>\n\u003cp>Calling the band’s return to Pinole a “full circle” moment, Armstrong acknowledged family and friends, including his mother, siblings and his first piano teacher.\u003c/p>\n\u003cp>The small crowd in Pinole paled in comparison to the 42,000 fans who came to see the band two nights earlier in a sold-out show at Oracle Park in San Francisco. Green Day is currently on a stadium tour, playing their albums “Dookie” and “American Idiot,” as well as their fan favorites. The tour ends on Sept. 28 at Petco Park in San Diego.\u003c/p>\n\u003cfigure id=\"attachment_12005874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg\" alt=\"A woman holds her phone as a man leans in to pose for a photo behind a crow of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Mike Dirnt takes a selfie with fan Alyssa Arriola of Reno outside of a 7-Eleven in Pinole. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Free coffee samples were provided by the band’s Punk Bunny Coffee brand. Green Day recently announced a partnership with 7-Eleven to release their Anniversary Blend of coffee, celebrating the 30th anniversary of their breakout album “Dookie,” as well as commemorating the convenience store’s 60th anniversary.\u003c/p>\n\u003cfigure id=\"attachment_12005871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg\" alt=\"Two women and three men stand next to each other with one holding up a plaque with a key on it.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pinole Mayor Maureen Toms gives punk rock band Green Day the key to the city at the local 7-Eleven, honoring the band’s impact in their community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There absolutely is local pride in having them from Pinole, and of course coming back to visit us and having the kickoff for their coffee company right here locally,” Pinole Mayor Maureen Toms says. “The key to the city is just a symbolic gesture that we’re recognizing that these folks are important.”\u003c/p>\n\u003cfigure id=\"attachment_12005868\" class=\"wp-caption aligncenter\" style=\"max-width: 1975px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg\" alt=\"A man holds a plaque with a key on it.\" width=\"1975\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg 1975w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1536x1037.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1920x1296.jpg 1920w\" sizes=\"(max-width: 1975px) 100vw, 1975px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Billie Joe Armstrong holds Pinole’s key to the city, presented to the band for their impact in the community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Toms says representatives from Punk Bunny and Green Day reached out to city staff about plans for the plaque dedication, and they were excited to participate.\u003c/p>\n\u003cfigure id=\"attachment_12005867\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg\" alt=\"Someone's hand makes a punk rock gesture next to a plaque.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Punk rock band Green Day gets presented with a plaque, honoring the band’s impact in the community, at a 7-Eleven in Pinole. The plaque pays tribute to the band’s lyrics. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green Day’s commemorative plaque was unveiled outside of the 7-Eleven store, one of the band members’ frequent hangout spots in high school. The plaque featured lyrics from the song “Jesus of Suburbia,” reading, “At the center of the earth in the parking lot of the 7-Eleven… Billie, Mike and Tre were here.”\u003c/p>\n\u003cp>Band members also spray-painted their signatures on a mural dedicated to the band.\u003c/p>\n\u003cfigure id=\"attachment_12005872\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg\" alt=\"A man wearing sun glasses spray paints a wall.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day’s Billie Joe Armstrong spray paints his name on a mural in the band’s honor at a 7-Eleven in Pinole. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his speech, bassist Mike Dirnt acknowledged how much attitudes about punk had changed since he and Armstrong walked the halls of Pinole Valley High School.\u003c/p>\n\u003cp>“I look around now and think, wow, half of us would have gotten beat up back then for looking the way we look now. And now, the same people who might have wanted to beat us up, they understand us, and we’re understood all around the planet. So this is an amazing thing. … Great things can come from anywhere,” Dirnt says.\u003c/p>\n\u003cfigure id=\"attachment_12005878\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg\" alt=\"Three men stand together next to a person in an animal mascot costume with their hands raised.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Punk rock band Green Day gets presented with Pinole’s key to the city, a plaque and mural, honoring the band’s impact in the community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you live here and are raised here, you feel like they’re just a part of everything that is the East Bay,” says Sarah Paine, who arrived early to the store with her 10-year-old daughter Virginia Gale waiting in anticipation. “They played their music, and you just knew they were icons. It was great. My teenage self is very happy right now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Spencer Whitney, Katherine Monahan and Gina Castro contributed reporting to this story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds of fans of the punk rock band Green Day cheered as Pinole city officials honored the band members for their impact and ties to the local community with the key to the city, a commemorative plaque and mural outside a 7-Eleven store on Sunday afternoon.\u003c/p>\n\u003cp>As eager fans wearing Green Day T-shirts waited for the band to show up, they sang along to their favorite songs and held instruments and memorabilia they hoped to get autographed.\u003c/p>\n\u003cfigure id=\"attachment_12005877\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005877\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg\" alt=\"A man wearing sun glasses writes on an object as several people reach out to him behind a gate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Billie Joe Armstrong signs autographs outside of a 7-Eleven in Pinole, the band’s go-to spot in high school. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Just to be in close proximity with them is really exciting for me,” says Jasmine Buckles, who arrived in the morning from San Ramon to wait for the event. “I just went to their concert on Friday night at Oracle Park, and it was amazing.”\u003c/p>\n\u003cp>Buckles brought along Funko Pop figures modeled after the band members to get signed.\u003c/p>\n\u003cfigure id=\"attachment_12005873\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg\" alt=\"A person holds three toy figurines next to a crowd of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Green Day fan with Funko Pops of the Green Day band members attends the event honoring the band. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green Day first formed in 1986 in the town of Rodeo, 3 miles north of Sunday’s event. Band members Billie Joe Armstrong and Mike Dirnt both attended Pinole Valley High School, right across the street from the 7-Eleven.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I didn’t quite make it all the way through high school,” Armstrong says in a short speech. “But Mike did, and the day after he graduated from high school, we took off on our first tour.”\u003c/p>\n\u003cp>Calling the band’s return to Pinole a “full circle” moment, Armstrong acknowledged family and friends, including his mother, siblings and his first piano teacher.\u003c/p>\n\u003cp>The small crowd in Pinole paled in comparison to the 42,000 fans who came to see the band two nights earlier in a sold-out show at Oracle Park in San Francisco. Green Day is currently on a stadium tour, playing their albums “Dookie” and “American Idiot,” as well as their fan favorites. The tour ends on Sept. 28 at Petco Park in San Diego.\u003c/p>\n\u003cfigure id=\"attachment_12005874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg\" alt=\"A woman holds her phone as a man leans in to pose for a photo behind a crow of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Mike Dirnt takes a selfie with fan Alyssa Arriola of Reno outside of a 7-Eleven in Pinole. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Free coffee samples were provided by the band’s Punk Bunny Coffee brand. Green Day recently announced a partnership with 7-Eleven to release their Anniversary Blend of coffee, celebrating the 30th anniversary of their breakout album “Dookie,” as well as commemorating the convenience store’s 60th anniversary.\u003c/p>\n\u003cfigure id=\"attachment_12005871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg\" alt=\"Two women and three men stand next to each other with one holding up a plaque with a key on it.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pinole Mayor Maureen Toms gives punk rock band Green Day the key to the city at the local 7-Eleven, honoring the band’s impact in their community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There absolutely is local pride in having them from Pinole, and of course coming back to visit us and having the kickoff for their coffee company right here locally,” Pinole Mayor Maureen Toms says. “The key to the city is just a symbolic gesture that we’re recognizing that these folks are important.”\u003c/p>\n\u003cfigure id=\"attachment_12005868\" class=\"wp-caption aligncenter\" style=\"max-width: 1975px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg\" alt=\"A man holds a plaque with a key on it.\" width=\"1975\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg 1975w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1536x1037.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1920x1296.jpg 1920w\" sizes=\"(max-width: 1975px) 100vw, 1975px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Billie Joe Armstrong holds Pinole’s key to the city, presented to the band for their impact in the community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Toms says representatives from Punk Bunny and Green Day reached out to city staff about plans for the plaque dedication, and they were excited to participate.\u003c/p>\n\u003cfigure id=\"attachment_12005867\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg\" alt=\"Someone's hand makes a punk rock gesture next to a plaque.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Punk rock band Green Day gets presented with a plaque, honoring the band’s impact in the community, at a 7-Eleven in Pinole. The plaque pays tribute to the band’s lyrics. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green Day’s commemorative plaque was unveiled outside of the 7-Eleven store, one of the band members’ frequent hangout spots in high school. The plaque featured lyrics from the song “Jesus of Suburbia,” reading, “At the center of the earth in the parking lot of the 7-Eleven… Billie, Mike and Tre were here.”\u003c/p>\n\u003cp>Band members also spray-painted their signatures on a mural dedicated to the band.\u003c/p>\n\u003cfigure id=\"attachment_12005872\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg\" alt=\"A man wearing sun glasses spray paints a wall.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day’s Billie Joe Armstrong spray paints his name on a mural in the band’s honor at a 7-Eleven in Pinole. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his speech, bassist Mike Dirnt acknowledged how much attitudes about punk had changed since he and Armstrong walked the halls of Pinole Valley High School.\u003c/p>\n\u003cp>“I look around now and think, wow, half of us would have gotten beat up back then for looking the way we look now. And now, the same people who might have wanted to beat us up, they understand us, and we’re understood all around the planet. So this is an amazing thing. … Great things can come from anywhere,” Dirnt says.\u003c/p>\n\u003cfigure id=\"attachment_12005878\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg\" alt=\"Three men stand together next to a person in an animal mascot costume with their hands raised.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Punk rock band Green Day gets presented with Pinole’s key to the city, a plaque and mural, honoring the band’s impact in the community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you live here and are raised here, you feel like they’re just a part of everything that is the East Bay,” says Sarah Paine, who arrived early to the store with her 10-year-old daughter Virginia Gale waiting in anticipation. “They played their music, and you just knew they were icons. It was great. My teenage self is very happy right now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Spencer Whitney, Katherine Monahan and Gina Castro contributed reporting to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "birds-rain-barbed-wire-sounds-of-a-vineyard-become-a-musical-score-in-harvest-in-twelve-parts",
"title": "Birds. Rain. Barbed Wire. Sounds of a Vineyard Become A Musical Score in ‘Harvest in Twelve Parts’",
"publishDate": 1726858804,
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"headTitle": "Birds. Rain. Barbed Wire. Sounds of a Vineyard Become A Musical Score in ‘Harvest in Twelve Parts’ | KQED",
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"content": "\u003cp>On a recent foggy morning, composer and winemaker Brook Munro stood perfectly still next to a row of grapevines, listening to a chorus of birds and insects. He likes to tune into the sounds of the vineyard early, well before any visitors show up to the tasting room at the Claiborne and Churchill Winery in San Luis Obispo’s Edna Valley.\u003c/p>\n\u003cp>\u003ca href=\"https://www.brookmunro.com/\">Munro\u003c/a> is keenly aware of the sounds of the winemaking process — as both a lifelong musician and a professional winemaker. He spent years figuring out how to combine these two passions with his debut album \u003ca href=\"https://www.brookmunro.com/test-music\">“Harvest in Twelve Parts,” which draws on \u003c/a>sounds he recorded from the wine harvest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wD8BgLk7pQ8\u003c/p>\n\u003cp>“One of my favorite things to do is to record unique sounds or ordinary sounds and manipulate them — bend them to my will, so to speak,” said Munro, who’s toured with a rock band called “The Mighty Fine” and scored several \u003ca href=\"https://www.brookmunro.com/watch\">indie films\u003c/a>. “I’ve recorded everything from kitchen sinks to toothbrushes to the sound of cars.”\u003c/p>\n\u003cfigure id=\"attachment_12004870\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004870\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg\" alt=\"A man wearing a hat and a dark shirt holds a wine glass behind a counter in a tasting room.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In Clairborne & Churchill Winery’s tasting room, Brook Munro taps a wine glass to create a sound he used throughout “Harvest in Twelve Parts.” \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2021, Munro — who’s worked as a manager at Claiborne and Churchill for 15 years — had an idea: to record the sounds of the vineyard during harvest season, one of the busiest and most vibrant parts of the winemaking process.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The artistry of winemaking and music-making are quite similar. There [are] a lot of inputs and a lot of variables that are controlled and some that are not controlled,” Munro said. “This idea just kind of struck me: what would it sound like if I could express winemaking from a musical perspective?”\u003c/p>\n\u003cfigure id=\"attachment_12004869\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg\" alt=\"A man wearing a hat and dark shirt has his hands in a grapevine.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">At Claiborne & Churchill Vineyard, Brook Munro demonstrates how pulling on a trellis wire creates a sound he used on the track “Jubilaüm.” \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Munro took a field recorder and captured sounds like bird calls, the twang of a trellis wire, and the splash of rainwater hitting the grapes. He then manipulated those sounds in his music software to create virtual “instruments” he could arrange into melodies and harmonies.\u003c/p>\n\u003cp>“At the time, I didn’t know what the album would sound like,” he said. “I knew that it would be experimental to a degree. I didn’t know how much. I thought perhaps I [could] make the whole album literally just the sounds from the winery.”\u003c/p>\n\u003cfigure id=\"attachment_12004874\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg\" alt=\"A man wearing headphones, a hat and jean jacket holds two mallets near a wine barrel.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brook Munro records himself hitting a wine barrel with mallets. \u003ccite>(Courtesy of Michelle Cordova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With two harvests’ worth of sounds, Munro got to work arranging them into music. Some of the tracks on “Harvest in Twelve Parts” have clear melodies, while others feature more of an ambient, experimental soundscape. Munro also decided to blend the recordings with traditional instruments like cello and guitar to create a unique musical experience.\u003c/p>\n\u003cp>But it’s not just experimentation for its own sake — for Munro, every song has a story, even if there aren’t any words.\u003c/p>\n\u003cp>“I wanted it to be a sonic journey through harvest,” he said. “And to do so, it had to go through kind of an arc in a way…The first track is a prologue, the final track is an epilogue, and everything else is the journey.”\u003c/p>\n\u003cfigure id=\"attachment_12004871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg\" alt='Rows of grapevines with a sign that reads \"Pinot Noir.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rows of pinot noir grapevines at Claiborne & Churchill Winery in San Luis Obispo’s Edna Valley. \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each of the album’s twelve tracks has distinct sounds and moods. Tracks like “Jubilaüm” and “Under the Harvest Sky” feature recordings of birds and have a tranquil quality, while some tracks like “What We Overcome” use rain sounds to create a dire, intense feel. Only one track, “Harvest for Orchestra,” was recorded exclusively on traditional instruments — by the Cape Town Philharmonic — with no processed vineyard sounds.[aside postID=\"arts_13963901,arts_13961151\" label=\"Related Stories\"]\u003c/p>\n\u003cp>On other tracks, it can be hard to tell the difference between traditional instruments and field recordings that Munro digitally processed to sound like instruments. “Macerated Lines,” for example, begins with a xylophone-like sound that Munro created by striking wine glasses with a soft mallet.\u003c/p>\n\u003cp>“Through some digital processing, I could then create this really cool sound, almost like a toy piano,” he said. “Probably 75 percent of the album is all recorded on nontraditional instruments, but a lot of them are layered in such a way where you could hear a sound, and it’s actually four different winery sounds creating one tone.”\u003c/p>\n\u003cfigure id=\"attachment_12004873\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg\" alt=\"A hand crushes grapes while the other holds audio equipment.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brook Munro records himself crushing wine grapes during harvest season. \u003ccite>(Courtesy of Michelle Cordova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Munro said he hopes “Harvest in Twelve Parts” inspires others to embrace experimentation — in both music and wine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If someone else took their experiences into the vineyard, into the cellar, into the barrel room, and they crafted something musically or artistically, it would be beautiful, and it wouldn’t sound like me — it would sound like them,” he said. “Music and wine, the end result is always going to be very much an extension of the person who created it.”\u003c/p>\n\n",
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"title": "Birds. Rain. Barbed Wire. Sounds of a Vineyard Become A Musical Score in ‘Harvest in Twelve Parts’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent foggy morning, composer and winemaker Brook Munro stood perfectly still next to a row of grapevines, listening to a chorus of birds and insects. He likes to tune into the sounds of the vineyard early, well before any visitors show up to the tasting room at the Claiborne and Churchill Winery in San Luis Obispo’s Edna Valley.\u003c/p>\n\u003cp>\u003ca href=\"https://www.brookmunro.com/\">Munro\u003c/a> is keenly aware of the sounds of the winemaking process — as both a lifelong musician and a professional winemaker. He spent years figuring out how to combine these two passions with his debut album \u003ca href=\"https://www.brookmunro.com/test-music\">“Harvest in Twelve Parts,” which draws on \u003c/a>sounds he recorded from the wine harvest.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wD8BgLk7pQ8'\n title='//www.youtube.com/embed/wD8BgLk7pQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“One of my favorite things to do is to record unique sounds or ordinary sounds and manipulate them — bend them to my will, so to speak,” said Munro, who’s toured with a rock band called “The Mighty Fine” and scored several \u003ca href=\"https://www.brookmunro.com/watch\">indie films\u003c/a>. “I’ve recorded everything from kitchen sinks to toothbrushes to the sound of cars.”\u003c/p>\n\u003cfigure id=\"attachment_12004870\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004870\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg\" alt=\"A man wearing a hat and a dark shirt holds a wine glass behind a counter in a tasting room.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-02-KQED-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In Clairborne & Churchill Winery’s tasting room, Brook Munro taps a wine glass to create a sound he used throughout “Harvest in Twelve Parts.” \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2021, Munro — who’s worked as a manager at Claiborne and Churchill for 15 years — had an idea: to record the sounds of the vineyard during harvest season, one of the busiest and most vibrant parts of the winemaking process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The artistry of winemaking and music-making are quite similar. There [are] a lot of inputs and a lot of variables that are controlled and some that are not controlled,” Munro said. “This idea just kind of struck me: what would it sound like if I could express winemaking from a musical perspective?”\u003c/p>\n\u003cfigure id=\"attachment_12004869\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg\" alt=\"A man wearing a hat and dark shirt has his hands in a grapevine.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-01-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">At Claiborne & Churchill Vineyard, Brook Munro demonstrates how pulling on a trellis wire creates a sound he used on the track “Jubilaüm.” \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Munro took a field recorder and captured sounds like bird calls, the twang of a trellis wire, and the splash of rainwater hitting the grapes. He then manipulated those sounds in his music software to create virtual “instruments” he could arrange into melodies and harmonies.\u003c/p>\n\u003cp>“At the time, I didn’t know what the album would sound like,” he said. “I knew that it would be experimental to a degree. I didn’t know how much. I thought perhaps I [could] make the whole album literally just the sounds from the winery.”\u003c/p>\n\u003cfigure id=\"attachment_12004874\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg\" alt=\"A man wearing headphones, a hat and jean jacket holds two mallets near a wine barrel.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-07-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brook Munro records himself hitting a wine barrel with mallets. \u003ccite>(Courtesy of Michelle Cordova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With two harvests’ worth of sounds, Munro got to work arranging them into music. Some of the tracks on “Harvest in Twelve Parts” have clear melodies, while others feature more of an ambient, experimental soundscape. Munro also decided to blend the recordings with traditional instruments like cello and guitar to create a unique musical experience.\u003c/p>\n\u003cp>But it’s not just experimentation for its own sake — for Munro, every song has a story, even if there aren’t any words.\u003c/p>\n\u003cp>“I wanted it to be a sonic journey through harvest,” he said. “And to do so, it had to go through kind of an arc in a way…The first track is a prologue, the final track is an epilogue, and everything else is the journey.”\u003c/p>\n\u003cfigure id=\"attachment_12004871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg\" alt='Rows of grapevines with a sign that reads \"Pinot Noir.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-03-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rows of pinot noir grapevines at Claiborne & Churchill Winery in San Luis Obispo’s Edna Valley. \u003ccite>(Benjamin Purper for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each of the album’s twelve tracks has distinct sounds and moods. Tracks like “Jubilaüm” and “Under the Harvest Sky” feature recordings of birds and have a tranquil quality, while some tracks like “What We Overcome” use rain sounds to create a dire, intense feel. Only one track, “Harvest for Orchestra,” was recorded exclusively on traditional instruments — by the Cape Town Philharmonic — with no processed vineyard sounds.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On other tracks, it can be hard to tell the difference between traditional instruments and field recordings that Munro digitally processed to sound like instruments. “Macerated Lines,” for example, begins with a xylophone-like sound that Munro created by striking wine glasses with a soft mallet.\u003c/p>\n\u003cp>“Through some digital processing, I could then create this really cool sound, almost like a toy piano,” he said. “Probably 75 percent of the album is all recorded on nontraditional instruments, but a lot of them are layered in such a way where you could hear a sound, and it’s actually four different winery sounds creating one tone.”\u003c/p>\n\u003cfigure id=\"attachment_12004873\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg\" alt=\"A hand crushes grapes while the other holds audio equipment.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/240916-WINE-COUNTRY-MUSIC-BP-06-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brook Munro records himself crushing wine grapes during harvest season. \u003ccite>(Courtesy of Michelle Cordova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Munro said he hopes “Harvest in Twelve Parts” inspires others to embrace experimentation — in both music and wine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If someone else took their experiences into the vineyard, into the cellar, into the barrel room, and they crafted something musically or artistically, it would be beautiful, and it wouldn’t sound like me — it would sound like them,” he said. “Music and wine, the end result is always going to be very much an extension of the person who created it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Taylor Swift Endorses Kamala Harris — and Raises Fears of AI Election Misinformation",
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"content": "\u003cp>Taylor Swift’s much-anticipated \u003ca href=\"https://www.kqed.org/arts/13964057/taylor-swift-endorses-kamala-harris-for-president-after-debate\">endorsement of Vice President Kamala Harris\u003c/a> also called out an \u003ca href=\"https://www.kqed.org/news/tag/ai\">AI\u003c/a>-generated image of the pop superstar shared by former President Donald Trump. In doing so, she added her voice to a chorus of concerns over the technology and its potential for election-related misinformation.\u003c/p>\n\u003cp>The image \u003ca href=\"https://truthsocial.com/@realDonaldTrump/posts/112984762512136574\">reposted by Trump\u003c/a> last month on Truth Social, his right-wing social media platform, shows Swift posing Uncle Sam-style and saying she “wants YOU” to vote for Trump. The former president added a message: “I accept!”\u003c/p>\n\u003cp>After Tuesday’s debate, Swift expressed alarm over the doctored image in \u003ca href=\"https://www.instagram.com/p/C_wtAOKOW1z/\">her Instagram post\u003c/a> endorsing Harris.\u003c/p>\n\u003cp>“Recently I was made aware that AI of ‘me’ falsely endorsing Donald Trump’s presidential run was posted to his site. It really conjured up my fears around AI and the dangers of spreading misinformation,” she wrote. “It brought me to the conclusion that I need to be very transparent about my actual plans for this election as a voter. The simplest way to combat misinformation is with the truth.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As much as \u003ca href=\"https://www.kqed.org/arts/13963687/taylor-swift-fans-election-kamala-harris-trump-swifties\">Swift’s fans\u003c/a> were outraged by the photo — and some called on her to denounce it sooner — one AI expert says that a less partisan and provocative use of AI could pose a bigger threat to election integrity.\u003c/p>\n\u003cp>Lucas Hansen, a co-founder of the Berkeley-based AI knowledge nonprofit CivAI, said two kinds of AI content are at play in the election: inflammatory posts, like the one of Swift, as well as a post on social media site, X from Elon Musk that shows Harris donning a red suit with a communist hammer and sickle symbol, and other content that’s aimed less at angering voters and more at affecting their behavior.\u003c/p>\n\u003cp>In New Hampshire, for example, some voters received robocalls ahead of the March primary election using an assumed AI-generated voice resembling that of President Joe Biden. The calls told voters to “save their vote” for the November general election.\u003c/p>\n\u003cp>[aside postID=news_12000310 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/240815-CITYATTORNEYDEEPFAKES-06-BL-KQED-1020x680.jpg']\u003c/p>\n\u003cp>“That was discouraging people from turning out to the primary in New Hampshire, and that’s not inflammatory, but it can be substantially more effective,” Hansen said. “I think a lot of the highest impact things that we’ll see before and during the election are of that type.”\u003c/p>\n\u003cp>To show what AI is capable of, CivAI has been modeling other ways that it could be used to impact voting in the run-up to election day. Hansen said that could look like doctored news articles that resemble real publications publicizing a fake suspected shooting near a polling place or misinformation telling voters that they can avoid paying to park at a polling place by showing up to a certain location during a very tight time frame, “close to when polls close and not a legitimate place.”\u003c/p>\n\u003cp>It’s more likely that voters will be tricked by this kind of AI-generated content than by deepfakes of the candidates or celebrities like Swift, according to Hansen, who expects to see production of this kind of content ramp up — especially in swing states and targeting swing voters.\u003c/p>\n\u003cp>Another CivAI model shows how AI might use highly personalized content to target voters. One of its demos uses LinkedIn to find out a person’s top concerns and writes them an email about a fake, plausible-sounding tax or regulation supposedly proposed by a candidate on one of those issues.\u003c/p>\n\u003cp>Hansen tried it out on his sister, a freelance artist. The email to her said Biden planned to impose additional taxes on freelancers.\u003c/p>\n\u003cp>“That’s so targeted and so specific that a lot of people just wouldn’t think that’s possible to do right now at any sort of automated level,” Hansen said.\u003c/p>\n\u003cp>Jonathan Mehta Stein, the executive director of the nonpartisan watchdog group Common Cause, said that conspiracy theorists who believe election fraud is rampant could also use AI to mimic the sophisticated systems that elections officials run to detect duplicate voters.\u003c/p>\n\u003cp>“You can use AI to mimic that work, but with none of the controls and none of the safeguards” that elections officials use, he said. “You can create hugely erroneous lists of voters that you want to challenge.”\u003c/p>\n\u003cp>Inflammatory content is also still a concern, especially as high-performing AI tools become more accessible. About a month ago, X added a beta version of Grok 2.0 for its premium members, which is an AI image generation feature using a tool from Black Forest Labs.\u003c/p>\n\u003cp>“It’s the first extremely easily available image generation tool that’s high quality,” Hansen told KQED.\u003c/p>\n\u003cp>[aside postID=news_12002254 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/ScottWienerAP1-1020x680.jpg']\u003c/p>\n\u003cp>Though many people can detect such deepfakes, some are tougher to spot, he said — like one photo posted on X of Trump giving a thumbs up, surrounded by people wearing shirts that say “Walz’s for Trump.” It was captioned, “The *entire* Tim Walz Family just endorsed Donald J. TRUMP for President 2024!”\u003c/p>\n\u003cp>Although the \u003ca href=\"https://apnews.com/article/walz-family-nebraska-trump-elelction-2f2e29586b0e9ebe094ff2cf546e1ae4\">\u003cem>Associated Press\u003c/em>\u003c/a> confirmed that some distant cousins of the Democratic vice presidential nominee did pose for a separate photo in Trump shirts, the image that showed Trump surrounded by supposed Walz relatives was AI-generated.\u003c/p>\n\u003cp>Hansen said that even as someone with a lot of experience detecting deepfake images, this one didn’t have any of the normal “tells,” like messed up hands or background blurring.\u003c/p>\n\u003cp>Though he said these images are often debunked and mostly sow division, he “expect[s] that we’ll see a large increase in the volume of those sorts of debates as a result of how accessible Grok is.”\u003c/p>\n\u003cp>Stein said the most significant risk could be how this content affects voters’ trust in politics.\u003c/p>\n\u003cp>“The danger is not that 10,000 voters will be deceived by a deepfake and change who they’re voting for,” though it’s possible, he said. “The danger is that 10 million voters who are awash in disinformation between now and Election Day throw up their hands and say, ‘Forget it, I’m not voting at all.’”\u003c/p>\n\u003cp>A bigger impact of the fake photos of Swift might be her response itself — since her post pointing people to vote.gov, the site has received more than 337,000 visits as of Wednesday afternoon, \u003ca href=\"https://x.com/elenammoore/status/1833936170301960507?s=46&t=7BBzFwo6eYLzJIVfAlumEQ\">according to \u003cem>NPR\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Taylor Swift’s much-anticipated \u003ca href=\"https://www.kqed.org/arts/13964057/taylor-swift-endorses-kamala-harris-for-president-after-debate\">endorsement of Vice President Kamala Harris\u003c/a> also called out an \u003ca href=\"https://www.kqed.org/news/tag/ai\">AI\u003c/a>-generated image of the pop superstar shared by former President Donald Trump. In doing so, she added her voice to a chorus of concerns over the technology and its potential for election-related misinformation.\u003c/p>\n\u003cp>The image \u003ca href=\"https://truthsocial.com/@realDonaldTrump/posts/112984762512136574\">reposted by Trump\u003c/a> last month on Truth Social, his right-wing social media platform, shows Swift posing Uncle Sam-style and saying she “wants YOU” to vote for Trump. The former president added a message: “I accept!”\u003c/p>\n\u003cp>After Tuesday’s debate, Swift expressed alarm over the doctored image in \u003ca href=\"https://www.instagram.com/p/C_wtAOKOW1z/\">her Instagram post\u003c/a> endorsing Harris.\u003c/p>\n\u003cp>“Recently I was made aware that AI of ‘me’ falsely endorsing Donald Trump’s presidential run was posted to his site. It really conjured up my fears around AI and the dangers of spreading misinformation,” she wrote. “It brought me to the conclusion that I need to be very transparent about my actual plans for this election as a voter. The simplest way to combat misinformation is with the truth.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As much as \u003ca href=\"https://www.kqed.org/arts/13963687/taylor-swift-fans-election-kamala-harris-trump-swifties\">Swift’s fans\u003c/a> were outraged by the photo — and some called on her to denounce it sooner — one AI expert says that a less partisan and provocative use of AI could pose a bigger threat to election integrity.\u003c/p>\n\u003cp>Lucas Hansen, a co-founder of the Berkeley-based AI knowledge nonprofit CivAI, said two kinds of AI content are at play in the election: inflammatory posts, like the one of Swift, as well as a post on social media site, X from Elon Musk that shows Harris donning a red suit with a communist hammer and sickle symbol, and other content that’s aimed less at angering voters and more at affecting their behavior.\u003c/p>\n\u003cp>In New Hampshire, for example, some voters received robocalls ahead of the March primary election using an assumed AI-generated voice resembling that of President Joe Biden. The calls told voters to “save their vote” for the November general election.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That was discouraging people from turning out to the primary in New Hampshire, and that’s not inflammatory, but it can be substantially more effective,” Hansen said. “I think a lot of the highest impact things that we’ll see before and during the election are of that type.”\u003c/p>\n\u003cp>To show what AI is capable of, CivAI has been modeling other ways that it could be used to impact voting in the run-up to election day. Hansen said that could look like doctored news articles that resemble real publications publicizing a fake suspected shooting near a polling place or misinformation telling voters that they can avoid paying to park at a polling place by showing up to a certain location during a very tight time frame, “close to when polls close and not a legitimate place.”\u003c/p>\n\u003cp>It’s more likely that voters will be tricked by this kind of AI-generated content than by deepfakes of the candidates or celebrities like Swift, according to Hansen, who expects to see production of this kind of content ramp up — especially in swing states and targeting swing voters.\u003c/p>\n\u003cp>Another CivAI model shows how AI might use highly personalized content to target voters. One of its demos uses LinkedIn to find out a person’s top concerns and writes them an email about a fake, plausible-sounding tax or regulation supposedly proposed by a candidate on one of those issues.\u003c/p>\n\u003cp>Hansen tried it out on his sister, a freelance artist. The email to her said Biden planned to impose additional taxes on freelancers.\u003c/p>\n\u003cp>“That’s so targeted and so specific that a lot of people just wouldn’t think that’s possible to do right now at any sort of automated level,” Hansen said.\u003c/p>\n\u003cp>Jonathan Mehta Stein, the executive director of the nonpartisan watchdog group Common Cause, said that conspiracy theorists who believe election fraud is rampant could also use AI to mimic the sophisticated systems that elections officials run to detect duplicate voters.\u003c/p>\n\u003cp>“You can use AI to mimic that work, but with none of the controls and none of the safeguards” that elections officials use, he said. “You can create hugely erroneous lists of voters that you want to challenge.”\u003c/p>\n\u003cp>Inflammatory content is also still a concern, especially as high-performing AI tools become more accessible. About a month ago, X added a beta version of Grok 2.0 for its premium members, which is an AI image generation feature using a tool from Black Forest Labs.\u003c/p>\n\u003cp>“It’s the first extremely easily available image generation tool that’s high quality,” Hansen told KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though many people can detect such deepfakes, some are tougher to spot, he said — like one photo posted on X of Trump giving a thumbs up, surrounded by people wearing shirts that say “Walz’s for Trump.” It was captioned, “The *entire* Tim Walz Family just endorsed Donald J. TRUMP for President 2024!”\u003c/p>\n\u003cp>Although the \u003ca href=\"https://apnews.com/article/walz-family-nebraska-trump-elelction-2f2e29586b0e9ebe094ff2cf546e1ae4\">\u003cem>Associated Press\u003c/em>\u003c/a> confirmed that some distant cousins of the Democratic vice presidential nominee did pose for a separate photo in Trump shirts, the image that showed Trump surrounded by supposed Walz relatives was AI-generated.\u003c/p>\n\u003cp>Hansen said that even as someone with a lot of experience detecting deepfake images, this one didn’t have any of the normal “tells,” like messed up hands or background blurring.\u003c/p>\n\u003cp>Though he said these images are often debunked and mostly sow division, he “expect[s] that we’ll see a large increase in the volume of those sorts of debates as a result of how accessible Grok is.”\u003c/p>\n\u003cp>Stein said the most significant risk could be how this content affects voters’ trust in politics.\u003c/p>\n\u003cp>“The danger is not that 10,000 voters will be deceived by a deepfake and change who they’re voting for,” though it’s possible, he said. “The danger is that 10 million voters who are awash in disinformation between now and Election Day throw up their hands and say, ‘Forget it, I’m not voting at all.’”\u003c/p>\n\u003cp>A bigger impact of the fake photos of Swift might be her response itself — since her post pointing people to vote.gov, the site has received more than 337,000 visits as of Wednesday afternoon, \u003ca href=\"https://x.com/elenammoore/status/1833936170301960507?s=46&t=7BBzFwo6eYLzJIVfAlumEQ\">according to \u003cem>NPR\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Twenty-two years ago this month, Donato Cabrera felt like he hit a low point. Instead of conducting orchestras, he was selling CDs at the Metropolitan Opera gift shop in New York City.\u003c/p>\n\u003cp>He was in his early 30s with a bachelor’s degree and two advanced degrees, each focused on musical performance. Working in a music store was fine when he was a teenager living in Reno. It was not OK when he had expensive rent in Manhattan.\u003c/p>\n\u003cp>Cabrera, now 54, has served as music and artistic director of the California Symphony since 2013. Previously, he held conducting roles with the San Francisco Opera and San Francisco Symphony Orchestra, among many other places. But back in 2002, he wasn’t sure how he was going to exit the gift shop and get back to performing.\u003c/p>\n\u003cp>One day, a former graduate school classmate was visiting New York and happened to stop by the gift shop. She said she knew of a job that would be perfect for him with Music Academy of the West, a summer festival in Santa Barbara that was hiring an assistant conductor. He applied and landed the job.\u003c/p>\n\u003cp>While in Santa Barbara, he built a friendship with someone who worked for the San Francisco Opera, which had a job opening for an associate conductor. He landed that role and, in 2005, moved to San Francisco, where he has built an impressive resume. He’s led orchestras for symphonies, operas, ballets and music festivals throughout the United States and Latin America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a recent interview, Cabrera talked about his career, how he incorporates his heritage into what has been a traditionally white space and the California Symphony’s 2024–25 season that begins Sept. 21.\u003c/p>\n\u003cp>Making a living from art, especially in a specialized field like classical music, is challenging and one Cabrera, who was born in Pasadena and was raised in Las Vegas and Reno, didn’t know was a possibility for him.\u003c/p>\n\u003cp>It was during visits to his paternal grandmother’s house in East L.A. that sparked his love of music. After family meals, she would sit down at her piano and play Mexican waltzes and military marches from memory. She learned to play that music by ear from her father, a musician who traveled all over Mexico performing traditional music.\u003c/p>\n\u003cp>Cabrera was around 8 years old when, on the drive home from one of those visits, he told his parents he wanted to learn piano. His maternal grandmother bought him one.\u003c/p>\n\u003cp>“It was really those two folks, both of my grandmothers — one with the musical inspiration, the cultural information that she shared with us — and the other grandmother, through financial assistance, who pushed me forward into this very strange career of being a conductor,” he said.\u003c/p>\n\u003cp>Cabrera’s story illustrates how culture is transmitted from one generation to the next, but not just by way of exposure or osmosis, as we often think. How many of us have purposely drowned out our parents’ music for more modern, cooler options?\u003c/p>\n\u003cp>Instead, Cabrera sought to embody music the way his grandmother did. Culture isn’t just meant to be consumed. It should also be internalized.\u003c/p>\n\u003cp>After finishing high school, he enrolled at the University of Nevada, Reno, with plans to become a high school music director. He thought learning to conduct an orchestra would help him become a better teacher, so he volunteered to lead the university’s student orchestra. The director gave him a chance since it was a small school, but a more prestigious program would have left the task to graduate students.\u003c/p>\n\u003cp>Cabrera’s professors at UNR pushed him to go to grad school to become a professional conductor. He earned a master’s degree at the University of Illinois Urbana-Champaign. Mentors from that school told him he needed to go to New York City, which led him to the conducting program at the Manhattan School of Music.\u003c/p>\n\u003cp>“I can’t tell you how thankful I am for these mentors of mine who encouraged me to shoot for the stars when I thought I was happy enough with where I was heading,” he said.\u003c/p>\n\u003cp>While in grad school, he recalled questioning whether he belonged in the world of classical music, an environment that felt elitist and rooted solely in European traditions. The idea that Latines don’t have a connection to orchestral music is false, Cabrera said. Mexican composers were creating operas in the early 1700s. Most major Latin American cities have a symphony, something Cabrera knows firsthand because he’s conducted in Mexico and Chile.\u003c/p>\n\u003cp>“What always kept me going was my love and passion for the music,” he said. “It was up to me to get over my preconceptions of my surroundings and my preconceptions of the people around me.”\u003c/p>\n\u003cfigure id=\"attachment_12002635\" class=\"wp-caption aligncenter\" style=\"max-width: 1331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12002635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED.jpg\" alt=\"\" width=\"1331\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED.jpg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-1022x1536.jpg 1022w\" sizes=\"(max-width: 1331px) 100vw, 1331px\">\u003cfigcaption class=\"wp-caption-text\">Donato Cabrera, a Mexican-American conductor, serves as the artistic and music director of the California Symphony. \u003ccite>(Lindsay Hale / Courtesy of Donato Cabrera )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People might think that the bulk of what a conductor does is stand in front of the orchestra and wave their arms. That’s actually about 1% of the job, Cabrera said. Most of his work involves preparation, organization and planning.\u003c/p>\n\u003cp>“I’m really engaged in all aspects of what a nonprofit performing arts organization does,” he said. “As a music director, I choose all of the repertoire, all of the soloists. Each season has a narrative. The flow of the music that’s being performed, programmed over the course of many years — that’s on my shoulders.”\u003c/p>\n\u003cp>The Walnut Creek-based California Symphony will start the season with a program highlighting Ludwig van Beethoven’s Symphony No. 9, a masterpiece that was the composer’s final completed symphony. The rest of the season, which includes a total of five concerts and runs through June, will showcase the last works of Johannes Brahms, Wolfgang Amadeus Mozart and Pyotr Ilyich Tchaikovsky.\u003c/p>\n\u003cp>Cabrera spearheaded an effort to translate the California Symphony’s website into Spanish, bringing a measurable increase in Latine attendance. The symphony found that Latinos made up about 7% of households that attended performances from 2017 to 2024, almost doubling attendance during the seven years.\u003c/p>\n\u003cp>His goal, he said, is for anyone who walks into a performance to immediately feel welcome and have more knowledge and understanding of the music when they leave.\u003c/p>\n\u003cp>“So many people when they go to a concert, they want to hear what they know. They want to sing along to all the songs,” he said. “(Orchestral) music is for everyone, not just for people that grow up with it in their home or people of a certain strata. It’s there for everyone to enjoy.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty-two years ago this month, Donato Cabrera felt like he hit a low point. Instead of conducting orchestras, he was selling CDs at the Metropolitan Opera gift shop in New York City.\u003c/p>\n\u003cp>He was in his early 30s with a bachelor’s degree and two advanced degrees, each focused on musical performance. Working in a music store was fine when he was a teenager living in Reno. It was not OK when he had expensive rent in Manhattan.\u003c/p>\n\u003cp>Cabrera, now 54, has served as music and artistic director of the California Symphony since 2013. Previously, he held conducting roles with the San Francisco Opera and San Francisco Symphony Orchestra, among many other places. But back in 2002, he wasn’t sure how he was going to exit the gift shop and get back to performing.\u003c/p>\n\u003cp>One day, a former graduate school classmate was visiting New York and happened to stop by the gift shop. She said she knew of a job that would be perfect for him with Music Academy of the West, a summer festival in Santa Barbara that was hiring an assistant conductor. He applied and landed the job.\u003c/p>\n\u003cp>While in Santa Barbara, he built a friendship with someone who worked for the San Francisco Opera, which had a job opening for an associate conductor. He landed that role and, in 2005, moved to San Francisco, where he has built an impressive resume. He’s led orchestras for symphonies, operas, ballets and music festivals throughout the United States and Latin America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a recent interview, Cabrera talked about his career, how he incorporates his heritage into what has been a traditionally white space and the California Symphony’s 2024–25 season that begins Sept. 21.\u003c/p>\n\u003cp>Making a living from art, especially in a specialized field like classical music, is challenging and one Cabrera, who was born in Pasadena and was raised in Las Vegas and Reno, didn’t know was a possibility for him.\u003c/p>\n\u003cp>It was during visits to his paternal grandmother’s house in East L.A. that sparked his love of music. After family meals, she would sit down at her piano and play Mexican waltzes and military marches from memory. She learned to play that music by ear from her father, a musician who traveled all over Mexico performing traditional music.\u003c/p>\n\u003cp>Cabrera was around 8 years old when, on the drive home from one of those visits, he told his parents he wanted to learn piano. His maternal grandmother bought him one.\u003c/p>\n\u003cp>“It was really those two folks, both of my grandmothers — one with the musical inspiration, the cultural information that she shared with us — and the other grandmother, through financial assistance, who pushed me forward into this very strange career of being a conductor,” he said.\u003c/p>\n\u003cp>Cabrera’s story illustrates how culture is transmitted from one generation to the next, but not just by way of exposure or osmosis, as we often think. How many of us have purposely drowned out our parents’ music for more modern, cooler options?\u003c/p>\n\u003cp>Instead, Cabrera sought to embody music the way his grandmother did. Culture isn’t just meant to be consumed. It should also be internalized.\u003c/p>\n\u003cp>After finishing high school, he enrolled at the University of Nevada, Reno, with plans to become a high school music director. He thought learning to conduct an orchestra would help him become a better teacher, so he volunteered to lead the university’s student orchestra. The director gave him a chance since it was a small school, but a more prestigious program would have left the task to graduate students.\u003c/p>\n\u003cp>Cabrera’s professors at UNR pushed him to go to grad school to become a professional conductor. He earned a master’s degree at the University of Illinois Urbana-Champaign. Mentors from that school told him he needed to go to New York City, which led him to the conducting program at the Manhattan School of Music.\u003c/p>\n\u003cp>“I can’t tell you how thankful I am for these mentors of mine who encouraged me to shoot for the stars when I thought I was happy enough with where I was heading,” he said.\u003c/p>\n\u003cp>While in grad school, he recalled questioning whether he belonged in the world of classical music, an environment that felt elitist and rooted solely in European traditions. The idea that Latines don’t have a connection to orchestral music is false, Cabrera said. Mexican composers were creating operas in the early 1700s. Most major Latin American cities have a symphony, something Cabrera knows firsthand because he’s conducted in Mexico and Chile.\u003c/p>\n\u003cp>“What always kept me going was my love and passion for the music,” he said. “It was up to me to get over my preconceptions of my surroundings and my preconceptions of the people around me.”\u003c/p>\n\u003cfigure id=\"attachment_12002635\" class=\"wp-caption aligncenter\" style=\"max-width: 1331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12002635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED.jpg\" alt=\"\" width=\"1331\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED.jpg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-1022x1536.jpg 1022w\" sizes=\"(max-width: 1331px) 100vw, 1331px\">\u003cfigcaption class=\"wp-caption-text\">Donato Cabrera, a Mexican-American conductor, serves as the artistic and music director of the California Symphony. \u003ccite>(Lindsay Hale / Courtesy of Donato Cabrera )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People might think that the bulk of what a conductor does is stand in front of the orchestra and wave their arms. That’s actually about 1% of the job, Cabrera said. Most of his work involves preparation, organization and planning.\u003c/p>\n\u003cp>“I’m really engaged in all aspects of what a nonprofit performing arts organization does,” he said. “As a music director, I choose all of the repertoire, all of the soloists. Each season has a narrative. The flow of the music that’s being performed, programmed over the course of many years — that’s on my shoulders.”\u003c/p>\n\u003cp>The Walnut Creek-based California Symphony will start the season with a program highlighting Ludwig van Beethoven’s Symphony No. 9, a masterpiece that was the composer’s final completed symphony. The rest of the season, which includes a total of five concerts and runs through June, will showcase the last works of Johannes Brahms, Wolfgang Amadeus Mozart and Pyotr Ilyich Tchaikovsky.\u003c/p>\n\u003cp>Cabrera spearheaded an effort to translate the California Symphony’s website into Spanish, bringing a measurable increase in Latine attendance. The symphony found that Latinos made up about 7% of households that attended performances from 2017 to 2024, almost doubling attendance during the seven years.\u003c/p>\n\u003cp>His goal, he said, is for anyone who walks into a performance to immediately feel welcome and have more knowledge and understanding of the music when they leave.\u003c/p>\n\u003cp>“So many people when they go to a concert, they want to hear what they know. They want to sing along to all the songs,” he said. “(Orchestral) music is for everyone, not just for people that grow up with it in their home or people of a certain strata. It’s there for everyone to enjoy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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