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"content": "\u003cp>[dropcap]S[/dropcap]itting on stage with her harp resting in her lap, Destiny Muhammad repeats this mantra: “Excellence, Beauty, and Success.” It’s part mic-check and part pump-up.\u003c/p>\n\u003cp>When she first started learning to play the harp, the Oakland-based composer and musician used to suffer from stage fright. Now, more than 30 years later, she commands the stage with a presence fit for a woman who calls herself the “sound sculptress.”\u003c/p>\n\u003cp>Her acclaimed career has been peppered with awards and honors, including \u003ca href=\"https://www.recordingacademy.com/membership/governance\">Governor of the Board for the SF Chapter of the Recording Academy\u003c/a> and \u003ca href=\"https://arts.ca.gov/wp-content/uploads/2021/10/CAC_INA_2021_Fellows.pdf\">California Arts Council Legacy Fellow\u003c/a>. But before she was any of this, she was a self-described “shorty in Compton,” inspired by \u003ca href=\"https://www.youtube.com/watch?v=IZuh8r93yqM\">watching Harpo Marx play the harp on an episode of \u003cem>I Love Lucy\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Muhammad was 9 years old, and that was the first time she had ever seen a harp. She was mesmerized. “That’s what I want to do,” she remembers saying. But when she ran out to tell her mom her revelation, she was stopped in her tracks. Her mother had just gotten divorced from her father, and they were struggling, living in what she calls the “projects,” surviving on welfare and food stamps. Playing the harp was not a dream that Muhammad could afford to have. So she put it in the back of her mind, where it lived quietly for the next decade.\u003c/p>\n\u003cp>When she graduated high school, she hoped to go to college to finally be able to study music, but financial circumstances required her to follow her mother’s advice instead and get her barber’s license. She opened her first barber shop when she was 21 years old. It was the height of the crack epidemic, but she was making a good living for herself, and she liked the work.\u003c/p>\n\u003cfigure id=\"attachment_11995890\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11995890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED.jpg\" alt=\"Two people in a barber shop, one about to cut the other's hair.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Muhammad at her barbershop circa 1990. \u003ccite>(Photo Courtesy of Destiny Muhammad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, serendipity struck. She was dating a man who was friends with a harp builder.\u003c/p>\n\u003cp>“That’s when the dream came rushing back,” Muhammad says.\u003c/p>\n\u003cp>“Didn’t I say I wanted to do this when I was a shorty back in Compton, watching an episode of \u003cem>I Love Lucy\u003c/em>? I said I wanted to do this!”\u003c/p>\n\u003ch3>‘Do we, as Black people, do this?’\u003c/h3>\n\u003cp>Muhammad bought her first harp on layaway for $400. But she had no idea how to play it, so she started taking lessons. It was a humbling experience. At 30 years old, she was the oldest student in the class. Her peers also had more resources and a lineage of European classical music training. And one other big thing stood out: the color of her skin. Her friends and family questioned what she, a Black woman, was doing playing a harp: “Do we, as Black people, do that?” she says, remembering those conversations. She recalls one particularly painful moment when a friend called her up to go out dancing.\u003c/p>\n\u003cp>“‘Hey girl, I can’t go, I’m practicing. I’m learning how to play the harp,’” she told her friend.\u003c/p>\n\u003cp>The friend says: “‘Harp? Girl, you are old and Black, and we don’t do that.’”\u003c/p>\n\u003cp>She remembers looking at the phone and then looking at her harp. Back then, she says, you could slam the phone down. But she didn’t. She just hung up and let her talk to the dial tone.\u003c/p>\n\u003cp>But Destiny Muhammad wasn’t deterred by her friend’s doubts or the obstacles that stood in her way. In her heart, she knew she didn’t have a choice: “Even though the path didn’t appear charted, I knew that I had to move forward on it in the only way I could,” she says. “For Destiny Muhammad, the path was always invisible until I would take the step.”\u003c/p>\n\u003cfigure id=\"attachment_11995889\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11995889\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED.jpg\" alt=\"A woman playing the harp with several sunflowers behind her.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Muhammad at a Bay Area Farmers Market circa 2005. \u003ccite>(Photo Courtesy of Destiny Muhammad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her big break came when she started playing at farmers markets around the Bay Area. She would spend hours playing to no one in particular, slowly adding more songs into her sets and then her own improvised pieces as she got more comfortable. And then someone walked up to her and asked her to play at their wedding. That was her first paid gig.\u003c/p>\n\u003ch3>From Celtic to Coltrane\u003c/h3>\n\u003cp>Destiny Muhammad calls her musical style “Celtic to Coltrane.”\u003c/p>\n\u003cp>“I’m cross-pollinating between straight-ahead Celtic music and straight-ahead jazz… I hear the jazz in the Celtic music,” she explains.\u003c/p>\n\u003cp>Some of the first songs she learned to play were traditional Celtic compositions. She was captivated by the stories behind these classics, like \u003ca href=\"https://www.youtube.com/watch?v=ZeP5tDroavw\">the Irish song “The Butterfly Jig” from the early 1900s\u003c/a>.\u003c/p>\n\u003cp>Muhammad says that when researching the song, she found it was originally called “The Widow’s Jig” because so many women lost their husbands during the Irish Potato Famine. When these widows came with their children to the United States, the song’s name changed.\u003c/p>\n\u003cp>“Butterflies are symbolic, at least for me, of transformation and evolution,” Muhammad says. “And that just brought it to life for me. I have kept it in at least a part of my sets because I love that story of transformation.”\u003c/p>\n\u003cp>https://youtu.be/q-0flgjUBfE?si=myjmd6-4sLBYDDVP&t=117\u003c/p>\n\u003cp>The Coltrane in “Celtic to Coltrane” refers to none other than the multi-instrumentalist Alice Coltrane. Known as Alice McLeod before she married fellow jazz musician John Coltrane, Alice was one of the few harpists in the jazz world in the late 1960s. Her music is ethereal, free, and genre-bending.\u003c/p>\n\u003cfigure id=\"attachment_12000831\" class=\"wp-caption alignnone\" style=\"max-width: 2502px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12000831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane.jpg\" alt=\"A black and white photo of a Black woman playing the harp\" width=\"2502\" height=\"2424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane.jpg 2502w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-800x775.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-1020x988.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-1536x1488.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-2048x1984.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-1920x1860.jpg 1920w\" sizes=\"(max-width: 2502px) 100vw, 2502px\">\u003cfigcaption class=\"wp-caption-text\">American jazz musician and composer Alice Coltrane (1937 – 2007), playing a harp, circa 1965. (Photo by Michael Ochs Archives/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>“I heard Alice Coltrane on the radio on the jazz station. And I’m hearing this pentatonic empress just flourishing. I was like, ‘Oh my God, what is that?’” Muhammad remembers. She plays songs written by both Coltranes in her sets, and you can hear the influence of these two jazz greats in her original compositions.\u003c/p>\n\u003ch3>Composing with the edginess of Oakland\u003c/h3>\n\u003cp>Today, Destiny Muhammad works as a composer, performer and teacher in the Bay Area, where she’s been for the last 30 years. She composes original scores for her group, The Destiny Muhammad Trio.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WWuJKGB3nCM\u003c/p>\n\u003cp>Her style of composition is personal and inspired by another jazz great: “Duke Ellington would write scores out for his musicians. But as opposed to putting sax here, drum here, he would put the person’s name because he knew exactly how they were going to interpret what he shared with them,” Muhammad says. “And that’s the way I feel with many of the musicians. When I pick a person … I’ve already felt them breathe life into my composition.”\u003c/p>\n\u003cp>She also doesn’t feel constrained to rely on traditional sheet music notation: “If you ever look at sheet music, especially music that’s scored out for a particular type of ensemble, the composer will have markings or words in there about how to interpret. They might even usually have it in Italian. My Italian is at zero. So I wrote, “‘Give me a gangsta feel right here. Hella gangster right here.’ You know, I live in Oakland. We say stuff like that.”\u003c/p>\n\u003cp>She says her musicians in Oakland respond well to this unorthodox composition because they play with a unique “gutsiness” and “edginess” that she loves. “There’s a level of refinement without being edited,” she says. “I love Oakland and the Bay Area for that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>The long way around\u003c/h3>\n\u003cp>Destiny Muhammad describes her career trajectory as “the long way around.” She says she probably could have been famous earlier, but it would have compromised her integrity. Like the time, a photographer asked her if she wanted to do a photoshoot naked in the woods with her harp.\u003c/p>\n\u003cp>“I said, ‘How about we don’t!’” Muhammad says, laughing. “There are just some things I’m just not going to do. I have too many ancestors to answer to.”\u003c/p>\n\u003cp>This doesn’t mean she hasn’t had brushes with major celebrity though. In 2019, Kanye West, who now goes by Ye, invited her to play at his infamous Sunday Services in Los Angeles. These weekly concerts were hosted at secret locations and featured a gospel choir, music, and speakers. Guests included David Letterman, Katy Perry, Brad Pitt, and A$AP Rocky.\u003c/p>\n\u003cp>Muhammad played a few Sundays before she was cut. “I am grateful. I can honestly say he paid on time,” she says of the experience working with Ye.\u003c/p>\n\u003cp>“And the funds that I secured from my work with him helped us to purchase another vehicle. Amen.”\u003c/p>\n\u003cfigure id=\"attachment_11990530\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11990530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut.jpg\" alt=\"Woman playing the harp in white while people do yoga behind her. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Muhammad, a Bay Area musician, vocalist and composer, plays the harp during a yoga class at Grace Cathedral in San Francisco on June 12. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of her weekly gigs now is playing the harp during a yoga class at San Francisco’s Grace Cathedral. Hearing her play in this space with soaring ceilings and light filtering in through stained glass windows adds a reverence to her music. She plays with her eyes closed, head bowed as if in prayer. Here, Muhammad isn’t just playing music; she’s channeling something bigger through it.\u003c/p>\n\u003cp>“The spirit of humanity, even in the midst of the madness as we see it now. I know the spirit is good. The real spirit is good. I get a chance to evoke it every opportunity I get.”\u003c/p>\n\u003cp>It’s what keeps her as excited about the harp today as she was when she got her first one on layaway 30 years ago.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>itting on stage with her harp resting in her lap, Destiny Muhammad repeats this mantra: “Excellence, Beauty, and Success.” It’s part mic-check and part pump-up.\u003c/p>\n\u003cp>When she first started learning to play the harp, the Oakland-based composer and musician used to suffer from stage fright. Now, more than 30 years later, she commands the stage with a presence fit for a woman who calls herself the “sound sculptress.”\u003c/p>\n\u003cp>Her acclaimed career has been peppered with awards and honors, including \u003ca href=\"https://www.recordingacademy.com/membership/governance\">Governor of the Board for the SF Chapter of the Recording Academy\u003c/a> and \u003ca href=\"https://arts.ca.gov/wp-content/uploads/2021/10/CAC_INA_2021_Fellows.pdf\">California Arts Council Legacy Fellow\u003c/a>. But before she was any of this, she was a self-described “shorty in Compton,” inspired by \u003ca href=\"https://www.youtube.com/watch?v=IZuh8r93yqM\">watching Harpo Marx play the harp on an episode of \u003cem>I Love Lucy\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Muhammad was 9 years old, and that was the first time she had ever seen a harp. She was mesmerized. “That’s what I want to do,” she remembers saying. But when she ran out to tell her mom her revelation, she was stopped in her tracks. Her mother had just gotten divorced from her father, and they were struggling, living in what she calls the “projects,” surviving on welfare and food stamps. Playing the harp was not a dream that Muhammad could afford to have. So she put it in the back of her mind, where it lived quietly for the next decade.\u003c/p>\n\u003cp>When she graduated high school, she hoped to go to college to finally be able to study music, but financial circumstances required her to follow her mother’s advice instead and get her barber’s license. She opened her first barber shop when she was 21 years old. It was the height of the crack epidemic, but she was making a good living for herself, and she liked the work.\u003c/p>\n\u003cfigure id=\"attachment_11995890\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11995890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED.jpg\" alt=\"Two people in a barber shop, one about to cut the other's hair.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-02-KQED-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Muhammad at her barbershop circa 1990. \u003ccite>(Photo Courtesy of Destiny Muhammad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, serendipity struck. She was dating a man who was friends with a harp builder.\u003c/p>\n\u003cp>“That’s when the dream came rushing back,” Muhammad says.\u003c/p>\n\u003cp>“Didn’t I say I wanted to do this when I was a shorty back in Compton, watching an episode of \u003cem>I Love Lucy\u003c/em>? I said I wanted to do this!”\u003c/p>\n\u003ch3>‘Do we, as Black people, do this?’\u003c/h3>\n\u003cp>Muhammad bought her first harp on layaway for $400. But she had no idea how to play it, so she started taking lessons. It was a humbling experience. At 30 years old, she was the oldest student in the class. Her peers also had more resources and a lineage of European classical music training. And one other big thing stood out: the color of her skin. Her friends and family questioned what she, a Black woman, was doing playing a harp: “Do we, as Black people, do that?” she says, remembering those conversations. She recalls one particularly painful moment when a friend called her up to go out dancing.\u003c/p>\n\u003cp>“‘Hey girl, I can’t go, I’m practicing. I’m learning how to play the harp,’” she told her friend.\u003c/p>\n\u003cp>The friend says: “‘Harp? Girl, you are old and Black, and we don’t do that.’”\u003c/p>\n\u003cp>She remembers looking at the phone and then looking at her harp. Back then, she says, you could slam the phone down. But she didn’t. She just hung up and let her talk to the dial tone.\u003c/p>\n\u003cp>But Destiny Muhammad wasn’t deterred by her friend’s doubts or the obstacles that stood in her way. In her heart, she knew she didn’t have a choice: “Even though the path didn’t appear charted, I knew that I had to move forward on it in the only way I could,” she says. “For Destiny Muhammad, the path was always invisible until I would take the step.”\u003c/p>\n\u003cfigure id=\"attachment_11995889\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11995889\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED.jpg\" alt=\"A woman playing the harp with several sunflowers behind her.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/DESTINY-MUHAMMAD-01-KQED-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Muhammad at a Bay Area Farmers Market circa 2005. \u003ccite>(Photo Courtesy of Destiny Muhammad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her big break came when she started playing at farmers markets around the Bay Area. She would spend hours playing to no one in particular, slowly adding more songs into her sets and then her own improvised pieces as she got more comfortable. And then someone walked up to her and asked her to play at their wedding. That was her first paid gig.\u003c/p>\n\u003ch3>From Celtic to Coltrane\u003c/h3>\n\u003cp>Destiny Muhammad calls her musical style “Celtic to Coltrane.”\u003c/p>\n\u003cp>“I’m cross-pollinating between straight-ahead Celtic music and straight-ahead jazz… I hear the jazz in the Celtic music,” she explains.\u003c/p>\n\u003cp>Some of the first songs she learned to play were traditional Celtic compositions. She was captivated by the stories behind these classics, like \u003ca href=\"https://www.youtube.com/watch?v=ZeP5tDroavw\">the Irish song “The Butterfly Jig” from the early 1900s\u003c/a>.\u003c/p>\n\u003cp>Muhammad says that when researching the song, she found it was originally called “The Widow’s Jig” because so many women lost their husbands during the Irish Potato Famine. When these widows came with their children to the United States, the song’s name changed.\u003c/p>\n\u003cp>“Butterflies are symbolic, at least for me, of transformation and evolution,” Muhammad says. “And that just brought it to life for me. I have kept it in at least a part of my sets because I love that story of transformation.”\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/q-0flgjUBfE'\n title='//www.youtube.com/embed/q-0flgjUBfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Coltrane in “Celtic to Coltrane” refers to none other than the multi-instrumentalist Alice Coltrane. Known as Alice McLeod before she married fellow jazz musician John Coltrane, Alice was one of the few harpists in the jazz world in the late 1960s. Her music is ethereal, free, and genre-bending.\u003c/p>\n\u003cfigure id=\"attachment_12000831\" class=\"wp-caption alignnone\" style=\"max-width: 2502px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12000831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane.jpg\" alt=\"A black and white photo of a Black woman playing the harp\" width=\"2502\" height=\"2424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane.jpg 2502w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-800x775.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-1020x988.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-1536x1488.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-2048x1984.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Cropped_Coltrane-1920x1860.jpg 1920w\" sizes=\"(max-width: 2502px) 100vw, 2502px\">\u003cfigcaption class=\"wp-caption-text\">American jazz musician and composer Alice Coltrane (1937 – 2007), playing a harp, circa 1965. (Photo by Michael Ochs Archives/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>“I heard Alice Coltrane on the radio on the jazz station. And I’m hearing this pentatonic empress just flourishing. I was like, ‘Oh my God, what is that?’” Muhammad remembers. She plays songs written by both Coltranes in her sets, and you can hear the influence of these two jazz greats in her original compositions.\u003c/p>\n\u003ch3>Composing with the edginess of Oakland\u003c/h3>\n\u003cp>Today, Destiny Muhammad works as a composer, performer and teacher in the Bay Area, where she’s been for the last 30 years. She composes original scores for her group, The Destiny Muhammad Trio.\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/WWuJKGB3nCM'\n title='//www.youtube.com/embed/WWuJKGB3nCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her style of composition is personal and inspired by another jazz great: “Duke Ellington would write scores out for his musicians. But as opposed to putting sax here, drum here, he would put the person’s name because he knew exactly how they were going to interpret what he shared with them,” Muhammad says. “And that’s the way I feel with many of the musicians. When I pick a person … I’ve already felt them breathe life into my composition.”\u003c/p>\n\u003cp>She also doesn’t feel constrained to rely on traditional sheet music notation: “If you ever look at sheet music, especially music that’s scored out for a particular type of ensemble, the composer will have markings or words in there about how to interpret. They might even usually have it in Italian. My Italian is at zero. So I wrote, “‘Give me a gangsta feel right here. Hella gangster right here.’ You know, I live in Oakland. We say stuff like that.”\u003c/p>\n\u003cp>She says her musicians in Oakland respond well to this unorthodox composition because they play with a unique “gutsiness” and “edginess” that she loves. “There’s a level of refinement without being edited,” she says. “I love Oakland and the Bay Area for that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>The long way around\u003c/h3>\n\u003cp>Destiny Muhammad describes her career trajectory as “the long way around.” She says she probably could have been famous earlier, but it would have compromised her integrity. Like the time, a photographer asked her if she wanted to do a photoshoot naked in the woods with her harp.\u003c/p>\n\u003cp>“I said, ‘How about we don’t!’” Muhammad says, laughing. “There are just some things I’m just not going to do. I have too many ancestors to answer to.”\u003c/p>\n\u003cp>This doesn’t mean she hasn’t had brushes with major celebrity though. In 2019, Kanye West, who now goes by Ye, invited her to play at his infamous Sunday Services in Los Angeles. These weekly concerts were hosted at secret locations and featured a gospel choir, music, and speakers. Guests included David Letterman, Katy Perry, Brad Pitt, and A$AP Rocky.\u003c/p>\n\u003cp>Muhammad played a few Sundays before she was cut. “I am grateful. I can honestly say he paid on time,” she says of the experience working with Ye.\u003c/p>\n\u003cp>“And the funds that I secured from my work with him helped us to purchase another vehicle. Amen.”\u003c/p>\n\u003cfigure id=\"attachment_11990530\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11990530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut.jpg\" alt=\"Woman playing the harp in white while people do yoga behind her. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240611-DestinyMuhammad-22-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Muhammad, a Bay Area musician, vocalist and composer, plays the harp during a yoga class at Grace Cathedral in San Francisco on June 12. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of her weekly gigs now is playing the harp during a yoga class at San Francisco’s Grace Cathedral. Hearing her play in this space with soaring ceilings and light filtering in through stained glass windows adds a reverence to her music. She plays with her eyes closed, head bowed as if in prayer. Here, Muhammad isn’t just playing music; she’s channeling something bigger through it.\u003c/p>\n\u003cp>“The spirit of humanity, even in the midst of the madness as we see it now. I know the spirit is good. The real spirit is good. I get a chance to evoke it every opportunity I get.”\u003c/p>\n\u003cp>It’s what keeps her as excited about the harp today as she was when she got her first one on layaway 30 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> 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>San Francisco-based band Starfish Prime has been influenced 100% by the city they’re from, says band member Joey Goodman, who has a background in jazz and an affinity for beatnik literature and “old hippie” writers. Half the band has Grateful Dead roots, while the other half, he says, has roots in jazz.\u003c/p>\n\u003cp>“I think if you move somewhere and you appreciate the beauty and the history of its music scene, then I think it’s almost inevitable that your sound will reflect its history somehow,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opening lyrics of their song “62nd Street” have fog and buses, both of which are quintessentially San Francisco. They recorded the song live, Goodman says because they “like doing things by the seat of their pants.” And the meaning of “62nd Street”?\u003c/p>\n\u003cp>“I don’t know if this is fun to reveal or not, but the title of 62nd Street is a pun on 60 seconds, the amount of time … the fact that one place can, in a short amount of time, change meanings so severely. … You can pass someplace and, in different times of your life, think about it so fondly or so regretfully, even though it’s the same place.”\u003c/p>\n\u003cp>But Goodman doesn’t want the listener to focus too much on that. He believes listeners can bring whatever meaning they have to it.\u003c/p>\n\u003cp>Starfish Prime are guitarist and lead vocals Joey Goodman, Nathan Kruse on keyboards, Ben Stolz on drums and Alex Wolfert on bass. Goodman and Kruse met as students at UC Santa Barbara, both of them jazz musicians who started jamming together. They eventually met drummer Stolz and through friends Wolfert. Goodman says they all get along great and that there’s no “\u003cspan style=\"font-weight: 400\">battling at all of personalities,” which comes through in the recording of “62nd Street.”\u003c/span>\u003c/p>\n\u003cp>“I think you can tell that we play well together. … Once the band knows the vibe of the melody and the words, we really just stay out of each other’s way, and we appreciate the idiosyncrasies each player has.”\u003c/p>\n\u003cp>You can see Starfish Prime perform live at Green Apple Books (9th Avenue location) in San Francisco on Aug. 24 at 5:30 p.m.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The opening lyrics of their song “62nd Street” have fog and buses, both of which are quintessentially San Francisco. They recorded the song live, Goodman says because they “like doing things by the seat of their pants.” And the meaning of “62nd Street”?\u003c/p>\n\u003cp>“I don’t know if this is fun to reveal or not, but the title of 62nd Street is a pun on 60 seconds, the amount of time … the fact that one place can, in a short amount of time, change meanings so severely. … You can pass someplace and, in different times of your life, think about it so fondly or so regretfully, even though it’s the same place.”\u003c/p>\n\u003cp>But Goodman doesn’t want the listener to focus too much on that. He believes listeners can bring whatever meaning they have to it.\u003c/p>\n\u003cp>Starfish Prime are guitarist and lead vocals Joey Goodman, Nathan Kruse on keyboards, Ben Stolz on drums and Alex Wolfert on bass. Goodman and Kruse met as students at UC Santa Barbara, both of them jazz musicians who started jamming together. They eventually met drummer Stolz and through friends Wolfert. Goodman says they all get along great and that there’s no “\u003cspan style=\"font-weight: 400\">battling at all of personalities,” which comes through in the recording of “62nd Street.”\u003c/span>\u003c/p>\n\u003cp>“I think you can tell that we play well together. … Once the band knows the vibe of the melody and the words, we really just stay out of each other’s way, and we appreciate the idiosyncrasies each player has.”\u003c/p>\n\u003cp>You can see Starfish Prime perform live at Green Apple Books (9th Avenue location) in San Francisco on Aug. 24 at 5:30 p.m.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "outside-lands-2024-tickets-parking-closures-food-bart-muni-bag-rules",
"title": "Outside Lands 2024: From Parking and Road Closures to Will Call, Food and Bag Rules",
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"headTitle": "Outside Lands 2024: From Parking and Road Closures to Will Call, Food and Bag Rules | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13956373/outside-lands-lineup-2024-san-francisco\">San Francisco’s biggest music festival, Outside Lands\u003c/a>, is coming to Golden Gate Park this weekend with a 2024 lineup that includes The Killers, Sabrina Carpenter, Chappell Roan, Post Malone, Grace Jones and Victoria Monét.\u003c/p>\n\u003cp>But if you nabbed tickets to the \u003ca href=\"https://sfoutsidelands.com/\">three-day festival that starts Friday, Aug. 9 and lasts through Sunday, Aug. 11\u003c/a>, you might have questions about parking, public transit, the bag policy and more. After all, Outside Lands is a huge, sprawling event that takes over a large part of Golden Gate Park and impacts a lot of the surrounding areas of the Richmond and Sunset districts in San Francisco.\u003c/p>\n\u003cp>So keep reading for our guide to this year’s Outside Lands festival with everything you need to know, from what to bring to Outside Lands, the weather in Golden Gate Park, how to buy tickets and how will call works, maps of the festival, road closures and more.\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#outsidelandstickets\">Can I still buy tickets for Outside Lands?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#outsidelands-will-call-box-office\">Where is the Outside Lands will call or box office to pick up my wristband?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#food-outside-lands\">Can I bring my own food to Outside Lands?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#parkingoutsidelands\">Where can I find parking for Outside Lands?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#outsidelandsroadclosures\">What are the Outside Lands road closures, and where can I get dropped off?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#wristbandoutsidelands\">Can I take off my wristband or leave Outside Lands to reenter?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#outsidelandsbartmuni\">What’s the best way to get to Golden Gate Park using public transit?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#banneditemsoutsidelands\">What are the bag rules at Outside Lands?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"outsidelandstickets\">\u003c/a>Can I still get tickets for Outside Lands 2024?\u003c/h2>\n\u003cp>As of Wednesday, \u003ca href=\"https://sfoutsidelands.com/tickets/\">single-day tickets and three-day tickets are still available for Outside Lands.\u003c/a>\u003c/p>\n\u003cp>In previous years, tickets have frequently sold out a few days before the festival.\u003c/p>\n\u003ch2>What’s the Outside Lands 2024 schedule, and when does the festival start?\u003c/h2>\n\u003cp>The Outside Lands will call opens at 10 a.m., gates open at 11 a.m., and the music lineup begins at 12 p.m. on Friday, Aug. 9, Saturday, Aug. 10 and Sunday, Aug. 11.\u003c/p>\n\u003cp>Take a look at \u003ca href=\"https://sfoutsidelands.com/schedule/#/\">the Outside Lands lineup and full schedule\u003c/a> for each day to see when each act is playing.\u003c/p>\n\u003ch2>\u003ca id=\"outsidelands-will-call-box-office\">\u003c/a>Where is the will call to pick up my wristband for Outside Lands?\u003c/h2>\n\u003cp>If you bought your tickets after July 30, you’ll have to pick up your wristband at will call in Golden Gate Park during the week of the festival or when you first arrive at Outside Lands. (The box office at Bill Graham Civic Auditorium is no longer open for picking up Outside Lands wristbands.)\u003c/p>\n\u003cp>You can pick up your wristband at the Marx Meadow will call (25th & Fulton) in Golden Gate Park, which is open:\u003c/p>\n\u003cul>\n\u003cli>Wednesday, Aug. 7 (1–7 p.m.)\u003c/li>\n\u003cli>Thursday, Aug. 8 (1–7 p.m.)\u003c/li>\n\u003cli>Friday, Aug. 9 (10 a.m.–9 p.m.)\u003c/li>\n\u003cli>Saturday, Aug. 10 (10 a.m.–9 p.m.)\u003c/li>\n\u003cli>Sunday, Aug. 11 (10 a.m.–8 p.m.)\u003c/li>\n\u003c/ul>\n\u003cp>If you have a VIP or Golden Gate Club ticket, you can use the VIP will call at 36th and JFK Drive, near the VIP entrance, which is open on festival days only (10:30 a.m.–8 p.m. Friday and Saturday, 10:30 a.m.–7 p.m. Sunday.)\u003c/p>\n\u003cp>What if you purchased your Outside Lands tickets before July 30 but haven’t received your wristbands yet? Festival organizers say if you didn’t receive a tracking number by this week, you should \u003ca href=\"https://support.frontgatetickets.com/hc/en-us/requests/new\">submit a request with Front Gate Tickets\u003c/a> as soon as possible.\u003c/p>\n\u003ch2>\u003ca id=\"outsidelandsroadclosures\">\u003c/a>Getting to Outside Lands by car: Where are the road closures?\u003c/h2>\n\u003cp>Outside Lands organizers (and KQED reporters) recommend ticket holders\u003ca href=\"https://sfoutsidelands.com/info/\"> \u003cem>don’t\u003c/em> drive to the festival\u003c/a> — and when you read our information about road closures and the parking situation, you may understand why.\u003c/p>\n\u003cp>\u003cstrong>Road closures for Outside Lands\u003c/strong>\u003c/p>\n\u003cp>These are the \u003ca href=\"https://sfrecpark.org/547/Golden-Gate-Park-Road-Closures\">entrances closed on the north side of Golden Gate Park\u003c/a>, according to the park’s official website: Transverse Drive at Crossover Drive, JFK Drive at Transverse Drive, 30th Avenue, 36th Avenue, 43rd Avenue (Chain of Lakes), 47th Avenue and The Great Highway at JFK Drive.[aside postID=arts_13956373 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2156725960-1020x679.jpg']\u003c/p>\n\u003cp>These are the entrances closed on the south side of the park: Martin Luther King Jr. Drive at Crossover Drive, 25th Avenue, Sunset Boulevard at Irving Street, 41st Avenue (Chain of Lakes) and Martin Luther King Jr. Drive at Lincoln Avenue.\u003c/p>\n\u003cp>Below is a\u003ca href=\"https://sfoutsidelands.com/assets/ol24_publicletter_map.pdf\"> map of the road closures near the park\u003c/a>. Roads will be closed from Thursday, Aug. 8 at 8 p.m. to Sunday, Aug. 13 at 11 p.m..\u003c/p>\n\u003cfigure id=\"attachment_11999217\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11999217\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park.png\" alt=\"\" width=\"1920\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park-800x375.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park-1020x478.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park-160x75.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park-1536x720.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A map showing the various road closures around Golden Gate Park for Outside Lands 2024. \u003ccite>(SF Outside Lands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you have any \u003ca href=\"https://sfoutsidelands.com/311/\">questions about road closures or restrictions\u003c/a>, you can call 415-965-8001 or email community@sfoutsidelands.com.\u003c/p>\n\u003cp>\u003cstrong>Where can I get picked up or dropped off at Outside Lands?\u003c/strong>\u003c/p>\n\u003cp>If you’re looking for a good pickup or drop-off point — either for yourself or because you’re someone else’s ride — Outside Lands recommends \u003ca href=\"https://sfoutsidelands.com/info/\">“several blocks north or south of the park”\u003c/a> — particularly advising that you try Geary Boulevard or Balboa Street to the north or Irving Street to the south.\u003c/p>\n\u003cp>In the Outer Richmond (the north side of the park near the high school), you can get \u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024\">picked up or dropped off\u003c/a> at:\u003c/p>\n\u003cul>\n\u003cli>The north side of Irving, between 25th and 27th avenues,\u003c/li>\n\u003cli>The north side of Balboa, between 30th and 31st avenues,\u003c/li>\n\u003cli>The west side of 30th Avenue, between Balboa and Anza.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Advice for using rideshares and taxis\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/info/\">If you use rideshare apps like Lyft or Uber\u003c/a>, the official Outside Lands pickup and drop-off locations are Balboa & 30th Avenue or Irving Street between 25th and 27th avenues. Be aware that these apps will impose dynamic pricing for an event like Outside Lands, which will make even a short ride much more expensive than usual.[aside postID=arts_13962095 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/MiLES.MAIN_-1020x680.jpg']\u003c/p>\n\u003cp>If you are \u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024#TaxiStands\">using a taxi to get to or from Outside Lands\u003c/a> any time from Friday, Aug. 9 at 9 a.m. to Monday, Aug. 11 at 2 a.m., there are taxi stands:\u003c/p>\n\u003cul>\n\u003cli>Southside of Fulton Street between 28th and 29th avenues\u003c/li>\n\u003cli>Southside of Fulton Street between 24th and 25th avenues\u003c/li>\n\u003cli>Northside of Fulton Street between 33rd and 34th avenues\u003c/li>\n\u003cli>Northside of Irving Street between 26th and 27th avenues\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Are there no-go areas for pickup and drop-off for Outside Lands?\u003c/strong>\u003c/p>\n\u003cp>According to SFMTA, \u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024\">these areas are strictly forbidden to pick someone up or drop someone off\u003c/a>:\u003c/p>\n\u003cp>Outer Sunset, south side of the park:\u003c/p>\n\u003cul>\n\u003cli>Lincoln Way, between 25th and 41st avenues.\u003c/li>\n\u003c/ul>\n\u003cp>Outer Richmond, north side of the park:\u003c/p>\n\u003cul>\n\u003cli>Fulton, between 26th and 37th avenues.\u003c/li>\n\u003cli>26th, 27th, 28th, 29th, 30th, 31st, 32nd, 33rd, 34th, 35th, 36th and 37th avenues, between Fulton and Cabrillo.\u003c/li>\n\u003c/ul>\n\u003cp>Golden Gate Park from Friday at 11 a.m. to Sunday at 11:59 p.m.:\u003c/p>\n\u003cul>\n\u003cli>All streets in Golden Gate Park, including Crossover.\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"parkingoutsidelands\">\u003c/a>Where can I find parking for Outside Lands?\u003c/h2>\n\u003cp>Let’s get this out of the way: There is no “official” general parking for Outside Lands. (Jump straight to \u003ca href=\"#accessibilityoutsidelands\">more information on accessible parking below\u003c/a>.)\u003c/p>\n\u003cp>Remember, if you’re choosing to try to park near Outside Lands, break-ins are common in San Francisco — so leave nothing visible in your vehicle, and if at all possible, leave your trunk exposed to show it’s empty. Never 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 our full guide to reducing your chances of suffering a car break-in in San Francisco\u003c/a> (and if you’re unlucky enough to have your car broken into, our guide to \u003ca href=\"https://www.kqed.org/news/11959477/car-break-ins-bay-area-glass-repair-what-to-do\">how to claim the costs of window repair and stolen items from your insurance\u003c/a>.)\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#tellus\">Tell us: What else would you like to read a guide about?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_11894419\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894419\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Josh-Withers-scaled-e1635549076106.jpg\" alt=\"A large crowd at a nighttime outdoor concert.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">A packed crowd at the Outside Lands Festival in Golden Gate Park in 2019, the last time the event was held before the COVID-19 pandemic. \u003ccite>(Josh Withers/Outside Lands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can I pay to use a resident’s parking spot?\u003c/strong>\u003c/p>\n\u003cp>Some schools near Golden Gate Park sell their parking during Outside Lands to fundraise money, such as \u003ca href=\"https://www.argonnesf.org/outsidelandsparking.html\">Argonne Elementary School (which does not take reservations.)\u003c/a>\u003c/p>\n\u003cp>Residents around Golden Gate Park may also sell their parking spaces to festival visitors. You can find these on Reddit, Facebook or even by trolling through the Sunset District in person and seeing who has signed up. If you choose to go this route to find parking, stay extra vigilant for scams, and make sure you’re always sending money to the right person.\u003c/p>\n\u003cp>\u003cstrong>What about blocking a driveway, even if it’s mine?\u003c/strong>\u003c/p>\n\u003cp>According to the SFMTA, \u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024\">the San Francisco Transportation Code allows residents to park in the street and block their own driveway\u003c/a> “provided the driveway does not serve more than two tenants.” Any multifamily units of three or more, SFMTA says, may not block their own driveway. Vehicles may also never be parked on the sidewalk.\u003c/p>\n\u003cp>During Outside Lands, the SFMTA will enforce blocked driveways “on a complaint basis only,” SFMTA says. 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\u003cp>If you live near Golden Gate Park, you can \u003ca href=\"https://www.sfoutsidelands.com/311/\">check Outside Lands’ Neighborhood 311 advisory page for local residents\u003c/a> for any updates.\u003c/p>\n\u003ch2>\u003ca id=\"outsidelandsbartmuni\">\u003c/a>How to get to Outside Lands using public transit\u003c/h2>\n\u003cp>\u003cstrong>Getting to Outside Lands using SF Muni\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/sites/default/files/imce-images/2022/map_-_outside_lands_-_transportation_map.png\">SF Muni has a useful map of your options for transportation routes to Outside Lands (PNG)\u003c/a>, and the agency has its own\u003ca href=\"https://www.sfmta.com/blog/plan-your-next-golden-gate-park-trip-muni\"> guide on getting to Golden Gate Park on Muni.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024#MuniService\">Muni will provide extra service\u003c/a> on the N Judah and 5R Fulton Rapid. However, remember: The extra service on 5R will not serve the entire route. Each night of the festival, \u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-11-13-2023#MuniService\">there will be a Muni 5X Fulton Express service from Golden Gate Park to Civic Center BART Station\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-11-13-2023#MuniService\">Bookmark the SFMTA website\u003c/a> for a comprehensive list of extra stops provided by Muni for the weekend of Outside Lands.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024#MuniService\">Other public transit advisories\u003c/a>, as noted on SFMTA’s website:\u003c/p>\n\u003cul>\n\u003cli>The \u003ca href=\"https://www.sfmta.com/routes/7-haight-noriega\">7 Haight/Noriega\u003c/a>,\u003ca href=\"https://www.sfmta.com/routes/28-19th-avenue\"> 28 19th Avenue\u003c/a>, \u003ca href=\"https://www.sfmta.com/routes/29-sunset\">29 Sunset\u003c/a> and \u003ca href=\"https://www.sfmta.com/routes/44-oshaughnessy\">44 O’Shaughnessy\u003c/a> serve areas of Golden Gate Park and may be subject to crowds.\u003c/li>\n\u003cli>The \u003ca href=\"https://www.sfmta.com/routes/38-geary\">38 Geary\u003c/a> and \u003ca href=\"https://www.sfmta.com/routes/38r-geary-rapid\">38R Geary Rapid routes\u003c/a>, which are four blocks north of the Fulton/30th entrance to Golden Gate Park, may also be considered as alternative options to and from the event.\u003c/li>\n\u003c/ul>\n\u003cp>You can \u003ca href=\"https://511.org/\">plan your Muni trip on 511.org\u003c/a> and \u003ca href=\"https://511.org/\">check Muni’s arrival information on Next Bus\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Using the official Outside Lands shuttle\u003c/strong>\u003c/p>\n\u003cp>You can hop a ride on the \u003ca href=\"https://outsidelands.frontgatetickets.com/event/4am8dj5mr25vspoj\">Outside Lands’ shuttle, which departs from the Bill Graham Civic Auditorium\u003c/a> to the south entrance of Outside Lands in Golden Gate Park. Civic Center BART station is next to the Bill Graham Auditorium.\u003c/p>\n\u003cp>\u003ca href=\"https://outsidelands.frontgatetickets.com/event/4am8dj5mr25vspoj\">These “coach-style buses” are pre-paid and cost $29.50\u003c/a> for a one-day pass (with a service fee.) As of Thursday, \u003ca href=\"https://outsidelands.frontgatetickets.com/event/4am8dj5mr25vspoj\">only the highest tier of three-day ticket is available for $44.50\u003c/a>.\u003c/p>\n\u003cp>The service will begin running each day at 11 a.m. and run “continuously all day with limited coverage” from 5 p.m. to 8 p.m., with the last shuttle to the festival leaving Bill Graham Civic Auditorium at 8 p.m. As for getting back, return shuttles run until one hour after the music ends each night, festival organizers say.\u003c/p>\n\u003cp>Outside Lands officials strongly recommend taking BART to Civic Center to pick up the official shuttle, but if you do drive, paid parking is available in the Civic Center Parking Garage adjacent to the Bill Graham Civic Auditorium for a fee (entrance at McAllister Street between Polk Street and Larkin Street.)\u003c/p>\n\u003cp>\u003cstrong>Getting to Outside Lands on BART\u003c/strong>\u003c/p>\n\u003cp>The nearest BART station to Golden Gate Park is Civic Center. From there, you can \u003ca href=\"https://www.sfmta.com/blog/plan-your-next-golden-gate-park-trip-muni\">travel onward to Outside Lands using SF Muni\u003c/a> or \u003ca href=\"https://sfoutsidelands.com/info/\">use the official paid Outside Lands shuttle,\u003c/a> which departs from the nearby Bill Graham Civic Auditorium.\u003c/p>\n\u003cfigure id=\"attachment_11999220\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11999220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni.png\" alt=\"\" width=\"1920\" height=\"830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni-800x346.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni-1020x441.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni-160x69.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni-1536x664.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A map showing SF Muni routes around Golden Gate Park for Outside Lands 2024. \u003ccite>(SFMTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/info/\">BART service will run until “around midnight” on all three days\u003c/a>, the Outside Lands official guidance says. Parking at BART stations with BART-run parking lots is free after 3 p.m. on Friday and free all day on Saturday and Sunday (except for the Milpitas and Berryessa/North San Jose stations, which still charge on weekends).\u003c/p>\n\u003cp>You can \u003ca href=\"https://www.bart.gov/planner\">use the BART Trip Planner to hash out the details.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Getting to Outside Lands by bike\u003c/strong>\u003c/p>\n\u003cp>You can park your bikes at the festival, with parking available at the eastern and southern parts of the festival site. \u003ca href=\"https://sfoutsidelands.com/assets/ol24_show_bike_map.pdf\">See a map of bike route closures and detours for Outside Lands.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lyft.com/bikes/bay-wheels\">Bay Wheels, run by rideshare app Lyft\u003c/a>, is available at the festival on JFK Drive, just east of Transverse Drive, to park your bike or get a bike home. \u003ca href=\"https://account.baywheels.com/map\">Use this website to find Bay Wheels near you.\u003c/a>\u003c/p>\n\u003ch2>Make a plan for getting home each night (and know your last transit option)\u003c/h2>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/info/\">Music ends at 10 p.m. on all days.\u003c/a>\u003c/p>\n\u003cp>Phil Ginsburg, general manager of San Francisco Parks and Recreation, told KQED in 2023 that exit routes are “very well marked and the strategies for both entering and leaving the festival are pretty well established at this point and we’ll have tons of security and there’s a lot of lightning in the area to keep people safe as they exit the festival.”\u003c/p>\n\u003cp>Use \u003ca href=\"https://www.bart.gov/planner\">BART’s Trip Planner\u003c/a> and \u003ca href=\"https://www.sfmta.com/muni-transit\">SFMTA’s Trip Planner\u003c/a> to check what time the last service of the day is.\u003c/p>\n\u003cp>If you’re hoping to get a rideshare like Uber or Lyft home from Outside Lands, remember \u003ca href=\"#outsidelandsroadclosures\">those recommended pickup locations around Golden Gate Park \u003c/a>— and that dynamic surge pricing for these services will almost certainly mean that ordering an Uber or Lyft home will be pretty pricey. (If you’re determined, you may wish to consider pre-organizing a crew to share the ride and split the cost.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>\u003ca id=\"wristbandoutsidelands\">\u003c/a>Can I take off my wristband or leave Outside Lands to reenter?\u003c/h2>\n\u003cp>No, keep your wristband on your wrist if you’re attending multiple days of Outside Lands. (\u003ca href=\"https://www.sfoutsidelands.com/news/know-before-you-go/\">It’s waterproof, so you can shower with it.\u003c/a>)\u003c/p>\n\u003cp>Ticketholders all get a wristband — and festival organizers want you to “treat it like cash.” In other words, the festival won’t replace your wristband if it gets lost or stolen. Do not cut it or twist your wristband because it can fray, and the festival will not replace it in those cases, either.\u003c/p>\n\u003cp>Same-day reentry is not allowed. But if you \u003cem>have\u003c/em> to leave the festival, festival organizers ask that you speak with a supervising staff member at an exit before leaving to work out the details.\u003c/p>\n\u003ch2>\u003ca id=\"accessibilityoutsidelands\">\u003c/a>What to know about accessibility at Outside Lands\u003c/h2>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/accessibility/\">There is a designated ADA Entrance at 36th Avenue & JFK\u003c/a>. This is where the Access Center is, and you can request a golf cart inside or get a collar for your service animal. Accessible pickup and drop-off is at 36th and Fulton. If you are taking a rideshare, let your driver know to tell the parking staff that you need access to the ADA parking, which is also at the 36th and Fulton entrance.\u003c/p>\n\u003cp>There is limited ADA parking available, and it is first come, first served. You can access this parking by entering 36th Avenue and Fulton and talking to the gate agents. It is worth noting that some of the ADA parking is on roads with uneven terrain, with a walk to the ADA gate. Notify the parking staff so they can request a shuttle for you to the gate.\u003c/p>\n\u003cp>There is a lot of demand for shuttles, so Outside Lands is limiting “capacity to our disabled patrons plus one companion. Because of the ‘limited number’ of shuttles, Outside Lands organizers advise disabled festival goers to “please expect a wait, and plan your requests accordingly.”\u003c/p>\n\u003cp>Outside Lands provides elevated platforms at the following stages: Sutro, Twin Peaks and Lands End stages. \u003ca href=\"https://sfoutsidelands.com/accessibility/\">There are “banquet style” folding chairs available at all of the platforms.\u003c/a>\u003c/p>\n\u003cp>ADA restrooms are next to all of the accessible viewing platforms. Restrooms at Outside Lands also have accessible options at the ends.\u003c/p>\n\u003cp>Festival organizers recommend that you email \u003ca href=\"mailto:access@sfoutsidelands.com\">access@sfoutsidelands.com\u003c/a> ahead of time with any accessibility questions or requests.\u003c/p>\n\u003ch2>Do I need to bring a jacket to Outside Lands?\u003c/h2>\n\u003cp>Yes, it’s August. Yes, it’s Golden Gate Park. Yes, you still need to bring a jacket.\u003c/p>\n\u003cp>You can keep an eye on \u003ca href=\"https://forecast.weather.gov/MapClick.php?lat=37.7771&lon=-122.4196\">the National Weather Service’s forecast for San Francisco\u003c/a> as the festival draws closer. Right now, the forecast in the City calls for “mostly sunny” weather this weekend, with highs near 69 on Friday, 70 on Saturday and 68 on Sunday. But Golden Gate Park is near the ocean, and it gets \u003cem>cold\u003c/em> even when other parts of San Francisco are toasty. Forgetting layers for a day in the park is a classic mistake to make.\u003c/p>\n\u003cp>Also, another outfit suggestion from experienced KQED reporters: Comfortable shoes you don’t mind getting dirty.\u003c/p>\n\u003cp>You can also consider \u003ca href=\"https://www.nytimes.com/wirecutter/reviews/best-earplugs-for-concerts/\">buying earplugs that allow for sounds to get through for around $30\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"banneditemsoutsidelands\">\u003c/a>What can I bring to Outside Lands?\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfoutsidelands.com/news/know-before-you-go/\">Some items you can bring to Outside Lands\u003c/a> \u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Clear backpacks and bags.\u003c/li>\n\u003cli>Non-clear small bags, fanny packs and purses up to 6” x 8” x 3”.\u003c/li>\n\u003cli>Empty dedicated hydration packs with a capacity under 2.5L/150 inches and just one pocket (standard-size backpacks with hydration bladders will not be allowed into the festival.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/sustainability/refillable-water-program/\">Ticketholders are encouraged to bring a reusable water bottle\u003c/a> and refill it at one of the water stations around the festival.\u003c/p>\n\u003cp>You can \u003ca href=\"https://secure.mobilecharginglockers.com/affiliate/website/event/outside-lands-locker-rental-2024\">reserve a locker\u003c/a> on the festival grounds in advance, but be sure to do so as soon as possible, as these reservations can sell out quickly.\u003c/p>\n\u003cfigure id=\"attachment_11957311\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11957311\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/outside-lands-bag-policy.jpg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/outside-lands-bag-policy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/outside-lands-bag-policy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/outside-lands-bag-policy-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/outside-lands-bag-policy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/outside-lands-bag-policy-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An illustration showing the bag policy at Outside Lands \u003ccite>(sfoutsidelands.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some items you \u003cem>can’t\u003c/em> bring to Outside Lands\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Glow-sticks, laser pointers (however glow bracelets and necklaces are allowed).\u003c/li>\n\u003cli>Weapons, fireworks (including pocket knives).\u003c/li>\n\u003cli>Alcohol.\u003c/li>\n\u003cli>Pets (apart from service dogs).\u003c/li>\n\u003cli>Glass or cans.\u003c/li>\n\u003cli>Video or audio recording equipment (including drones, GoPros and selfie sticks).\u003c/li>\n\u003cli>Professional still camera equipment with “a detachable lens longer than 2 inches, tripods, big zooms or commercial use rigs.”\u003c/li>\n\u003cli>Skateboards, scooters or bikes.\u003c/li>\n\u003cli>Strollers, wagons or carts.\u003c/li>\n\u003cli>Hammocks, umbrellas, picnic baskets, coolers, liquids (excluding personal-sized hand sanitizers).\u003c/li>\n\u003cli>Chairs with legs or tents.\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/info/\">See the full list of items allowed or prohibited at Outside Lands.\u003c/a>\u003c/p>\n\u003ch2>\u003ca id=\"food-outside-lands\">\u003c/a>Can I bring my own food into Outside Lands, and what food is available there?\u003c/h2>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/info/\">The Outside Lands FAQ and venue information\u003c/a> states that bringing your own alcohol into the festival is prohibited, but does not explicitly ban bringing your own food. Just remember: the \u003ca href=\"#banneditemsoutsidelands\">Outside Lands bag policy prohibits common kinds of non-clear backpacks.\u003c/a>\u003c/p>\n\u003cp>You can \u003ca href=\"https://www.sfoutsidelands.com/food-and-drink/taste-of-the-bay-area/\">see the Outside Lands food vendor list ahead of time (DOCX)\u003c/a>, with vegan options marked, as well as \u003ca href=\"https://www.sfoutsidelands.com/experiences/\">the drinks list (including alcoholic and non-alcoholic options)(DOCX\u003c/a>\u003ca href=\"https://www.dropbox.com/scl/fi/ozi9fn7wdoreb0e74k1dj/OL23-Drink-Release_7-28-Update.docx?rlkey=5hfb8rfe22zxi8mjp1qg8wdvs&dl=0\">)\u003c/a>.\u003c/p>\n\u003cp>Or, as KQED Arts reported back in 2014, \u003ca href=\"https://www.kqed.org/arts/10139926/how-to-survive-outside-lands-a-veterans-guide\">another option apparently favored by some locals is to “bury bottles of liquor in Golden Gate Park a week before the festival\u003c/a> and dig it up later after you’ve slid past security.”\u003c/p>\n\u003ch2>Any other useful Outside Lands tips I should know?\u003c/h2>\n\u003cp>If you are looking for shortcuts to other stages (like a tunnel between Polo Field and Sutro Stage) or emergency exits, \u003ca href=\"https://sfoutsidelands.com/assets/outsidelands24_patronmap.png\">save the festival’s official map to your Camera Roll (JPG)\u003c/a>:\u003c/p>\n\u003cp>Here are some other insider tips from KQED reporters:\u003c/p>\n\u003cul>\n\u003cli>If you are trying to see someone on the Polo Field, get there early. It gets very crowded quickly.\u003c/li>\n\u003cli>There have been bleachers and ADA platforms in Hellman Hollow, near the Twin Peaks stage.\u003c/li>\n\u003cli>Sometimes artists hang out at the food trucks, talking to fans (and, if you are lucky, performing a quick song.)\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13862534/headed-to-outside-lands-heres-everything-you-need-to-know#:~:text=The%20festival%20has%20a%20Sober,sane%20among%20all%20party%20people.\">There is a sober tent available at Outside Lands\u003c/a> for those who feel like they need someone to talk to among the partying. It is near the food trucks.\u003c/li>\n\u003cli>You can now get \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">married at Outside Lands.\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>What should I do in a crowd?\u003c/h2>\n\u003cp>\u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-11-13-2023\">SFMTA expects around 75,000 people each day of the festival\u003c/a> — and crowds can be overwhelming for some, especially with predictions of a \u003ca href=\"https://blockclubchicago.org/2024/08/06/chappell-roan-made-lollapalooza-history/\">huge turnout for singer Chappell Roan\u003c/a>. 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> and \u003ca href=\"https://www.change.org/p/urge-outside-lands-to-have-better-exits-to-prevent-astroworld-festival-like-crowd-crush\">Outside Lands fans even asking for better exits to prevent crowd crushes\u003c/a>, it does not hurt to be cautious and prepared. \u003ca href=\"https://www.npr.org/2021/11/09/1053828800/south-korea-seoul-halloween-crowd-safety-tips\">Read 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 and 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\u003ch2>I can’t afford tickets — are there other related performances I can enjoy?\u003c/h2>\n\u003cp>Yes, \u003ca href=\"https://sfoutsidelands.com/night-shows/night-shows/\">Outside Lands has several after-parties around San Francisco for which you can get tickets\u003c/a> from Thursday through Sunday, including one featuring \u003ca href=\"https://www.eventbrite.com/e/princess-w-willow-pill-the-official-outside-lands-afterparty-tickets-940612757077\">RuPaul Drag Race winner Willow Pill\u003c/a>.\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline, Nastia Voynovskaya and Carly Severn contributed to this story\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 \u003ca href=\"https://www.kqed.org/explainers\">the answers to navigate life in the Bay Area in 2024\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\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "What can you bring to Outside Lands? Where is will call, what will the weather be like in Golden Gate Park this weekend, and can you bring your own food? We have everything you need to know about Outside Lands 2024, including the best ways to get home.",
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"title": "Outside Lands 2024: From Parking and Road Closures to Will Call, Food and Bag Rules | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13956373/outside-lands-lineup-2024-san-francisco\">San Francisco’s biggest music festival, Outside Lands\u003c/a>, is coming to Golden Gate Park this weekend with a 2024 lineup that includes The Killers, Sabrina Carpenter, Chappell Roan, Post Malone, Grace Jones and Victoria Monét.\u003c/p>\n\u003cp>But if you nabbed tickets to the \u003ca href=\"https://sfoutsidelands.com/\">three-day festival that starts Friday, Aug. 9 and lasts through Sunday, Aug. 11\u003c/a>, you might have questions about parking, public transit, the bag policy and more. After all, Outside Lands is a huge, sprawling event that takes over a large part of Golden Gate Park and impacts a lot of the surrounding areas of the Richmond and Sunset districts in San Francisco.\u003c/p>\n\u003cp>So keep reading for our guide to this year’s Outside Lands festival with everything you need to know, from what to bring to Outside Lands, the weather in Golden Gate Park, how to buy tickets and how will call works, maps of the festival, road closures and more.\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#outsidelandstickets\">Can I still buy tickets for Outside Lands?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#outsidelands-will-call-box-office\">Where is the Outside Lands will call or box office to pick up my wristband?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#food-outside-lands\">Can I bring my own food to Outside Lands?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#parkingoutsidelands\">Where can I find parking for Outside Lands?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#outsidelandsroadclosures\">What are the Outside Lands road closures, and where can I get dropped off?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#wristbandoutsidelands\">Can I take off my wristband or leave Outside Lands to reenter?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#outsidelandsbartmuni\">What’s the best way to get to Golden Gate Park using public transit?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#banneditemsoutsidelands\">What are the bag rules at Outside Lands?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"outsidelandstickets\">\u003c/a>Can I still get tickets for Outside Lands 2024?\u003c/h2>\n\u003cp>As of Wednesday, \u003ca href=\"https://sfoutsidelands.com/tickets/\">single-day tickets and three-day tickets are still available for Outside Lands.\u003c/a>\u003c/p>\n\u003cp>In previous years, tickets have frequently sold out a few days before the festival.\u003c/p>\n\u003ch2>What’s the Outside Lands 2024 schedule, and when does the festival start?\u003c/h2>\n\u003cp>The Outside Lands will call opens at 10 a.m., gates open at 11 a.m., and the music lineup begins at 12 p.m. on Friday, Aug. 9, Saturday, Aug. 10 and Sunday, Aug. 11.\u003c/p>\n\u003cp>Take a look at \u003ca href=\"https://sfoutsidelands.com/schedule/#/\">the Outside Lands lineup and full schedule\u003c/a> for each day to see when each act is playing.\u003c/p>\n\u003ch2>\u003ca id=\"outsidelands-will-call-box-office\">\u003c/a>Where is the will call to pick up my wristband for Outside Lands?\u003c/h2>\n\u003cp>If you bought your tickets after July 30, you’ll have to pick up your wristband at will call in Golden Gate Park during the week of the festival or when you first arrive at Outside Lands. (The box office at Bill Graham Civic Auditorium is no longer open for picking up Outside Lands wristbands.)\u003c/p>\n\u003cp>You can pick up your wristband at the Marx Meadow will call (25th & Fulton) in Golden Gate Park, which is open:\u003c/p>\n\u003cul>\n\u003cli>Wednesday, Aug. 7 (1–7 p.m.)\u003c/li>\n\u003cli>Thursday, Aug. 8 (1–7 p.m.)\u003c/li>\n\u003cli>Friday, Aug. 9 (10 a.m.–9 p.m.)\u003c/li>\n\u003cli>Saturday, Aug. 10 (10 a.m.–9 p.m.)\u003c/li>\n\u003cli>Sunday, Aug. 11 (10 a.m.–8 p.m.)\u003c/li>\n\u003c/ul>\n\u003cp>If you have a VIP or Golden Gate Club ticket, you can use the VIP will call at 36th and JFK Drive, near the VIP entrance, which is open on festival days only (10:30 a.m.–8 p.m. Friday and Saturday, 10:30 a.m.–7 p.m. Sunday.)\u003c/p>\n\u003cp>What if you purchased your Outside Lands tickets before July 30 but haven’t received your wristbands yet? Festival organizers say if you didn’t receive a tracking number by this week, you should \u003ca href=\"https://support.frontgatetickets.com/hc/en-us/requests/new\">submit a request with Front Gate Tickets\u003c/a> as soon as possible.\u003c/p>\n\u003ch2>\u003ca id=\"outsidelandsroadclosures\">\u003c/a>Getting to Outside Lands by car: Where are the road closures?\u003c/h2>\n\u003cp>Outside Lands organizers (and KQED reporters) recommend ticket holders\u003ca href=\"https://sfoutsidelands.com/info/\"> \u003cem>don’t\u003c/em> drive to the festival\u003c/a> — and when you read our information about road closures and the parking situation, you may understand why.\u003c/p>\n\u003cp>\u003cstrong>Road closures for Outside Lands\u003c/strong>\u003c/p>\n\u003cp>These are the \u003ca href=\"https://sfrecpark.org/547/Golden-Gate-Park-Road-Closures\">entrances closed on the north side of Golden Gate Park\u003c/a>, according to the park’s official website: Transverse Drive at Crossover Drive, JFK Drive at Transverse Drive, 30th Avenue, 36th Avenue, 43rd Avenue (Chain of Lakes), 47th Avenue and The Great Highway at JFK Drive.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These are the entrances closed on the south side of the park: Martin Luther King Jr. Drive at Crossover Drive, 25th Avenue, Sunset Boulevard at Irving Street, 41st Avenue (Chain of Lakes) and Martin Luther King Jr. Drive at Lincoln Avenue.\u003c/p>\n\u003cp>Below is a\u003ca href=\"https://sfoutsidelands.com/assets/ol24_publicletter_map.pdf\"> map of the road closures near the park\u003c/a>. Roads will be closed from Thursday, Aug. 8 at 8 p.m. to Sunday, Aug. 13 at 11 p.m..\u003c/p>\n\u003cfigure id=\"attachment_11999217\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11999217\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park.png\" alt=\"\" width=\"1920\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park-800x375.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park-1020x478.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park-160x75.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-2024-Road-Closures-Golden-Gate-Park-1536x720.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A map showing the various road closures around Golden Gate Park for Outside Lands 2024. \u003ccite>(SF Outside Lands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you have any \u003ca href=\"https://sfoutsidelands.com/311/\">questions about road closures or restrictions\u003c/a>, you can call 415-965-8001 or email community@sfoutsidelands.com.\u003c/p>\n\u003cp>\u003cstrong>Where can I get picked up or dropped off at Outside Lands?\u003c/strong>\u003c/p>\n\u003cp>If you’re looking for a good pickup or drop-off point — either for yourself or because you’re someone else’s ride — Outside Lands recommends \u003ca href=\"https://sfoutsidelands.com/info/\">“several blocks north or south of the park”\u003c/a> — particularly advising that you try Geary Boulevard or Balboa Street to the north or Irving Street to the south.\u003c/p>\n\u003cp>In the Outer Richmond (the north side of the park near the high school), you can get \u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024\">picked up or dropped off\u003c/a> at:\u003c/p>\n\u003cul>\n\u003cli>The north side of Irving, between 25th and 27th avenues,\u003c/li>\n\u003cli>The north side of Balboa, between 30th and 31st avenues,\u003c/li>\n\u003cli>The west side of 30th Avenue, between Balboa and Anza.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Advice for using rideshares and taxis\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/info/\">If you use rideshare apps like Lyft or Uber\u003c/a>, the official Outside Lands pickup and drop-off locations are Balboa & 30th Avenue or Irving Street between 25th and 27th avenues. Be aware that these apps will impose dynamic pricing for an event like Outside Lands, which will make even a short ride much more expensive than usual.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you are \u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024#TaxiStands\">using a taxi to get to or from Outside Lands\u003c/a> any time from Friday, Aug. 9 at 9 a.m. to Monday, Aug. 11 at 2 a.m., there are taxi stands:\u003c/p>\n\u003cul>\n\u003cli>Southside of Fulton Street between 28th and 29th avenues\u003c/li>\n\u003cli>Southside of Fulton Street between 24th and 25th avenues\u003c/li>\n\u003cli>Northside of Fulton Street between 33rd and 34th avenues\u003c/li>\n\u003cli>Northside of Irving Street between 26th and 27th avenues\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Are there no-go areas for pickup and drop-off for Outside Lands?\u003c/strong>\u003c/p>\n\u003cp>According to SFMTA, \u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024\">these areas are strictly forbidden to pick someone up or drop someone off\u003c/a>:\u003c/p>\n\u003cp>Outer Sunset, south side of the park:\u003c/p>\n\u003cul>\n\u003cli>Lincoln Way, between 25th and 41st avenues.\u003c/li>\n\u003c/ul>\n\u003cp>Outer Richmond, north side of the park:\u003c/p>\n\u003cul>\n\u003cli>Fulton, between 26th and 37th avenues.\u003c/li>\n\u003cli>26th, 27th, 28th, 29th, 30th, 31st, 32nd, 33rd, 34th, 35th, 36th and 37th avenues, between Fulton and Cabrillo.\u003c/li>\n\u003c/ul>\n\u003cp>Golden Gate Park from Friday at 11 a.m. to Sunday at 11:59 p.m.:\u003c/p>\n\u003cul>\n\u003cli>All streets in Golden Gate Park, including Crossover.\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"parkingoutsidelands\">\u003c/a>Where can I find parking for Outside Lands?\u003c/h2>\n\u003cp>Let’s get this out of the way: There is no “official” general parking for Outside Lands. (Jump straight to \u003ca href=\"#accessibilityoutsidelands\">more information on accessible parking below\u003c/a>.)\u003c/p>\n\u003cp>Remember, if you’re choosing to try to park near Outside Lands, break-ins are common in San Francisco — so leave nothing visible in your vehicle, and if at all possible, leave your trunk exposed to show it’s empty. Never 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 our full guide to reducing your chances of suffering a car break-in in San Francisco\u003c/a> (and if you’re unlucky enough to have your car broken into, our guide to \u003ca href=\"https://www.kqed.org/news/11959477/car-break-ins-bay-area-glass-repair-what-to-do\">how to claim the costs of window repair and stolen items from your insurance\u003c/a>.)\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#tellus\">Tell us: What else would you like to read a guide about?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_11894419\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11894419\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/10/Josh-Withers-scaled-e1635549076106.jpg\" alt=\"A large crowd at a nighttime outdoor concert.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">A packed crowd at the Outside Lands Festival in Golden Gate Park in 2019, the last time the event was held before the COVID-19 pandemic. \u003ccite>(Josh Withers/Outside Lands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can I pay to use a resident’s parking spot?\u003c/strong>\u003c/p>\n\u003cp>Some schools near Golden Gate Park sell their parking during Outside Lands to fundraise money, such as \u003ca href=\"https://www.argonnesf.org/outsidelandsparking.html\">Argonne Elementary School (which does not take reservations.)\u003c/a>\u003c/p>\n\u003cp>Residents around Golden Gate Park may also sell their parking spaces to festival visitors. You can find these on Reddit, Facebook or even by trolling through the Sunset District in person and seeing who has signed up. If you choose to go this route to find parking, stay extra vigilant for scams, and make sure you’re always sending money to the right person.\u003c/p>\n\u003cp>\u003cstrong>What about blocking a driveway, even if it’s mine?\u003c/strong>\u003c/p>\n\u003cp>According to the SFMTA, \u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024\">the San Francisco Transportation Code allows residents to park in the street and block their own driveway\u003c/a> “provided the driveway does not serve more than two tenants.” Any multifamily units of three or more, SFMTA says, may not block their own driveway. Vehicles may also never be parked on the sidewalk.\u003c/p>\n\u003cp>During Outside Lands, the SFMTA will enforce blocked driveways “on a complaint basis only,” SFMTA says. 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\u003cp>If you live near Golden Gate Park, you can \u003ca href=\"https://www.sfoutsidelands.com/311/\">check Outside Lands’ Neighborhood 311 advisory page for local residents\u003c/a> for any updates.\u003c/p>\n\u003ch2>\u003ca id=\"outsidelandsbartmuni\">\u003c/a>How to get to Outside Lands using public transit\u003c/h2>\n\u003cp>\u003cstrong>Getting to Outside Lands using SF Muni\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/sites/default/files/imce-images/2022/map_-_outside_lands_-_transportation_map.png\">SF Muni has a useful map of your options for transportation routes to Outside Lands (PNG)\u003c/a>, and the agency has its own\u003ca href=\"https://www.sfmta.com/blog/plan-your-next-golden-gate-park-trip-muni\"> guide on getting to Golden Gate Park on Muni.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024#MuniService\">Muni will provide extra service\u003c/a> on the N Judah and 5R Fulton Rapid. However, remember: The extra service on 5R will not serve the entire route. Each night of the festival, \u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-11-13-2023#MuniService\">there will be a Muni 5X Fulton Express service from Golden Gate Park to Civic Center BART Station\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-11-13-2023#MuniService\">Bookmark the SFMTA website\u003c/a> for a comprehensive list of extra stops provided by Muni for the weekend of Outside Lands.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-9-11-2024#MuniService\">Other public transit advisories\u003c/a>, as noted on SFMTA’s website:\u003c/p>\n\u003cul>\n\u003cli>The \u003ca href=\"https://www.sfmta.com/routes/7-haight-noriega\">7 Haight/Noriega\u003c/a>,\u003ca href=\"https://www.sfmta.com/routes/28-19th-avenue\"> 28 19th Avenue\u003c/a>, \u003ca href=\"https://www.sfmta.com/routes/29-sunset\">29 Sunset\u003c/a> and \u003ca href=\"https://www.sfmta.com/routes/44-oshaughnessy\">44 O’Shaughnessy\u003c/a> serve areas of Golden Gate Park and may be subject to crowds.\u003c/li>\n\u003cli>The \u003ca href=\"https://www.sfmta.com/routes/38-geary\">38 Geary\u003c/a> and \u003ca href=\"https://www.sfmta.com/routes/38r-geary-rapid\">38R Geary Rapid routes\u003c/a>, which are four blocks north of the Fulton/30th entrance to Golden Gate Park, may also be considered as alternative options to and from the event.\u003c/li>\n\u003c/ul>\n\u003cp>You can \u003ca href=\"https://511.org/\">plan your Muni trip on 511.org\u003c/a> and \u003ca href=\"https://511.org/\">check Muni’s arrival information on Next Bus\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Using the official Outside Lands shuttle\u003c/strong>\u003c/p>\n\u003cp>You can hop a ride on the \u003ca href=\"https://outsidelands.frontgatetickets.com/event/4am8dj5mr25vspoj\">Outside Lands’ shuttle, which departs from the Bill Graham Civic Auditorium\u003c/a> to the south entrance of Outside Lands in Golden Gate Park. Civic Center BART station is next to the Bill Graham Auditorium.\u003c/p>\n\u003cp>\u003ca href=\"https://outsidelands.frontgatetickets.com/event/4am8dj5mr25vspoj\">These “coach-style buses” are pre-paid and cost $29.50\u003c/a> for a one-day pass (with a service fee.) As of Thursday, \u003ca href=\"https://outsidelands.frontgatetickets.com/event/4am8dj5mr25vspoj\">only the highest tier of three-day ticket is available for $44.50\u003c/a>.\u003c/p>\n\u003cp>The service will begin running each day at 11 a.m. and run “continuously all day with limited coverage” from 5 p.m. to 8 p.m., with the last shuttle to the festival leaving Bill Graham Civic Auditorium at 8 p.m. As for getting back, return shuttles run until one hour after the music ends each night, festival organizers say.\u003c/p>\n\u003cp>Outside Lands officials strongly recommend taking BART to Civic Center to pick up the official shuttle, but if you do drive, paid parking is available in the Civic Center Parking Garage adjacent to the Bill Graham Civic Auditorium for a fee (entrance at McAllister Street between Polk Street and Larkin Street.)\u003c/p>\n\u003cp>\u003cstrong>Getting to Outside Lands on BART\u003c/strong>\u003c/p>\n\u003cp>The nearest BART station to Golden Gate Park is Civic Center. From there, you can \u003ca href=\"https://www.sfmta.com/blog/plan-your-next-golden-gate-park-trip-muni\">travel onward to Outside Lands using SF Muni\u003c/a> or \u003ca href=\"https://sfoutsidelands.com/info/\">use the official paid Outside Lands shuttle,\u003c/a> which departs from the nearby Bill Graham Civic Auditorium.\u003c/p>\n\u003cfigure id=\"attachment_11999220\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11999220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni.png\" alt=\"\" width=\"1920\" height=\"830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni-800x346.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni-1020x441.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni-160x69.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/Outside-Lands-Public-Transit-BART-Muni-1536x664.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A map showing SF Muni routes around Golden Gate Park for Outside Lands 2024. \u003ccite>(SFMTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/info/\">BART service will run until “around midnight” on all three days\u003c/a>, the Outside Lands official guidance says. Parking at BART stations with BART-run parking lots is free after 3 p.m. on Friday and free all day on Saturday and Sunday (except for the Milpitas and Berryessa/North San Jose stations, which still charge on weekends).\u003c/p>\n\u003cp>You can \u003ca href=\"https://www.bart.gov/planner\">use the BART Trip Planner to hash out the details.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Getting to Outside Lands by bike\u003c/strong>\u003c/p>\n\u003cp>You can park your bikes at the festival, with parking available at the eastern and southern parts of the festival site. \u003ca href=\"https://sfoutsidelands.com/assets/ol24_show_bike_map.pdf\">See a map of bike route closures and detours for Outside Lands.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lyft.com/bikes/bay-wheels\">Bay Wheels, run by rideshare app Lyft\u003c/a>, is available at the festival on JFK Drive, just east of Transverse Drive, to park your bike or get a bike home. \u003ca href=\"https://account.baywheels.com/map\">Use this website to find Bay Wheels near you.\u003c/a>\u003c/p>\n\u003ch2>Make a plan for getting home each night (and know your last transit option)\u003c/h2>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/info/\">Music ends at 10 p.m. on all days.\u003c/a>\u003c/p>\n\u003cp>Phil Ginsburg, general manager of San Francisco Parks and Recreation, told KQED in 2023 that exit routes are “very well marked and the strategies for both entering and leaving the festival are pretty well established at this point and we’ll have tons of security and there’s a lot of lightning in the area to keep people safe as they exit the festival.”\u003c/p>\n\u003cp>Use \u003ca href=\"https://www.bart.gov/planner\">BART’s Trip Planner\u003c/a> and \u003ca href=\"https://www.sfmta.com/muni-transit\">SFMTA’s Trip Planner\u003c/a> to check what time the last service of the day is.\u003c/p>\n\u003cp>If you’re hoping to get a rideshare like Uber or Lyft home from Outside Lands, remember \u003ca href=\"#outsidelandsroadclosures\">those recommended pickup locations around Golden Gate Park \u003c/a>— and that dynamic surge pricing for these services will almost certainly mean that ordering an Uber or Lyft home will be pretty pricey. (If you’re determined, you may wish to consider pre-organizing a crew to share the ride and split the cost.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca id=\"wristbandoutsidelands\">\u003c/a>Can I take off my wristband or leave Outside Lands to reenter?\u003c/h2>\n\u003cp>No, keep your wristband on your wrist if you’re attending multiple days of Outside Lands. (\u003ca href=\"https://www.sfoutsidelands.com/news/know-before-you-go/\">It’s waterproof, so you can shower with it.\u003c/a>)\u003c/p>\n\u003cp>Ticketholders all get a wristband — and festival organizers want you to “treat it like cash.” In other words, the festival won’t replace your wristband if it gets lost or stolen. Do not cut it or twist your wristband because it can fray, and the festival will not replace it in those cases, either.\u003c/p>\n\u003cp>Same-day reentry is not allowed. But if you \u003cem>have\u003c/em> to leave the festival, festival organizers ask that you speak with a supervising staff member at an exit before leaving to work out the details.\u003c/p>\n\u003ch2>\u003ca id=\"accessibilityoutsidelands\">\u003c/a>What to know about accessibility at Outside Lands\u003c/h2>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/accessibility/\">There is a designated ADA Entrance at 36th Avenue & JFK\u003c/a>. This is where the Access Center is, and you can request a golf cart inside or get a collar for your service animal. Accessible pickup and drop-off is at 36th and Fulton. If you are taking a rideshare, let your driver know to tell the parking staff that you need access to the ADA parking, which is also at the 36th and Fulton entrance.\u003c/p>\n\u003cp>There is limited ADA parking available, and it is first come, first served. You can access this parking by entering 36th Avenue and Fulton and talking to the gate agents. It is worth noting that some of the ADA parking is on roads with uneven terrain, with a walk to the ADA gate. Notify the parking staff so they can request a shuttle for you to the gate.\u003c/p>\n\u003cp>There is a lot of demand for shuttles, so Outside Lands is limiting “capacity to our disabled patrons plus one companion. Because of the ‘limited number’ of shuttles, Outside Lands organizers advise disabled festival goers to “please expect a wait, and plan your requests accordingly.”\u003c/p>\n\u003cp>Outside Lands provides elevated platforms at the following stages: Sutro, Twin Peaks and Lands End stages. \u003ca href=\"https://sfoutsidelands.com/accessibility/\">There are “banquet style” folding chairs available at all of the platforms.\u003c/a>\u003c/p>\n\u003cp>ADA restrooms are next to all of the accessible viewing platforms. Restrooms at Outside Lands also have accessible options at the ends.\u003c/p>\n\u003cp>Festival organizers recommend that you email \u003ca href=\"mailto:access@sfoutsidelands.com\">access@sfoutsidelands.com\u003c/a> ahead of time with any accessibility questions or requests.\u003c/p>\n\u003ch2>Do I need to bring a jacket to Outside Lands?\u003c/h2>\n\u003cp>Yes, it’s August. Yes, it’s Golden Gate Park. Yes, you still need to bring a jacket.\u003c/p>\n\u003cp>You can keep an eye on \u003ca href=\"https://forecast.weather.gov/MapClick.php?lat=37.7771&lon=-122.4196\">the National Weather Service’s forecast for San Francisco\u003c/a> as the festival draws closer. Right now, the forecast in the City calls for “mostly sunny” weather this weekend, with highs near 69 on Friday, 70 on Saturday and 68 on Sunday. But Golden Gate Park is near the ocean, and it gets \u003cem>cold\u003c/em> even when other parts of San Francisco are toasty. Forgetting layers for a day in the park is a classic mistake to make.\u003c/p>\n\u003cp>Also, another outfit suggestion from experienced KQED reporters: Comfortable shoes you don’t mind getting dirty.\u003c/p>\n\u003cp>You can also consider \u003ca href=\"https://www.nytimes.com/wirecutter/reviews/best-earplugs-for-concerts/\">buying earplugs that allow for sounds to get through for around $30\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"banneditemsoutsidelands\">\u003c/a>What can I bring to Outside Lands?\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfoutsidelands.com/news/know-before-you-go/\">Some items you can bring to Outside Lands\u003c/a> \u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Clear backpacks and bags.\u003c/li>\n\u003cli>Non-clear small bags, fanny packs and purses up to 6” x 8” x 3”.\u003c/li>\n\u003cli>Empty dedicated hydration packs with a capacity under 2.5L/150 inches and just one pocket (standard-size backpacks with hydration bladders will not be allowed into the festival.)\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/sustainability/refillable-water-program/\">Ticketholders are encouraged to bring a reusable water bottle\u003c/a> and refill it at one of the water stations around the festival.\u003c/p>\n\u003cp>You can \u003ca href=\"https://secure.mobilecharginglockers.com/affiliate/website/event/outside-lands-locker-rental-2024\">reserve a locker\u003c/a> on the festival grounds in advance, but be sure to do so as soon as possible, as these reservations can sell out quickly.\u003c/p>\n\u003cfigure id=\"attachment_11957311\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11957311\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/outside-lands-bag-policy.jpg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/outside-lands-bag-policy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/outside-lands-bag-policy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/outside-lands-bag-policy-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/outside-lands-bag-policy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/08/outside-lands-bag-policy-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An illustration showing the bag policy at Outside Lands \u003ccite>(sfoutsidelands.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some items you \u003cem>can’t\u003c/em> bring to Outside Lands\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Glow-sticks, laser pointers (however glow bracelets and necklaces are allowed).\u003c/li>\n\u003cli>Weapons, fireworks (including pocket knives).\u003c/li>\n\u003cli>Alcohol.\u003c/li>\n\u003cli>Pets (apart from service dogs).\u003c/li>\n\u003cli>Glass or cans.\u003c/li>\n\u003cli>Video or audio recording equipment (including drones, GoPros and selfie sticks).\u003c/li>\n\u003cli>Professional still camera equipment with “a detachable lens longer than 2 inches, tripods, big zooms or commercial use rigs.”\u003c/li>\n\u003cli>Skateboards, scooters or bikes.\u003c/li>\n\u003cli>Strollers, wagons or carts.\u003c/li>\n\u003cli>Hammocks, umbrellas, picnic baskets, coolers, liquids (excluding personal-sized hand sanitizers).\u003c/li>\n\u003cli>Chairs with legs or tents.\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/info/\">See the full list of items allowed or prohibited at Outside Lands.\u003c/a>\u003c/p>\n\u003ch2>\u003ca id=\"food-outside-lands\">\u003c/a>Can I bring my own food into Outside Lands, and what food is available there?\u003c/h2>\n\u003cp>\u003ca href=\"https://sfoutsidelands.com/info/\">The Outside Lands FAQ and venue information\u003c/a> states that bringing your own alcohol into the festival is prohibited, but does not explicitly ban bringing your own food. Just remember: the \u003ca href=\"#banneditemsoutsidelands\">Outside Lands bag policy prohibits common kinds of non-clear backpacks.\u003c/a>\u003c/p>\n\u003cp>You can \u003ca href=\"https://www.sfoutsidelands.com/food-and-drink/taste-of-the-bay-area/\">see the Outside Lands food vendor list ahead of time (DOCX)\u003c/a>, with vegan options marked, as well as \u003ca href=\"https://www.sfoutsidelands.com/experiences/\">the drinks list (including alcoholic and non-alcoholic options)(DOCX\u003c/a>\u003ca href=\"https://www.dropbox.com/scl/fi/ozi9fn7wdoreb0e74k1dj/OL23-Drink-Release_7-28-Update.docx?rlkey=5hfb8rfe22zxi8mjp1qg8wdvs&dl=0\">)\u003c/a>.\u003c/p>\n\u003cp>Or, as KQED Arts reported back in 2014, \u003ca href=\"https://www.kqed.org/arts/10139926/how-to-survive-outside-lands-a-veterans-guide\">another option apparently favored by some locals is to “bury bottles of liquor in Golden Gate Park a week before the festival\u003c/a> and dig it up later after you’ve slid past security.”\u003c/p>\n\u003ch2>Any other useful Outside Lands tips I should know?\u003c/h2>\n\u003cp>If you are looking for shortcuts to other stages (like a tunnel between Polo Field and Sutro Stage) or emergency exits, \u003ca href=\"https://sfoutsidelands.com/assets/outsidelands24_patronmap.png\">save the festival’s official map to your Camera Roll (JPG)\u003c/a>:\u003c/p>\n\u003cp>Here are some other insider tips from KQED reporters:\u003c/p>\n\u003cul>\n\u003cli>If you are trying to see someone on the Polo Field, get there early. It gets very crowded quickly.\u003c/li>\n\u003cli>There have been bleachers and ADA platforms in Hellman Hollow, near the Twin Peaks stage.\u003c/li>\n\u003cli>Sometimes artists hang out at the food trucks, talking to fans (and, if you are lucky, performing a quick song.)\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13862534/headed-to-outside-lands-heres-everything-you-need-to-know#:~:text=The%20festival%20has%20a%20Sober,sane%20among%20all%20party%20people.\">There is a sober tent available at Outside Lands\u003c/a> for those who feel like they need someone to talk to among the partying. It is near the food trucks.\u003c/li>\n\u003cli>You can now get \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">married at Outside Lands.\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>What should I do in a crowd?\u003c/h2>\n\u003cp>\u003ca href=\"https://www.sfmta.com/travel-updates/outside-lands-august-11-13-2023\">SFMTA expects around 75,000 people each day of the festival\u003c/a> — and crowds can be overwhelming for some, especially with predictions of a \u003ca href=\"https://blockclubchicago.org/2024/08/06/chappell-roan-made-lollapalooza-history/\">huge turnout for singer Chappell Roan\u003c/a>. 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> and \u003ca href=\"https://www.change.org/p/urge-outside-lands-to-have-better-exits-to-prevent-astroworld-festival-like-crowd-crush\">Outside Lands fans even asking for better exits to prevent crowd crushes\u003c/a>, it does not hurt to be cautious and prepared. \u003ca href=\"https://www.npr.org/2021/11/09/1053828800/south-korea-seoul-halloween-crowd-safety-tips\">Read 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 and 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\u003ch2>I can’t afford tickets — are there other related performances I can enjoy?\u003c/h2>\n\u003cp>Yes, \u003ca href=\"https://sfoutsidelands.com/night-shows/night-shows/\">Outside Lands has several after-parties around San Francisco for which you can get tickets\u003c/a> from Thursday through Sunday, including one featuring \u003ca href=\"https://www.eventbrite.com/e/princess-w-willow-pill-the-official-outside-lands-afterparty-tickets-940612757077\">RuPaul Drag Race winner Willow Pill\u003c/a>.\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline, Nastia Voynovskaya and Carly Severn contributed to this story\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 \u003ca href=\"https://www.kqed.org/explainers\">the answers to navigate life in the Bay Area in 2024\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": "Seeing Olivia Rodrigo at San Francisco's Chase Center This Weekend? From Bag Policy to Parking, What to Know",
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"headTitle": "Seeing Olivia Rodrigo at San Francisco’s Chase Center This Weekend? From Bag Policy to Parking, What to Know | KQED",
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"content": "\u003cp>Texting your ex may be a \u003ca href=\"https://www.youtube.com/watch?v=Dj9qJsJTsjQ&pp=ygUdYmFkIGlkZWEgcmlnaHQgb2xpdmlhIHJvZHJpZ28%3D\">bad idea — \u003cem>right?\u003c/em>\u003c/a> — but seeing Olivia Rodrigo live in San Francisco for her \u003ca href=\"https://store.oliviarodrigo.com/pages/gutsworldtour\">world \u003cem>Guts\u003c/em> tour\u003c/a> will probably be anything but.\u003c/p>\n\u003cp>The unbearably cool singer, who captures the angst and embarrassment of your early 20s like few other artists, will be playing two nights at Chase Center on Friday and Saturday night.\u003c/p>\n\u003cp>So, if you’ve got tickets for one of Rodrigo’s SF shows on Aug. 2 or 3 and want to quit worrying about logistics, keep reading our guide to everything from Chase Center bag policy, parking, tickets and more.\u003c/p>\n\u003cp>And be aware: \u003ca href=\"https://variety.com/2024/music/news/pinkpantheress-cancels-all-2024-tour-dates-1236093345/\">Rodrigo no longer has her opening act PinkPantheress for these shows\u003c/a>, which means she’ll be most likely starting her performances earlier. Be sure to \u003ca href=\"https://twitter.com/ChaseCenter\">follow Chase Center on social media\u003c/a> for any more last-minute updates.\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?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#olivia-rodrigo-tickets\">Can I still get Olivia Rodrigo 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://www.chasecenter.com/events/olivia-rodrigo-20240802\">slated to open at 6:45 p.m.\u003c/a>\u003c/p>\n\u003cp>One big update for those with tickets: On Thursday, Rodrigo’s original opener for the shows, bedroom pop singer \u003ca href=\"https://www.youtube.com/watch?v=oftolPu9qp4\">PinkPantheress\u003c/a>, canceled all her tours this year saying she wanted \u003ca href=\"https://variety.com/2024/music/news/pinkpantheress-cancels-all-2024-tour-dates-1236093345/\">“to focus on my physical health and overall wellbeing.”\u003c/a>\u003c/p>\n\u003cp>That means that Rodrigo will now be performing in San Francisco earlier — likely around 8 p.m. Previously, she was scheduled to start performing after PinkPantheress between 8:30 p.m. and 9 p.m., so if you were planning on skipping her opener, you may wish to adjust your plans slightly.\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/2WxbQjSs5xcKRRcgIH5xQW?go=1&sp_cid=5058e06b8fff0221638077912ec7938f&utm_source=embed_player_p&utm_medium=desktop\">Rodrigo’s likely setlist for San Francisco on her official Spotify playlist\u003c/a>.\u003c/p>\n\u003cp>If you are an American Express cardholder, you may get to see \u003ca href=\"https://store.oliviarodrigo.com/pages/guts-bus-amex\">the Guts tour bus\u003c/a> outside the venue. When you enter, you can take pictures in a purple-tinged flashback to the ’90s, a bedroom decorated like the surly protagonist of a coming-of-age movie. If you buy some merch, you may get a complimentary gift.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px; min-width: 325px;\" cite=\"https://www.tiktok.com/@bestofoliviarodrigo/video/7345864876662721835\" data-video-id=\"7345864876662721835\">\n\u003csection>\u003ca title=\"@bestofoliviarodrigo\" href=\"https://www.tiktok.com/@bestofoliviarodrigo?refer=embed\" target=\"_blank\" rel=\"noopener\">@bestofoliviarodrigo\u003c/a> Olivia’s tour bus 💜 Video: @livies hq ❤️ \u003ca title=\"badfeelingjt\" href=\"https://www.tiktok.com/tag/badfeelingjt?refer=embed\" target=\"_blank\" rel=\"noopener\">#badfeelingjt\u003c/a> \u003ca title=\"popstar\" href=\"https://www.tiktok.com/tag/popstar?refer=embed\" target=\"_blank\" rel=\"noopener\">#popstar\u003c/a> \u003ca title=\"singer\" href=\"https://www.tiktok.com/tag/singer?refer=embed\" target=\"_blank\" rel=\"noopener\">#singer\u003c/a> \u003ca title=\"oliviarodrigo\" href=\"https://www.tiktok.com/tag/oliviarodrigo?refer=embed\" target=\"_blank\" rel=\"noopener\">#oliviarodrigo\u003c/a> \u003ca title=\"concert\" href=\"https://www.tiktok.com/tag/concert?refer=embed\" target=\"_blank\" rel=\"noopener\">#concert\u003c/a> \u003ca title=\"trendy\" href=\"https://www.tiktok.com/tag/trendy?refer=embed\" target=\"_blank\" rel=\"noopener\">#trendy\u003c/a> \u003ca title=\"songwriter\" href=\"https://www.tiktok.com/tag/songwriter?refer=embed\" target=\"_blank\" rel=\"noopener\">#songwriter\u003c/a> \u003ca title=\"talent\" href=\"https://www.tiktok.com/tag/talent?refer=embed\" target=\"_blank\" rel=\"noopener\">#talent\u003c/a> \u003ca title=\"guts\" href=\"https://www.tiktok.com/tag/guts?refer=embed\" target=\"_blank\" rel=\"noopener\">#GUTS\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"music\" href=\"https://www.tiktok.com/tag/music?refer=embed\" target=\"_blank\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"♬ Bad Feeling (Oompa Loompa) - Jagwar Twin\" href=\"https://www.tiktok.com/music/Bad-Feeling-Oompa-Loompa-7308817011554912257?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Bad Feeling (Oompa Loompa) – Jagwar Twin\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>The bus visit is first-come, first-served, and the time it opens has varied from city to city. Familiarize yourself with the other \u003ca href=\"https://store.oliviarodrigo.com/pages/guts-bus-amex\">caveats on Rodrigo’s website around tour bus access\u003c/a>, and consider monitoring fan page \u003ca href=\"https://x.com/LiviesHQ\">Livies HQ on social media\u003c/a> to get updates.\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. 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 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 Olivia Rodrigo shows 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, which is just as well given \u003ca href=\"https://www.kqed.org/news/11987343/covid-bay-area-wastewater-variant-symptoms-isolation-guidance\">the current COVID-19 surge in the Bay Area\u003c/a>.)\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 cow bells.\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 can 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 Olivia Rodrigo 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\u003cfigure id=\"attachment_11998153\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11998153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs at Capital One Arena in Washington, D.C., as part of her GUTS world tour. \u003ccite>(Kyle Gustafson/For The Washington Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>There are \u003ca href=\"https://www.ticketmaster.com/chase-center-parking-olivia-rodrigo-san-francisco-california-08-02-2024/event/1C005F2D8AAF19AE\">some tickets left\u003c/a> for official parking at Chase Center, at around $50.\u003c/p>\n\u003cp>The venue’s website also refers fans to the \u003ca href=\"https://www.parkwhiz.com/chase-center-parking/\">third-party parking website ParkWhiz\u003c/a> for other non-Chase Center parking options nearby. It costs $56 to reserve a spot at the nearest garage, which is about a 10-minute walk from the venue.\u003c/p>\n\u003cp>Cheaper options starting at $12 are available for those willing and able to trek over a mile on foot — or take public transit for the last mile or two. So, if you’re driving to the show but haven’t secured your parking yet, consider wearing comfier shoes.\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 certainly going to be a challenge — 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, the rideshare apps will automatically show you 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 Olivia Rodrigo concert?\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.chasecenter.com/transportation-guide\">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>On weekdays, the last Caltrain from San Francisco departs at 12:03 a.m. \u003ca href=\"https://www.caltrain.com/\">See the Caltrain schedule here\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=\"olivia-rodrigo-tickets\">\u003c/a>Can I still get a ticket for the Olivia Rodrigo shows?\u003c/strong>\u003c/h2>\n\u003cp>According to Ticketmaster, tickets to \u003ca href=\"https://www.ticketmaster.com/olivia-rodrigo-tickets/artist/2836194\">both shows are sold out\u003c/a>.\u003c/p>\n\u003cp>You can find resale tickets on sites like \u003ca href=\"https://www.stubhub.com/olivia-rodrigo-tickets/performer/101864867\">StubHub\u003c/a> — with some ranging around $350 — but make sure you’re 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>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Texting your ex may be a \u003ca href=\"https://www.youtube.com/watch?v=Dj9qJsJTsjQ&pp=ygUdYmFkIGlkZWEgcmlnaHQgb2xpdmlhIHJvZHJpZ28%3D\">bad idea — \u003cem>right?\u003c/em>\u003c/a> — but seeing Olivia Rodrigo live in San Francisco for her \u003ca href=\"https://store.oliviarodrigo.com/pages/gutsworldtour\">world \u003cem>Guts\u003c/em> tour\u003c/a> will probably be anything but.\u003c/p>\n\u003cp>The unbearably cool singer, who captures the angst and embarrassment of your early 20s like few other artists, will be playing two nights at Chase Center on Friday and Saturday night.\u003c/p>\n\u003cp>So, if you’ve got tickets for one of Rodrigo’s SF shows on Aug. 2 or 3 and want to quit worrying about logistics, keep reading our guide to everything from Chase Center bag policy, parking, tickets and more.\u003c/p>\n\u003cp>And be aware: \u003ca href=\"https://variety.com/2024/music/news/pinkpantheress-cancels-all-2024-tour-dates-1236093345/\">Rodrigo no longer has her opening act PinkPantheress for these shows\u003c/a>, which means she’ll be most likely starting her performances earlier. Be sure to \u003ca href=\"https://twitter.com/ChaseCenter\">follow Chase Center on social media\u003c/a> for any more last-minute updates.\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?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#olivia-rodrigo-tickets\">Can I still get Olivia Rodrigo 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://www.chasecenter.com/events/olivia-rodrigo-20240802\">slated to open at 6:45 p.m.\u003c/a>\u003c/p>\n\u003cp>One big update for those with tickets: On Thursday, Rodrigo’s original opener for the shows, bedroom pop singer \u003ca href=\"https://www.youtube.com/watch?v=oftolPu9qp4\">PinkPantheress\u003c/a>, canceled all her tours this year saying she wanted \u003ca href=\"https://variety.com/2024/music/news/pinkpantheress-cancels-all-2024-tour-dates-1236093345/\">“to focus on my physical health and overall wellbeing.”\u003c/a>\u003c/p>\n\u003cp>That means that Rodrigo will now be performing in San Francisco earlier — likely around 8 p.m. Previously, she was scheduled to start performing after PinkPantheress between 8:30 p.m. and 9 p.m., so if you were planning on skipping her opener, you may wish to adjust your plans slightly.\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/2WxbQjSs5xcKRRcgIH5xQW?go=1&sp_cid=5058e06b8fff0221638077912ec7938f&utm_source=embed_player_p&utm_medium=desktop\">Rodrigo’s likely setlist for San Francisco on her official Spotify playlist\u003c/a>.\u003c/p>\n\u003cp>If you are an American Express cardholder, you may get to see \u003ca href=\"https://store.oliviarodrigo.com/pages/guts-bus-amex\">the Guts tour bus\u003c/a> outside the venue. When you enter, you can take pictures in a purple-tinged flashback to the ’90s, a bedroom decorated like the surly protagonist of a coming-of-age movie. If you buy some merch, you may get a complimentary gift.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px; min-width: 325px;\" cite=\"https://www.tiktok.com/@bestofoliviarodrigo/video/7345864876662721835\" data-video-id=\"7345864876662721835\">\n\u003csection>\u003ca title=\"@bestofoliviarodrigo\" href=\"https://www.tiktok.com/@bestofoliviarodrigo?refer=embed\" target=\"_blank\" rel=\"noopener\">@bestofoliviarodrigo\u003c/a> Olivia’s tour bus 💜 Video: @livies hq ❤️ \u003ca title=\"badfeelingjt\" href=\"https://www.tiktok.com/tag/badfeelingjt?refer=embed\" target=\"_blank\" rel=\"noopener\">#badfeelingjt\u003c/a> \u003ca title=\"popstar\" href=\"https://www.tiktok.com/tag/popstar?refer=embed\" target=\"_blank\" rel=\"noopener\">#popstar\u003c/a> \u003ca title=\"singer\" href=\"https://www.tiktok.com/tag/singer?refer=embed\" target=\"_blank\" rel=\"noopener\">#singer\u003c/a> \u003ca title=\"oliviarodrigo\" href=\"https://www.tiktok.com/tag/oliviarodrigo?refer=embed\" target=\"_blank\" rel=\"noopener\">#oliviarodrigo\u003c/a> \u003ca title=\"concert\" href=\"https://www.tiktok.com/tag/concert?refer=embed\" target=\"_blank\" rel=\"noopener\">#concert\u003c/a> \u003ca title=\"trendy\" href=\"https://www.tiktok.com/tag/trendy?refer=embed\" target=\"_blank\" rel=\"noopener\">#trendy\u003c/a> \u003ca title=\"songwriter\" href=\"https://www.tiktok.com/tag/songwriter?refer=embed\" target=\"_blank\" rel=\"noopener\">#songwriter\u003c/a> \u003ca title=\"talent\" href=\"https://www.tiktok.com/tag/talent?refer=embed\" target=\"_blank\" rel=\"noopener\">#talent\u003c/a> \u003ca title=\"guts\" href=\"https://www.tiktok.com/tag/guts?refer=embed\" target=\"_blank\" rel=\"noopener\">#GUTS\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"music\" href=\"https://www.tiktok.com/tag/music?refer=embed\" target=\"_blank\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"♬ Bad Feeling (Oompa Loompa) - Jagwar Twin\" href=\"https://www.tiktok.com/music/Bad-Feeling-Oompa-Loompa-7308817011554912257?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Bad Feeling (Oompa Loompa) – Jagwar Twin\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bus visit is first-come, first-served, and the time it opens has varied from city to city. Familiarize yourself with the other \u003ca href=\"https://store.oliviarodrigo.com/pages/guts-bus-amex\">caveats on Rodrigo’s website around tour bus access\u003c/a>, and consider monitoring fan page \u003ca href=\"https://x.com/LiviesHQ\">Livies HQ on social media\u003c/a> to get updates.\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. 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 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 Olivia Rodrigo shows 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, which is just as well given \u003ca href=\"https://www.kqed.org/news/11987343/covid-bay-area-wastewater-variant-symptoms-isolation-guidance\">the current COVID-19 surge in the Bay Area\u003c/a>.)\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 cow bells.\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 can 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 Olivia Rodrigo 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\u003cfigure id=\"attachment_11998153\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11998153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/Rodrigo2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs at Capital One Arena in Washington, D.C., as part of her GUTS world tour. \u003ccite>(Kyle Gustafson/For The Washington Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>There are \u003ca href=\"https://www.ticketmaster.com/chase-center-parking-olivia-rodrigo-san-francisco-california-08-02-2024/event/1C005F2D8AAF19AE\">some tickets left\u003c/a> for official parking at Chase Center, at around $50.\u003c/p>\n\u003cp>The venue’s website also refers fans to the \u003ca href=\"https://www.parkwhiz.com/chase-center-parking/\">third-party parking website ParkWhiz\u003c/a> for other non-Chase Center parking options nearby. It costs $56 to reserve a spot at the nearest garage, which is about a 10-minute walk from the venue.\u003c/p>\n\u003cp>Cheaper options starting at $12 are available for those willing and able to trek over a mile on foot — or take public transit for the last mile or two. So, if you’re driving to the show but haven’t secured your parking yet, consider wearing comfier shoes.\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 certainly going to be a challenge — 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, the rideshare apps will automatically show you 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 Olivia Rodrigo concert?\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.chasecenter.com/transportation-guide\">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>On weekdays, the last Caltrain from San Francisco departs at 12:03 a.m. \u003ca href=\"https://www.caltrain.com/\">See the Caltrain schedule here\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=\"olivia-rodrigo-tickets\">\u003c/a>Can I still get a ticket for the Olivia Rodrigo shows?\u003c/strong>\u003c/h2>\n\u003cp>According to Ticketmaster, tickets to \u003ca href=\"https://www.ticketmaster.com/olivia-rodrigo-tickets/artist/2836194\">both shows are sold out\u003c/a>.\u003c/p>\n\u003cp>You can find resale tickets on sites like \u003ca href=\"https://www.stubhub.com/olivia-rodrigo-tickets/performer/101864867\">StubHub\u003c/a> — with some ranging around $350 — but make sure you’re 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>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Always Looking Up and Looking Out': This Young LA Composer's Music Is Guided by the Cosmos",
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"content": "\u003cp>When Derrick Skye began the process of composing his piece “Prisms, Cycles, Leaps,” he was watching YouTube videos about Jupiter. He was captivated by the way the planet’s stripes and swirls move at different speeds.\u003c/p>\n\u003cp>“It’s almost like there’s a river going at one speed, and something is floating over the top of the river at a different rate,” said the Los Angeles-based composer. He wanted to somehow capture this idea in the new piece, so he created a flute solo melody that sounds like it’s detached from the rhythm underneath.\u003c/p>\n\u003cp>That rhythm is based on a bell pattern from traditional Ewe music; the Ewe people are an ethnic group living in Ghana and Togo. But instead of being played on a bell or a drum, Skye decided that the strings would play the challenging pattern. “That particular rhythm is a little bit tricky to get into the body,” said Skye. “But that’s fine with me: I think we all have to want to go on an adventure.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once he had the rhythm and the melody down, Skye used those as a framework to improvise and find the other parts of the piece. “I like to set up parameters, and then discover on top of those,” he said. The basses and cellos perform a rhythm that’s based on a traditional Ewe piece called Adzogbo, which is usually played on a lead drum called atsimevu.\u003c/p>\n\u003cp>“Prisms, Cycles, Leaps” is a work in three parts. The Los Angeles Chamber Orchestra performed the first part back in 2015, and the second in 2018. The third part premiered in April this year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FCVLScWOdsY\u003c/p>\n\u003cp>“The meaning behind ‘Prisms, Cycles, Leaps’ actually goes back to the meaning of all my work,” Skye explained. “[Which is that] I love struggling to create holistic music … where you can have a total embrace of every style of music equally, and [explore] what kind of music can come out when you value every genre and every approach.”\u003c/p>\n\u003cp>As a Southern California native, Skye aims to create a musical language that reflects the way the state embraces people. “This place really feels a lot like what I go through when I’m writing my music,” he said. “There are people from all over the world in this state. Everybody’s here, trying to figure out how to work together, grow together, and excel together. There’s frustrations. But somehow, we manage to press on.”\u003c/p>\n\u003cp>Skye has always been drawn to music, even as a child. “I remember being at church and seeing the drum set,” he said. “I just thought that was super cool, and it felt good when I heard it. So I was like, I wonder how I can make those sounds.”\u003c/p>\n\u003cfigure id=\"attachment_11998279\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11998279\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Derrick Skye conducting the Royal Philharmonic Orchestra in London, April 2024. \u003ccite>(Courtesy of Madison Phipps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His other passion was space: Skye has always been fascinated by the cosmos. “For the majority of my younger years, I wanted to be an astronaut.” But this lofty dream went on the back burner, and Skye pursued music: he played the trombone in music class at school. “I practiced really, really hard. I always want to be the best I can be at something when I put my mind to it.”\u003c/p>\n\u003cp>Skye continued playing the trombone when he went to study at UCLA. He was heading home after practice one night, when he heard West African music drifting from a concert hall. He went inside to check it out, and was hooked. This fascination led him to explore Indian classical music too, and then music from the Balkans. Those three cultures form the building blocks of Skye’s work today.\u003c/p>\n\u003cp>“I always wanted to hear an orchestra play these types of things, and I just could never hear it. So I started writing it,” Skye said. “The most interesting stuff to me comes out of when things merge together.”\u003c/p>\n\u003cp>Part of the reason Derrick resonates with so many different musical traditions is because he has a really diverse ancestry: He has Nigerian, Ghanaian, Congolese British, Irish and Indigenous American heritage.\u003c/p>\n\u003cp>After graduating, Derrick worked as a teaching artist for the LA Philharmonic, and assistant conductor for the Santa Clarita Valley Youth Orchestra — alongside composing his music. He decided to submit “Prisms, Cycles, Leaps” to the LA Chamber Orchestra through a new music program. “I assumed that it was highly likely that I could end up just being a one hit wonder in classical music, and I just refused to go out like that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11998283\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11998283\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Derrick Skye conducting the Hollywood Bowl Orchestra at Walt Disney Concert Hall. \u003ccite>(Courtesy of Jasmine Sefaeian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Skye decided to take matters into his own hands. He gathered a group of musician friends together to record a CD of the piece, which is unusual in classical music. He then released it at the same time as the orchestra premiered the piece.\u003c/p>\n\u003cp>“I was selling the CD there in person. People walked out of the hall and they were like, ‘wow, I wish I could hear that again.’ I was like, ‘Oh, guess what, you can!’”\u003c/p>\n\u003cp>Word spread, and Skye’s career began to take off. “Prisms, Cycles, Leaps” was played by orchestras in Canada, the UK and the Netherlands. Then new commissions started rolling in.\u003c/p>\n\u003cp>“I was over the moon,” he said. “I thought, I just might make this work. I might be able to have this highly sought after job in the classical world where someone says, ‘well what do you do?’, and you say, ‘I write orchestra music for concerts.’”\u003c/p>\n\u003cp>Skye has collaborated with the LA Chamber Orchestra for almost 10 years, and serves as one of its artistic advisors. Executive director Ben Cadwallader said Skye is “one of those artists where if you give him a boundary or a genre, he doesn’t just push outside it, he redefines it.”\u003c/p>\n\u003cfigure id=\"attachment_11998285\" class=\"wp-caption alignnone\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11998285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago.jpg\" alt=\"\" width=\"2400\" height=\"1597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Skye with the San Francisco Symphony and vocalist Ellie Goulding in November 2023. \u003ccite>(Courtesy of Nicole Mago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He has this obsession with creating new forms of expression. I don’t know of a composer, I don’t know of an artist, who accomplishes this with more elegance and artistry, and authenticity.”\u003c/p>\n\u003cp>Part of the way Skye achieves this authenticity is through learning. He considers himself a lifelong student, and regularly takes classes with expert teachers. Skye is aware that there can be questions over who is entitled to make music from different traditions.\u003c/p>\n\u003cp>“People have this idea of cultural appropriation,” he said. “What I always do is tell the truth. I don’t know absolutely everything there is to know about West African music. But I don’t need to know everything there is to know about West African music for it to be a part of my life.\u003c/p>\n\u003cp>“[It’s about saying] ‘I was inspired by this legacy of music and these people in that legacy.’ And that has to be enough. Because if that’s not enough, then we’re going to go back to segregation, where only the people from West Africa can play West African music. And I’m not doing that. I don’t think anybody wants that.\u003c/p>\n\u003cp>“You just need to be honest with where your knowledge ends, and how you’ve incorporated these things in your art. Because ultimately, everybody borrows from everyone, forever.”\u003c/p>\n\u003cp>Skye doesn’t only draw from different cultures; he blends genres and forms too. In a new piece released last year, called “God of the Gaps,” he brought Persian classical music together with electronic music. His starting point was a sample of tar, a Persian stringed instrument, played by his teacher Pirayeh Pourafar.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QAug5xuOY2Y\u003c/p>\n\u003cp>Skye is a musician who refuses to conform to convention; it’s an approach he takes to his own identity too. In the summer of 2021, he changed his last name from Spiva — which was the name given to his enslaved ancestors — to Skye. “I just don’t like accepting things for the way they are because that’s the way it is,” he said.\u003cbr>\nHe chose the name Skye as a nod to his love of astronomy. “I felt like that best described the essence of my being, is always looking up and looking out.”\u003c/p>\n\u003cp>Initially Skye was apprehensive, primarily about his family’s reaction, but they’ve been supportive. “I just felt empowered,” he said. “I got to change my name. And I got to make sure that the state called me what I wanted to be called. And this is the same state with the history of erasing people’s names and culture. I was able to get them [to acknowledge] … ‘this is what I’m going to be called’ and have them say it. And they did that. And I was happy.”\u003c/p>\n\u003cp>This idea of being recognized and feeling valued is actually what Skye wants his audience to feel. So if you’re sitting in a concert hall listening to a Derrick Skye piece, you might hear something of yourself — no matter where you come from.\u003c/p>\n\u003cfigure id=\"attachment_11998286\" class=\"wp-caption alignnone\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11998286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1.jpg\" alt=\"\" width=\"2400\" height=\"1597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Skye with the San Francisco Symphony at Davis Symphony Hall in November 2023. \u003ccite>(Courtesy of Nicole Mago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Derrick Skye's fascination with the cosmos is threaded into all his music — including his latest composition 'Prisms, Cycles, Leaps,' which premiered this spring. The LA-based composer explains how he brings his otherworldly ideas to life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Derrick Skye began the process of composing his piece “Prisms, Cycles, Leaps,” he was watching YouTube videos about Jupiter. He was captivated by the way the planet’s stripes and swirls move at different speeds.\u003c/p>\n\u003cp>“It’s almost like there’s a river going at one speed, and something is floating over the top of the river at a different rate,” said the Los Angeles-based composer. He wanted to somehow capture this idea in the new piece, so he created a flute solo melody that sounds like it’s detached from the rhythm underneath.\u003c/p>\n\u003cp>That rhythm is based on a bell pattern from traditional Ewe music; the Ewe people are an ethnic group living in Ghana and Togo. But instead of being played on a bell or a drum, Skye decided that the strings would play the challenging pattern. “That particular rhythm is a little bit tricky to get into the body,” said Skye. “But that’s fine with me: I think we all have to want to go on an adventure.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once he had the rhythm and the melody down, Skye used those as a framework to improvise and find the other parts of the piece. “I like to set up parameters, and then discover on top of those,” he said. The basses and cellos perform a rhythm that’s based on a traditional Ewe piece called Adzogbo, which is usually played on a lead drum called atsimevu.\u003c/p>\n\u003cp>“Prisms, Cycles, Leaps” is a work in three parts. The Los Angeles Chamber Orchestra performed the first part back in 2015, and the second in 2018. The third part premiered in April this year.\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/FCVLScWOdsY'\n title='//www.youtube.com/embed/FCVLScWOdsY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The meaning behind ‘Prisms, Cycles, Leaps’ actually goes back to the meaning of all my work,” Skye explained. “[Which is that] I love struggling to create holistic music … where you can have a total embrace of every style of music equally, and [explore] what kind of music can come out when you value every genre and every approach.”\u003c/p>\n\u003cp>As a Southern California native, Skye aims to create a musical language that reflects the way the state embraces people. “This place really feels a lot like what I go through when I’m writing my music,” he said. “There are people from all over the world in this state. Everybody’s here, trying to figure out how to work together, grow together, and excel together. There’s frustrations. But somehow, we manage to press on.”\u003c/p>\n\u003cp>Skye has always been drawn to music, even as a child. “I remember being at church and seeing the drum set,” he said. “I just thought that was super cool, and it felt good when I heard it. So I was like, I wonder how I can make those sounds.”\u003c/p>\n\u003cfigure id=\"attachment_11998279\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11998279\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/L1054055-Crediting-Madison-Phipps-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Derrick Skye conducting the Royal Philharmonic Orchestra in London, April 2024. \u003ccite>(Courtesy of Madison Phipps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His other passion was space: Skye has always been fascinated by the cosmos. “For the majority of my younger years, I wanted to be an astronaut.” But this lofty dream went on the back burner, and Skye pursued music: he played the trombone in music class at school. “I practiced really, really hard. I always want to be the best I can be at something when I put my mind to it.”\u003c/p>\n\u003cp>Skye continued playing the trombone when he went to study at UCLA. He was heading home after practice one night, when he heard West African music drifting from a concert hall. He went inside to check it out, and was hooked. This fascination led him to explore Indian classical music too, and then music from the Balkans. Those three cultures form the building blocks of Skye’s work today.\u003c/p>\n\u003cp>“I always wanted to hear an orchestra play these types of things, and I just could never hear it. So I started writing it,” Skye said. “The most interesting stuff to me comes out of when things merge together.”\u003c/p>\n\u003cp>Part of the reason Derrick resonates with so many different musical traditions is because he has a really diverse ancestry: He has Nigerian, Ghanaian, Congolese British, Irish and Indigenous American heritage.\u003c/p>\n\u003cp>After graduating, Derrick worked as a teaching artist for the LA Philharmonic, and assistant conductor for the Santa Clarita Valley Youth Orchestra — alongside composing his music. He decided to submit “Prisms, Cycles, Leaps” to the LA Chamber Orchestra through a new music program. “I assumed that it was highly likely that I could end up just being a one hit wonder in classical music, and I just refused to go out like that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11998283\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11998283\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/YASI6727-Crediting-Yasi-aka-Jasmine-Safaeian-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Derrick Skye conducting the Hollywood Bowl Orchestra at Walt Disney Concert Hall. \u003ccite>(Courtesy of Jasmine Sefaeian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Skye decided to take matters into his own hands. He gathered a group of musician friends together to record a CD of the piece, which is unusual in classical music. He then released it at the same time as the orchestra premiered the piece.\u003c/p>\n\u003cp>“I was selling the CD there in person. People walked out of the hall and they were like, ‘wow, I wish I could hear that again.’ I was like, ‘Oh, guess what, you can!’”\u003c/p>\n\u003cp>Word spread, and Skye’s career began to take off. “Prisms, Cycles, Leaps” was played by orchestras in Canada, the UK and the Netherlands. Then new commissions started rolling in.\u003c/p>\n\u003cp>“I was over the moon,” he said. “I thought, I just might make this work. I might be able to have this highly sought after job in the classical world where someone says, ‘well what do you do?’, and you say, ‘I write orchestra music for concerts.’”\u003c/p>\n\u003cp>Skye has collaborated with the LA Chamber Orchestra for almost 10 years, and serves as one of its artistic advisors. Executive director Ben Cadwallader said Skye is “one of those artists where if you give him a boundary or a genre, he doesn’t just push outside it, he redefines it.”\u003c/p>\n\u003cfigure id=\"attachment_11998285\" class=\"wp-caption alignnone\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11998285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago.jpg\" alt=\"\" width=\"2400\" height=\"1597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-11-Crediting-Nicole-Mago-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Skye with the San Francisco Symphony and vocalist Ellie Goulding in November 2023. \u003ccite>(Courtesy of Nicole Mago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He has this obsession with creating new forms of expression. I don’t know of a composer, I don’t know of an artist, who accomplishes this with more elegance and artistry, and authenticity.”\u003c/p>\n\u003cp>Part of the way Skye achieves this authenticity is through learning. He considers himself a lifelong student, and regularly takes classes with expert teachers. Skye is aware that there can be questions over who is entitled to make music from different traditions.\u003c/p>\n\u003cp>“People have this idea of cultural appropriation,” he said. “What I always do is tell the truth. I don’t know absolutely everything there is to know about West African music. But I don’t need to know everything there is to know about West African music for it to be a part of my life.\u003c/p>\n\u003cp>“[It’s about saying] ‘I was inspired by this legacy of music and these people in that legacy.’ And that has to be enough. Because if that’s not enough, then we’re going to go back to segregation, where only the people from West Africa can play West African music. And I’m not doing that. I don’t think anybody wants that.\u003c/p>\n\u003cp>“You just need to be honest with where your knowledge ends, and how you’ve incorporated these things in your art. Because ultimately, everybody borrows from everyone, forever.”\u003c/p>\n\u003cp>Skye doesn’t only draw from different cultures; he blends genres and forms too. In a new piece released last year, called “God of the Gaps,” he brought Persian classical music together with electronic music. His starting point was a sample of tar, a Persian stringed instrument, played by his teacher Pirayeh Pourafar.\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/QAug5xuOY2Y'\n title='//www.youtube.com/embed/QAug5xuOY2Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Skye is a musician who refuses to conform to convention; it’s an approach he takes to his own identity too. In the summer of 2021, he changed his last name from Spiva — which was the name given to his enslaved ancestors — to Skye. “I just don’t like accepting things for the way they are because that’s the way it is,” he said.\u003cbr>\nHe chose the name Skye as a nod to his love of astronomy. “I felt like that best described the essence of my being, is always looking up and looking out.”\u003c/p>\n\u003cp>Initially Skye was apprehensive, primarily about his family’s reaction, but they’ve been supportive. “I just felt empowered,” he said. “I got to change my name. And I got to make sure that the state called me what I wanted to be called. And this is the same state with the history of erasing people’s names and culture. I was able to get them [to acknowledge] … ‘this is what I’m going to be called’ and have them say it. And they did that. And I was happy.”\u003c/p>\n\u003cp>This idea of being recognized and feeling valued is actually what Skye wants his audience to feel. So if you’re sitting in a concert hall listening to a Derrick Skye piece, you might hear something of yourself — no matter where you come from.\u003c/p>\n\u003cfigure id=\"attachment_11998286\" class=\"wp-caption alignnone\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11998286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1.jpg\" alt=\"\" width=\"2400\" height=\"1597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/EG-SF-16-Crediting-Nicole-Mago-1-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Skye with the San Francisco Symphony at Davis Symphony Hall in November 2023. \u003ccite>(Courtesy of Nicole Mago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "rising-musician-hana-vu-embraces-prodigy-status",
"title": "Rising Musician Hana Vu Embraces Prodigy Status",
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"content": "\u003cp>Hana Vu is busy. She just released her second album and started a North American tour that will end in her hometown of Los Angeles. Critics have called her an “\u003ca href=\"https://www.latimes.com/lifestyle/image/story/2022-03-17/how-la-indie-pop-prodigy-hana-vu-figured-out-the-secret-to-life\">indie-pop prodigy\u003c/a>” who’s “\u003ca href=\"https://pitchfork.com/reviews/albums/hana-vu-romanticism/\">old beyond her years\u003c/a>.” That’s because the prolific musician, who started recording and playing shows in her teens, is just 24.\u003c/p>\n\u003cp>That maturity can be heard on her latest release, \u003cem>\u003ca href=\"https://hanavu.bandcamp.com/album/romanticism\">Romanticism\u003c/a>\u003c/em>. It’s a collection of songs about grief, longing, getting older, and depression … but the album’s sound is playful, soaring and catchy. Vu spoke about her new album in an interview with The California Report Magazine’s Bianca Taylor.\u003c/p>\n\u003cfigure id=\"attachment_11993397\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-scaled.jpg\" alt=\"An Asian woman is held down by two white woman with the one on the right holding a blade to her neck and cutting her throat.\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork for Hana Vu’s ‘Romanticism’ album, released on May 3, 2024. \u003ccite>(Courtesy of Ghostly International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Below are excerpts from their conversation. For the full interview on The California Report Magazine, listen to the audio at the top of this story.\u003c/em>\u003c/p>\n\u003cp>\u003cb>On her hometown’s influence on her music: \u003c/b>\u003c/p>\n\u003cp>\u003cb>Hana Vu: \u003c/b>I grew up in L.A., in the San Fernando Valley, and I started playing shows in the Valley when I was around 13 or 14. Being a part of the DIY culture in L.A. really set the tone for the kind of music I would make and the kind of person I would try to be. I was going to a lot of shows. They were warehouse shows, house shows, or shows under a bridge somewhere. I was going to three shows a week, and one year when I was 15 or 16 I played, like, 52 shows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>On how she first got into music: \u003c/b>\u003c/p>\n\u003cp>My parents are not musical at all. I think my dad just had this guitar as sort of furniture. He doesn’t know how to play guitar even a little bit. I taught myself how to play one day, being like, “what is this thing?” I think [the first song I played] was Yellow Submarine. I was always very inclined to singing … and playing music is sort of the avenue for singing. And I think singing is maybe the only socially acceptable way of screaming. I had a lot of energy and a lot to express, and singing and playing music was sort of an equally cerebral and physical catharsis.\u003c/p>\n\u003cp>\u003cb>On being accepted into NYU’s Clive Davis Institute of Recorded Music out of high school, and deciding not to go to college:\u003c/b>\u003c/p>\n\u003cp>I had a sort of intuitive feeling that I didn’t really understand the concept of that sort of financial commitment. \u003ca href=\"https://wrbbradio.org/articles/sales-and-hana-vu-captivate-intimate-crowd-at-the-sinclair\">I also got offered to open for [the band] SALES that fall before I would have started college.\u003c/a> In the pursuit of music, it didn’t seem super relevant to go to school. And I’m a bit contrarian by nature. And so I think it was also a little bit of me wanting to step out and do something else.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9mTKX1zs6-0\u003c/p>\n\u003cp>\u003cstrong>On the release of her second full album, \u003cem>Romanticism\u003c/em>, and its themes: \u003c/strong>\u003c/p>\n\u003cp>I think my favorite song on the album right now is “Love.” At the end of the day, it’s love. I tried to be really intentional and simple with the way that I approached these songs and this record. There’s a central theme of grief and love and whether or not they’re the same thing. And, yeah, I think with this album, [I was] trying to keep it simple and just be honest and maybe not super personal, allowing me to connect with the music in the sense that I know that everybody on some level feels how I do. And that brings me peace.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GFggeQbKwl0\u003c/p>\n\u003cp>\u003cstrong>On the grief of growing older, as heard in the chorus of the song “22” (I’m just growing old / I’m just 22 / I just want to hold on to you”): \u003c/strong>\u003c/p>\n\u003cp>It’s just the idea of holding on to a moment in time, or yourself, or ideas of yourself, or ideas of another person, or who you are with another person, what that all means to you. It doesn’t really matter how old you are, you’re always going to feel old. And then you can sometimes dissociate from it, like, “We’re so young. I’m just so young, blah blah, blah.” But I think in one’s heart, this is the oldest you’ve ever been, so how could you not feel old?\u003c/p>\n\u003cp>\u003cstrong>On being called an “indie-pop prodigy”:\u003c/strong>\u003c/p>\n\u003cp>It made me wonder what a prodigy is. I think by that time I was maybe 21 or 22. I was like, I feel like I’m maybe a little bit too old to be a prodigy. I hear all sorts of hyperbolic things that I try not to get into my sphere of actual thinking, but it’s nice for sure.\u003c/p>\n\u003cp>https://youtu.be/pM9nj3Pddrc?si=SAsx7_j–WNLBz2u\u003c/p>\n\u003cp>\u003cstrong>On her upcoming North America tour: \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m probably most excited for the last show, and most nervous for the first show. I’m excited to get out of town and see things, meet new people, play these songs that I haven’t played before. [I’m excited about] completing the process of writing this album with the catharsis of singing it at people and seeing it resonate. I’m excited to play [the song] “Care” in L.A. I mentioned L.A. a lot in some of the songs, and to sing it at the city, in the city, at the L.A. show, will feel like a full circle.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hana Vu is busy. She just released her second album and started a North American tour that will end in her hometown of Los Angeles. Critics have called her an “\u003ca href=\"https://www.latimes.com/lifestyle/image/story/2022-03-17/how-la-indie-pop-prodigy-hana-vu-figured-out-the-secret-to-life\">indie-pop prodigy\u003c/a>” who’s “\u003ca href=\"https://pitchfork.com/reviews/albums/hana-vu-romanticism/\">old beyond her years\u003c/a>.” That’s because the prolific musician, who started recording and playing shows in her teens, is just 24.\u003c/p>\n\u003cp>That maturity can be heard on her latest release, \u003cem>\u003ca href=\"https://hanavu.bandcamp.com/album/romanticism\">Romanticism\u003c/a>\u003c/em>. It’s a collection of songs about grief, longing, getting older, and depression … but the album’s sound is playful, soaring and catchy. Vu spoke about her new album in an interview with The California Report Magazine’s Bianca Taylor.\u003c/p>\n\u003cfigure id=\"attachment_11993397\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-scaled.jpg\" alt=\"An Asian woman is held down by two white woman with the one on the right holding a blade to her neck and cutting her throat.\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/hana-vu-romanticism-album-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork for Hana Vu’s ‘Romanticism’ album, released on May 3, 2024. \u003ccite>(Courtesy of Ghostly International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Below are excerpts from their conversation. For the full interview on The California Report Magazine, listen to the audio at the top of this story.\u003c/em>\u003c/p>\n\u003cp>\u003cb>On her hometown’s influence on her music: \u003c/b>\u003c/p>\n\u003cp>\u003cb>Hana Vu: \u003c/b>I grew up in L.A., in the San Fernando Valley, and I started playing shows in the Valley when I was around 13 or 14. Being a part of the DIY culture in L.A. really set the tone for the kind of music I would make and the kind of person I would try to be. I was going to a lot of shows. They were warehouse shows, house shows, or shows under a bridge somewhere. I was going to three shows a week, and one year when I was 15 or 16 I played, like, 52 shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>On how she first got into music: \u003c/b>\u003c/p>\n\u003cp>My parents are not musical at all. I think my dad just had this guitar as sort of furniture. He doesn’t know how to play guitar even a little bit. I taught myself how to play one day, being like, “what is this thing?” I think [the first song I played] was Yellow Submarine. I was always very inclined to singing … and playing music is sort of the avenue for singing. And I think singing is maybe the only socially acceptable way of screaming. I had a lot of energy and a lot to express, and singing and playing music was sort of an equally cerebral and physical catharsis.\u003c/p>\n\u003cp>\u003cb>On being accepted into NYU’s Clive Davis Institute of Recorded Music out of high school, and deciding not to go to college:\u003c/b>\u003c/p>\n\u003cp>I had a sort of intuitive feeling that I didn’t really understand the concept of that sort of financial commitment. \u003ca href=\"https://wrbbradio.org/articles/sales-and-hana-vu-captivate-intimate-crowd-at-the-sinclair\">I also got offered to open for [the band] SALES that fall before I would have started college.\u003c/a> In the pursuit of music, it didn’t seem super relevant to go to school. And I’m a bit contrarian by nature. And so I think it was also a little bit of me wanting to step out and do something else.\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/9mTKX1zs6-0'\n title='//www.youtube.com/embed/9mTKX1zs6-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the release of her second full album, \u003cem>Romanticism\u003c/em>, and its themes: \u003c/strong>\u003c/p>\n\u003cp>I think my favorite song on the album right now is “Love.” At the end of the day, it’s love. I tried to be really intentional and simple with the way that I approached these songs and this record. There’s a central theme of grief and love and whether or not they’re the same thing. And, yeah, I think with this album, [I was] trying to keep it simple and just be honest and maybe not super personal, allowing me to connect with the music in the sense that I know that everybody on some level feels how I do. And that brings me peace.\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/GFggeQbKwl0'\n title='//www.youtube.com/embed/GFggeQbKwl0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the grief of growing older, as heard in the chorus of the song “22” (I’m just growing old / I’m just 22 / I just want to hold on to you”): \u003c/strong>\u003c/p>\n\u003cp>It’s just the idea of holding on to a moment in time, or yourself, or ideas of yourself, or ideas of another person, or who you are with another person, what that all means to you. It doesn’t really matter how old you are, you’re always going to feel old. And then you can sometimes dissociate from it, like, “We’re so young. I’m just so young, blah blah, blah.” But I think in one’s heart, this is the oldest you’ve ever been, so how could you not feel old?\u003c/p>\n\u003cp>\u003cstrong>On being called an “indie-pop prodigy”:\u003c/strong>\u003c/p>\n\u003cp>It made me wonder what a prodigy is. I think by that time I was maybe 21 or 22. I was like, I feel like I’m maybe a little bit too old to be a prodigy. I hear all sorts of hyperbolic things that I try not to get into my sphere of actual thinking, but it’s nice for sure.\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/pM9nj3Pddrc'\n title='//www.youtube.com/embed/pM9nj3Pddrc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On her upcoming North America tour: \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m probably most excited for the last show, and most nervous for the first show. I’m excited to get out of town and see things, meet new people, play these songs that I haven’t played before. [I’m excited about] completing the process of writing this album with the catharsis of singing it at people and seeing it resonate. I’m excited to play [the song] “Care” in L.A. I mentioned L.A. a lot in some of the songs, and to sing it at the city, in the city, at the L.A. show, will feel like a full circle.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ramzi-salti-champions-indie-arab-musicians-with-arabology-podcast",
"title": "Ramzi Salti Champions Indie Arab Musicians With 'Arabology' Podcast",
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"headTitle": "Ramzi Salti Champions Indie Arab Musicians With ‘Arabology’ Podcast | KQED",
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"content": "\u003cp>For over a decade, \u003ca href=\"https://dlcl.stanford.edu/people/ramzi-salti\">Ramzi Salti\u003c/a> — aka DJ Ramzi — has been sharing his deep passion for Arabic music with listeners all over the world through his radio show and podcast, \u003cem>\u003ca href=\"https://www.arabology.org/\">Arabology\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Between his encyclopedic-level musical knowledge and his voice — a deep rasp elevated by a warm, enthusiastic on-air demeanor — “radio deejay” is a fitting role for him. But Salti, an advanced lecturer in the Arabic program at Stanford University since 1999, didn’t expect to add the title to his résumé.\u003c/p>\n\u003cp>Then, the pro-democracy movements of the \u003ca href=\"https://www.history.com/topics/middle-east/arab-spring\">Arab Spring\u003c/a> sprouted in 2011.\u003c/p>\n\u003cp>“It was a very optimistic time. And the music that fueled the revolution was everywhere,” Salti said. “And people were asking me since I speak Arabic, ‘What are they saying?’”\u003c/p>\n\u003cp>Salti started translating songs as a resource for people on campus — like Egyptian band Cairokee’s popular anthem \u003ca href=\"https://www.youtube.com/watch?v=Fgw_zfLLvh8\">“Sout al Horeya,”\u003c/a> which means “Voice of Freedom,” and Tunisian singer Emel Mathlouthi’s iconic song \u003ca href=\"https://www.youtube.com/watch?v=wJ79iEfus8E\">“Kelmti Horra,”\u003c/a> which means “My Word Is Free.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was also invited to talk about the music of the Arab Spring on Stanford’s radio station, \u003ca href=\"https://kzsu.stanford.edu/\">KZSU\u003c/a>. The reaction was so positive that he was asked back a few more times. By the fourth guest spot, he was offered to train as a deejay and get a show of his own. And \u003cem>Arabology\u003c/em> was born.\u003c/p>\n\u003cfigure id=\"attachment_11993197\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg\" alt=\"A man wearing a striped button down shirt sits in front of an audio board and points while another man behind him looks at the controls.\" width=\"900\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news-160x107.jpg 160w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ahmad Qousi (left) assists Ramzi Salti in the early days of his show ‘Arabology’ at Stanford University’s KZSU radio station in Palo Alto in 2013. \u003ccite>(L.A. Cicero / Stanford News Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Before I was a deejay and before I had a radio show, I’ve always been an educator,” Salti said. “When I talk about \u003cem>Arabology\u003c/em>, I say it’s an educational show … it’s entertainment with a goal.”\u003c/p>\n\u003cp>His goal is to introduce people to the wide variety of Arabic music that exists, hoping they’ll enjoy it and be curious to hear more. Each \u003ca href=\"https://soundcloud.com/arabology/sets/podcasts\">two-hour episode\u003c/a> is filled with fun facts about Arabic music and artists, sprinkled across an array of indie Arabic tracks and remixes — everything from Arabic rock, electronica, jazz, pop, hip-hop and more. He also features \u003ca href=\"https://soundcloud.com/arabology/sets/arabology-interviews\">interviews\u003c/a> with musicians, actors, poets and other culture makers on the show, which began as a weekly live program on KZSU.\u003c/p>\n\u003cp>“When you hear about Arabic music, it just sounds foreign to so many people,” Salti said. “And it gets mixed in with religious chants and religion and Islam — all of which are beautiful — but there’s a whole other genre of Arabic music that is very secular.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9UFCqtbKv_k\u003c/p>\n\u003cp>He also hopes that by exposing audiences to the diversity of sounds and stories of various Arab artists, the show will help push back against the stereotypes and demonization of Arabs and Arab Americans in society.\u003c/p>\n\u003cp>“If somebody walks away with the idea that, ‘wow, Arabic music isn’t as weird as I would have thought,’ or change their mind about the systematic demonization we see of Muslims, that would be what I want,” Salti said.\u003c/p>\n\u003ch2>A lifelong love of music\u003c/h2>\n\u003cp>Salti’s love for Arabic music started early. “Music has been my best friend since childhood,” Salti said. He grew up in Lebanon, and then in Jordan when his parents moved the family there after the Lebanese Civil War broke out in 1975.\u003c/p>\n\u003cp>“When I got to Jordan, I was so lonely, and I missed Lebanon so much,” he said. “So I would turn to music and Arabic music — especially the music of \u003ca href=\"https://www.youtube.com/channel/UCKXmVTvVMQz_fggy66HlgQQ\">Fairuz\u003c/a>, who is the number one Lebanese diva.”\u003c/p>\n\u003cp>In 1983, Salti moved to the U.S. to study at Santa Clara University. Just 17 years old and navigating the culture shock on his own, he again turned to music to help him cope. He credits the couple of cassettes of Arabic music he brought to California with getting him through college.\u003c/p>\n\u003cp>Among his peers, Salti’s ear for music stood out. At graduation, he and his friends made and exchanged cassette mixtapes as gifts. For his mixtape, he included songs with lyrics in English and French, plus some songs in Arabic.\u003c/p>\n\u003cp>“And I would wait to see the reaction,” Salti said. “And sure enough, I would always get positive feedback. And they would tell me … ‘the way you choose music is so great. You should have a radio show one day.’”\u003c/p>\n\u003ch2>A show where indie Arab artists shine\u003c/h2>\n\u003cp>Salti is especially known for featuring indie artists, women artists and LGBTQ artists on \u003cem>Arabology\u003c/em> — the singers and musicians often ignored by mainstream Arabic radio stations, particularly in more conservative areas.\u003c/p>\n\u003cp>“I can play that kind of music right here at KZSU in Arabic and not have to censor it,” Salti said. “In fact, I can praise it and disseminate it because it is beautiful, powerful music that unfortunately doesn’t get heard enough in the Arab world.”\u003c/p>\n\u003cfigure id=\"attachment_11993199\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg\" alt=\"A man wearing black clothing points at a piece of paper and stands with a woman who is holding the paper with a picture board and festive lights behind them.\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Arabology’ host Ramzi Salti with Lebanese singer Yasmine Hamdan at the KZSU radio station at Stanford University in November 2017. \u003ccite>(Photo courtesy of Ramzi Salti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s hosted shows that have focused solely on Arab women’s voices. The music of Lebanese singer \u003ca href=\"https://yasminehamdan.com/en/#/#home\">Yasmine Hamdan\u003c/a> — who Salti refers to as “the queen of underground Lebanese music” — is featured often, and Hamdan herself has been a \u003ca href=\"https://soundcloud.com/arabology/yasminehamdan2017\">guest on the show\u003c/a>. Her 2009 electronic synthpop album \u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_mNDTYjeKL3sOh2tk9DHu5izNioGedkb9Y\">\u003ci>Arabology\u003c/i>\u003c/a>, as part of the duo Y.A.S., inspired the name of Salti’s podcast.\u003c/p>\n\u003cp>Another artist he’s interviewed and played often on the show is \u003ca href=\"https://www.instagram.com/hamed.sinno/?hl=en\">Hamed Sinno\u003c/a>, who is openly gay. Sinno was the lead singer of the Lebanese band \u003ca href=\"https://www.youtube.com/watch?v=pfPvgAtgTNM\">Mashrou’ Leila\u003c/a> until the group disbanded in 2022 due to harassment and hate campaigns.\u003c/p>\n\u003cp>In 2009, they released a song titled \u003ca href=\"https://www.youtube.com/watch?v=f1GOmPx-Ba8\">“Shim El Yasmine,”\u003c/a> which translates to “Smell the Jasmine.” It’s a tender ballad about Sinno’s break-up with a man.\u003c/p>\n\u003cp>“It was such a moment because I think it was the first time we had an openly gay Muslim singer sing in Arabic about what [they are] going through,” Salti said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-a2sOF_hhKw\u003c/p>\n\u003cp>Salti said the common theme in all the music he plays is coexistence, whether it’s from artists living on the margins of Arab society or songs with more explicit messages of unity.\u003c/p>\n\u003cp>One of his go-to artists in the latter vein is Lebanese singer \u003ca href=\"https://www.taniasaleh.com/\">Tania Saleh\u003c/a> and her song \u003ca href=\"https://www.youtube.com/watch?v=5_PbJg9v0CM\">“Omar and Ali.”\u003c/a> In it, she encourages Sunni and Shia Muslims to end their fighting and make peace.\u003c/p>\n\u003cp>“She says, ‘Get up Omar, get up Ali, shake hands and become brothers again,’” Salti explained.\u003c/p>\n\u003cp>“On a more personal level, I myself happen to be a Christian Arab, but I’m always assumed to be Muslim,” he added. “A lot of people think the whole Arab world is Muslim.”\u003c/p>\n\u003cp>He said he doesn’t typically correct people because he doesn’t want to feed an idea that there’s anything wrong with being Muslim. But it’s a reminder of the stereotypes he and other Arabs and Arab Americans face — and an added motivation for him to continue showcasing different Arab communities and perspectives through his show.\u003c/p>\n\u003ch2>‘We need to build bridges’\u003c/h2>\n\u003cp>Ramzi’s dedication to amplifying indie Arab musicians has built him a solid reputation in that scene. Today, the show is a go-to platform for emerging Arab and Arab American musicians.\u003c/p>\n\u003cp>“I’m at a stage where every morning when I look at my email, and I look at my messages, there are people telling me about other people, [or] that I need to discover this band. Some bands send me their demos,” Salti said.\u003c/p>\n\u003cp>Since the pandemic, Salti has been pre-recording his shows on a more sporadic schedule and releasing them as a \u003ca href=\"https://www.arabology.org/p/all-my-podcasts.html\">podcast\u003c/a> on streaming platforms, including a \u003ca href=\"https://www.youtube.com/channel/UCyf1lyybLSdVr6N4eOuLe0w\">video podcast\u003c/a> on YouTube. This summer, he’s spending time in Jordan, where he plans to interview artists for new episodes of \u003cem>Arabology\u003c/em>. He otherwise hasn’t released a new show in a while, which he said is intentional.\u003c/p>\n\u003cp>“It feels weird and inhuman, maybe, to be playing dance music from that region at a time where people in that region are living a nightmare,” Salti said, referring to the ongoing Israel-Hamas war in Gaza.\u003c/p>\n\u003cp>Salti said that instead, he’s been discovering poetry by poets in Gaza, set to music. He cites one such production by \u003ca href=\"http://www.checkpoint303.com/\">Checkpoint 303\u003c/a>, a nonprofit, experimental music collective founded by Tunisian artist SC Mocha and Palestinian artist SC Yosh. They \u003ca href=\"https://www.youtube.com/watch?v=v4QbAMK41XY\">remixed\u003c/a> the viral poem by Palestinian poet and professor Refaat Alareer titled \u003ca href=\"https://x.com/itranslate123/status/1719701312990830934\">“If I Must Die.”\u003c/a> Alareer published the poem on social media just weeks before he was killed in Gaza by an Israeli airstrike.\u003c/p>\n\u003cp>“The song itself is powerful,” Salti said. “It will make you really, really think about the violence that’s going on and how many potential artists, singers, poets are disappearing before they’ve even seen the world or been given a chance.”\u003c/p>\n\u003cp>At the same time, Salti acknowledges the power of music as a means of expression and hope.\u003c/p>\n\u003cp>“I think a lot of Arab artists and even artists in Gaza itself are finding that music and poetry [are] one of the few outlets they have left,” he said.\u003c/p>\n\u003cp>Salti also likes to share songs that combine Hebrew and Arabic when he comes across them. “I’m so proud of these artists who come together, you know, Jewish artists with Muslim artists recording a duet. That, to me, is beautiful.”\u003c/p>\n\u003cp>Because while Salti may switch up songs for his music mixes, one tune remains constant — his commitment to opening hearts and minds through music.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“What I want listeners to take away when they listen to one of my episodes has never changed, and that is to have a different view of the Arab world and to understand that the difference between East and West is not so vast; that we need to build bridges; that we can both learn from each other,” he said. “And for me, if music gets you to discover tolerance and coexistence, then I’ve done my job.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For over a decade, \u003ca href=\"https://dlcl.stanford.edu/people/ramzi-salti\">Ramzi Salti\u003c/a> — aka DJ Ramzi — has been sharing his deep passion for Arabic music with listeners all over the world through his radio show and podcast, \u003cem>\u003ca href=\"https://www.arabology.org/\">Arabology\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Between his encyclopedic-level musical knowledge and his voice — a deep rasp elevated by a warm, enthusiastic on-air demeanor — “radio deejay” is a fitting role for him. But Salti, an advanced lecturer in the Arabic program at Stanford University since 1999, didn’t expect to add the title to his résumé.\u003c/p>\n\u003cp>Then, the pro-democracy movements of the \u003ca href=\"https://www.history.com/topics/middle-east/arab-spring\">Arab Spring\u003c/a> sprouted in 2011.\u003c/p>\n\u003cp>“It was a very optimistic time. And the music that fueled the revolution was everywhere,” Salti said. “And people were asking me since I speak Arabic, ‘What are they saying?’”\u003c/p>\n\u003cp>Salti started translating songs as a resource for people on campus — like Egyptian band Cairokee’s popular anthem \u003ca href=\"https://www.youtube.com/watch?v=Fgw_zfLLvh8\">“Sout al Horeya,”\u003c/a> which means “Voice of Freedom,” and Tunisian singer Emel Mathlouthi’s iconic song \u003ca href=\"https://www.youtube.com/watch?v=wJ79iEfus8E\">“Kelmti Horra,”\u003c/a> which means “My Word Is Free.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was also invited to talk about the music of the Arab Spring on Stanford’s radio station, \u003ca href=\"https://kzsu.stanford.edu/\">KZSU\u003c/a>. The reaction was so positive that he was asked back a few more times. By the fourth guest spot, he was offered to train as a deejay and get a show of his own. And \u003cem>Arabology\u003c/em> was born.\u003c/p>\n\u003cfigure id=\"attachment_11993197\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg\" alt=\"A man wearing a striped button down shirt sits in front of an audio board and points while another man behind him looks at the controls.\" width=\"900\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news-160x107.jpg 160w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ahmad Qousi (left) assists Ramzi Salti in the early days of his show ‘Arabology’ at Stanford University’s KZSU radio station in Palo Alto in 2013. \u003ccite>(L.A. Cicero / Stanford News Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Before I was a deejay and before I had a radio show, I’ve always been an educator,” Salti said. “When I talk about \u003cem>Arabology\u003c/em>, I say it’s an educational show … it’s entertainment with a goal.”\u003c/p>\n\u003cp>His goal is to introduce people to the wide variety of Arabic music that exists, hoping they’ll enjoy it and be curious to hear more. Each \u003ca href=\"https://soundcloud.com/arabology/sets/podcasts\">two-hour episode\u003c/a> is filled with fun facts about Arabic music and artists, sprinkled across an array of indie Arabic tracks and remixes — everything from Arabic rock, electronica, jazz, pop, hip-hop and more. He also features \u003ca href=\"https://soundcloud.com/arabology/sets/arabology-interviews\">interviews\u003c/a> with musicians, actors, poets and other culture makers on the show, which began as a weekly live program on KZSU.\u003c/p>\n\u003cp>“When you hear about Arabic music, it just sounds foreign to so many people,” Salti said. “And it gets mixed in with religious chants and religion and Islam — all of which are beautiful — but there’s a whole other genre of Arabic music that is very secular.”\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/9UFCqtbKv_k'\n title='//www.youtube.com/embed/9UFCqtbKv_k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He also hopes that by exposing audiences to the diversity of sounds and stories of various Arab artists, the show will help push back against the stereotypes and demonization of Arabs and Arab Americans in society.\u003c/p>\n\u003cp>“If somebody walks away with the idea that, ‘wow, Arabic music isn’t as weird as I would have thought,’ or change their mind about the systematic demonization we see of Muslims, that would be what I want,” Salti said.\u003c/p>\n\u003ch2>A lifelong love of music\u003c/h2>\n\u003cp>Salti’s love for Arabic music started early. “Music has been my best friend since childhood,” Salti said. He grew up in Lebanon, and then in Jordan when his parents moved the family there after the Lebanese Civil War broke out in 1975.\u003c/p>\n\u003cp>“When I got to Jordan, I was so lonely, and I missed Lebanon so much,” he said. “So I would turn to music and Arabic music — especially the music of \u003ca href=\"https://www.youtube.com/channel/UCKXmVTvVMQz_fggy66HlgQQ\">Fairuz\u003c/a>, who is the number one Lebanese diva.”\u003c/p>\n\u003cp>In 1983, Salti moved to the U.S. to study at Santa Clara University. Just 17 years old and navigating the culture shock on his own, he again turned to music to help him cope. He credits the couple of cassettes of Arabic music he brought to California with getting him through college.\u003c/p>\n\u003cp>Among his peers, Salti’s ear for music stood out. At graduation, he and his friends made and exchanged cassette mixtapes as gifts. For his mixtape, he included songs with lyrics in English and French, plus some songs in Arabic.\u003c/p>\n\u003cp>“And I would wait to see the reaction,” Salti said. “And sure enough, I would always get positive feedback. And they would tell me … ‘the way you choose music is so great. You should have a radio show one day.’”\u003c/p>\n\u003ch2>A show where indie Arab artists shine\u003c/h2>\n\u003cp>Salti is especially known for featuring indie artists, women artists and LGBTQ artists on \u003cem>Arabology\u003c/em> — the singers and musicians often ignored by mainstream Arabic radio stations, particularly in more conservative areas.\u003c/p>\n\u003cp>“I can play that kind of music right here at KZSU in Arabic and not have to censor it,” Salti said. “In fact, I can praise it and disseminate it because it is beautiful, powerful music that unfortunately doesn’t get heard enough in the Arab world.”\u003c/p>\n\u003cfigure id=\"attachment_11993199\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg\" alt=\"A man wearing black clothing points at a piece of paper and stands with a woman who is holding the paper with a picture board and festive lights behind them.\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Arabology’ host Ramzi Salti with Lebanese singer Yasmine Hamdan at the KZSU radio station at Stanford University in November 2017. \u003ccite>(Photo courtesy of Ramzi Salti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s hosted shows that have focused solely on Arab women’s voices. The music of Lebanese singer \u003ca href=\"https://yasminehamdan.com/en/#/#home\">Yasmine Hamdan\u003c/a> — who Salti refers to as “the queen of underground Lebanese music” — is featured often, and Hamdan herself has been a \u003ca href=\"https://soundcloud.com/arabology/yasminehamdan2017\">guest on the show\u003c/a>. Her 2009 electronic synthpop album \u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_mNDTYjeKL3sOh2tk9DHu5izNioGedkb9Y\">\u003ci>Arabology\u003c/i>\u003c/a>, as part of the duo Y.A.S., inspired the name of Salti’s podcast.\u003c/p>\n\u003cp>Another artist he’s interviewed and played often on the show is \u003ca href=\"https://www.instagram.com/hamed.sinno/?hl=en\">Hamed Sinno\u003c/a>, who is openly gay. Sinno was the lead singer of the Lebanese band \u003ca href=\"https://www.youtube.com/watch?v=pfPvgAtgTNM\">Mashrou’ Leila\u003c/a> until the group disbanded in 2022 due to harassment and hate campaigns.\u003c/p>\n\u003cp>In 2009, they released a song titled \u003ca href=\"https://www.youtube.com/watch?v=f1GOmPx-Ba8\">“Shim El Yasmine,”\u003c/a> which translates to “Smell the Jasmine.” It’s a tender ballad about Sinno’s break-up with a man.\u003c/p>\n\u003cp>“It was such a moment because I think it was the first time we had an openly gay Muslim singer sing in Arabic about what [they are] going through,” Salti said.\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/-a2sOF_hhKw'\n title='//www.youtube.com/embed/-a2sOF_hhKw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Salti said the common theme in all the music he plays is coexistence, whether it’s from artists living on the margins of Arab society or songs with more explicit messages of unity.\u003c/p>\n\u003cp>One of his go-to artists in the latter vein is Lebanese singer \u003ca href=\"https://www.taniasaleh.com/\">Tania Saleh\u003c/a> and her song \u003ca href=\"https://www.youtube.com/watch?v=5_PbJg9v0CM\">“Omar and Ali.”\u003c/a> In it, she encourages Sunni and Shia Muslims to end their fighting and make peace.\u003c/p>\n\u003cp>“She says, ‘Get up Omar, get up Ali, shake hands and become brothers again,’” Salti explained.\u003c/p>\n\u003cp>“On a more personal level, I myself happen to be a Christian Arab, but I’m always assumed to be Muslim,” he added. “A lot of people think the whole Arab world is Muslim.”\u003c/p>\n\u003cp>He said he doesn’t typically correct people because he doesn’t want to feed an idea that there’s anything wrong with being Muslim. But it’s a reminder of the stereotypes he and other Arabs and Arab Americans face — and an added motivation for him to continue showcasing different Arab communities and perspectives through his show.\u003c/p>\n\u003ch2>‘We need to build bridges’\u003c/h2>\n\u003cp>Ramzi’s dedication to amplifying indie Arab musicians has built him a solid reputation in that scene. Today, the show is a go-to platform for emerging Arab and Arab American musicians.\u003c/p>\n\u003cp>“I’m at a stage where every morning when I look at my email, and I look at my messages, there are people telling me about other people, [or] that I need to discover this band. Some bands send me their demos,” Salti said.\u003c/p>\n\u003cp>Since the pandemic, Salti has been pre-recording his shows on a more sporadic schedule and releasing them as a \u003ca href=\"https://www.arabology.org/p/all-my-podcasts.html\">podcast\u003c/a> on streaming platforms, including a \u003ca href=\"https://www.youtube.com/channel/UCyf1lyybLSdVr6N4eOuLe0w\">video podcast\u003c/a> on YouTube. This summer, he’s spending time in Jordan, where he plans to interview artists for new episodes of \u003cem>Arabology\u003c/em>. He otherwise hasn’t released a new show in a while, which he said is intentional.\u003c/p>\n\u003cp>“It feels weird and inhuman, maybe, to be playing dance music from that region at a time where people in that region are living a nightmare,” Salti said, referring to the ongoing Israel-Hamas war in Gaza.\u003c/p>\n\u003cp>Salti said that instead, he’s been discovering poetry by poets in Gaza, set to music. He cites one such production by \u003ca href=\"http://www.checkpoint303.com/\">Checkpoint 303\u003c/a>, a nonprofit, experimental music collective founded by Tunisian artist SC Mocha and Palestinian artist SC Yosh. They \u003ca href=\"https://www.youtube.com/watch?v=v4QbAMK41XY\">remixed\u003c/a> the viral poem by Palestinian poet and professor Refaat Alareer titled \u003ca href=\"https://x.com/itranslate123/status/1719701312990830934\">“If I Must Die.”\u003c/a> Alareer published the poem on social media just weeks before he was killed in Gaza by an Israeli airstrike.\u003c/p>\n\u003cp>“The song itself is powerful,” Salti said. “It will make you really, really think about the violence that’s going on and how many potential artists, singers, poets are disappearing before they’ve even seen the world or been given a chance.”\u003c/p>\n\u003cp>At the same time, Salti acknowledges the power of music as a means of expression and hope.\u003c/p>\n\u003cp>“I think a lot of Arab artists and even artists in Gaza itself are finding that music and poetry [are] one of the few outlets they have left,” he said.\u003c/p>\n\u003cp>Salti also likes to share songs that combine Hebrew and Arabic when he comes across them. “I’m so proud of these artists who come together, you know, Jewish artists with Muslim artists recording a duet. That, to me, is beautiful.”\u003c/p>\n\u003cp>Because while Salti may switch up songs for his music mixes, one tune remains constant — his commitment to opening hearts and minds through music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What I want listeners to take away when they listen to one of my episodes has never changed, and that is to have a different view of the Arab world and to understand that the difference between East and West is not so vast; that we need to build bridges; that we can both learn from each other,” he said. “And for me, if music gets you to discover tolerance and coexistence, then I’ve done my job.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Amy Richter was a little girl, her father often traveled for work. He often came home bearing gifts of music and record albums. They bonded while poring over all that vinyl, she recalls, exploring the world of music from classical and rock to bluegrass.\u003c/p>\n\u003cp>Richter’s love of music only grew as she got older and studied voice and piano. Diagnosed with dyslexia, she also found that music helped her cope with her learning disability. It helped her gain focus and confidence. That’s why she studied music therapy in college. She knows the power of music to supercharge our brains.\u003c/p>\n\u003cp>“Music really became the guiding force in my education and helped me to connect with other people, helping build confidence through performance, also helping with my mental health,” said Richter, who founded \u003ca class=\"external\" href=\"https://musicworkshopedu.org/\" target=\"_blank\" rel=\"noopener\">Music Workshop\u003c/a>, a free music curriculum designed to cultivate a love of music from a young age, that can help schools beef up their arts offerings on the cheap. Schools across the country, including hundreds in California, from Yuba City to San Diego, now use her program. “It really became a tool in my life to better myself.”\u003c/p>\n\u003cp>To be sure, aficionados of the arts have long argued that art transforms us, but in recent years, neuroscience has shown just how music can shape the architecture of the brain. This cognitive research illuminates the connection between music and learning and gives heft to longstanding arguments for the power of music education that are newly relevant in the wake of California’s Proposition 28, which sets aside money for arts education in schools.\u003c/p>\n\u003cp>“The K-12 grades are the years in which brain function is most rapidly evolving and information from all different types of learning and subjects is being processed and absorbed, including connections across what we might think of as different school subjects, but they are all connected in our developing brains,” said Giuliana Conti, director of education and equity for \u003ca class=\"external\" href=\"https://musicworkshopedu.org/\" target=\"_blank\" rel=\"noopener\">Music Workshop\u003c/a>, which is particularly popular at schools that often tap substitute teachers in an era of high teacher absences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Music education provides physical and auditory experiences that work like bridges for brain structures. As the brain processes musical sounds and body movements, neural pathways across different regions of the brain grow and strengthen. The more those pathways are activated, the more usable they become across time and other skill sets or learning experiences.”\u003c/p>\n\u003cp>Amid the ongoing crises in literacy and numeracy plaguing our schools and the enduring sting of pandemic learning loss, many arts advocates are pointing to music education as a way to boost executive functioning in the brain. This enhanced cognitive function, often coupled with a surge in well-being, may be the secret sauce that makes music education such an academic powerhouse, \u003ca class=\"external\" href=\"https://news.usc.edu/102681/childrens-brains-develop-faster-with-music-training/\" target=\"_blank\" rel=\"noopener\">research suggests.\u003c/a> Music may prime the brain to learn.\u003c/p>\n\u003cp>“Music is this wonderful, holistic way of engaging almost everything that is important for education,” said Nina Kraus, a noted neuroscientist at Northwestern University who studies the biology of auditory learning, in a \u003ca class=\"external\" href=\"https://ewa.org/watch-and-listen/webinar/video-can-arts-education-help-students-recover-academically\" target=\"_blank\" rel=\"noopener\">webinar.\u003c/a> “First of all, we know that the ingredients that are important in making music and the ones that are important for reading and literacy are the same ingredients. So when you’re strengthening your brain by making music, you’re strengthening your brain for language.”[aside label=\"Related Stories\" tag=\"proposition-28\"]Kraus, who grew up listening to her mother play the piano, is passionate about the impact of sound, ranging from the distracting to the sublime, from noise pollution to Puccini, on the brain. The gist of much of her research is how thoroughly sound shapes cognition. Music training, for example, sets up children’s brains to become better learners by enhancing the sound processing that underpins language, she said.\u003c/p>\n\u003cp>While we live in a visually oriented world, our brains are fundamentally wired for sound, she argues. Reading, for example, is a relatively new phenomenon in human history, while listening keenly for a sound, say a predator, is a primal impulse deeply embedded in the brain. Put simply, what we hear shapes who we are.\u003c/p>\n\u003cp>“Music really is the jackpot,” as Kraus, author of “\u003ca class=\"external\" href=\"https://mitpress.mit.edu/books/sound-mind\" target=\"_blank\" rel=\"noopener\">Of Sound Mind\u003c/a>,” puts it. She has conducted extensive research showing that music education helps boost test scores for low-income children.\u003c/p>\n\u003cp>Music also helps us manage \u003ca class=\"external\" href=\"https://pubmed.ncbi.nlm.nih.gov/24374731/\" target=\"_blank\" rel=\"noopener\">stress.\u003c/a>\u003cstrong> \u003c/strong>Perhaps that’s one reason that offering more music and arts classes is also associated with lower chronic absenteeism rates and higher attendance, research \u003ca class=\"external\" href=\"https://www.edvestors.org/media/pages/initiatives/bps-arts-expansion/bps-arts-expansion-impact/62f2206bb4-1646466315/the-arts-advantage-impacts-of-arts-education-on-boston-students_brief-final.pdf\" target=\"_blank\" rel=\"noopener\">suggests\u003c/a>. Think of music education as lifting weights with your brain. It makes the whole apparatus stronger and healthier.\u003c/p>\n\u003cp>“Music is therapeutic because it helps us to regulate our emotions,” said Richter, who adds that a culturally relevant music curriculum can help engage a diverse student body. “It helps us to lower our cortisol levels. It helps promote relaxation. It helps us with focus and concentration. It also helps us with connection. Now more than ever, we know how important connection is, especially among our youth.”\u003c/p>\n\u003cp>In the post-pandemic era, these insights may well fuel the uptake of music classes in a state struggling with low test scores, but the implications for brain health actually go far beyond academic prowess and social-emotional well-being in childhood.\u003c/p>\n\u003cp>Indeed, early musical experiences may impart a lifelong neuroplasticity, Kraus has documented. Studies suggest that a 65-year-old musician has the neural activity of a 25-year-old non-musician. A 65-year-old who played music as a child but hasn’t touched an instrument in ages still has neural responses faster than a peer who never played music, although slower than those of a die-hard musician.\u003c/p>\n\u003cp>“What I would say to everyone who thinks about picking up an instrument: It’s never too late,” Richter said. “Even just practicing scales can help with cell regeneration. So I encourage adults to continue to learn music along the way, whether that’s picking up an instrument or listening to music, it’s always really important for brain development.”\u003c/p>\n\u003cp>Music pricks up our hearts and minds, as well as our ears. Children must persevere to master a piece of music and collaborate to perform it in the spotlight. They must learn focus, patience and grace under pressure. That kind of electrifying shared experience, working as a community, is something new to many of them, experts say.\u003c/p>\n\u003cp>“When music is more regularly incorporated as part of children’s everyday lives,” Conti said, “it can move the needle in their learning and development more effectively across many different parts of their lives: socially, emotionally, musically and academically.”\u003c/p>\n\u003cp>It’s the intangible effects of music education, the elements that can’t be reduced to data points and parameters, that strike Kraus as the most profound. Music builds a feeling of joy and a sense of belonging between musicians and their listeners, which is something that little else in our age of digital background noise can do.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Music connects us, and it connects us in a way that hardly anything I know does, so it’s very, very important,” Kraus said. “We live in a very disconnected world. Depression, anxiety, alienation, the inability to focus, all of that is on the rise. Intolerance is on the rise. Music is a way to bring us together.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Amy Richter was a little girl, her father often traveled for work. He often came home bearing gifts of music and record albums. They bonded while poring over all that vinyl, she recalls, exploring the world of music from classical and rock to bluegrass.\u003c/p>\n\u003cp>Richter’s love of music only grew as she got older and studied voice and piano. Diagnosed with dyslexia, she also found that music helped her cope with her learning disability. It helped her gain focus and confidence. That’s why she studied music therapy in college. She knows the power of music to supercharge our brains.\u003c/p>\n\u003cp>“Music really became the guiding force in my education and helped me to connect with other people, helping build confidence through performance, also helping with my mental health,” said Richter, who founded \u003ca class=\"external\" href=\"https://musicworkshopedu.org/\" target=\"_blank\" rel=\"noopener\">Music Workshop\u003c/a>, a free music curriculum designed to cultivate a love of music from a young age, that can help schools beef up their arts offerings on the cheap. Schools across the country, including hundreds in California, from Yuba City to San Diego, now use her program. “It really became a tool in my life to better myself.”\u003c/p>\n\u003cp>To be sure, aficionados of the arts have long argued that art transforms us, but in recent years, neuroscience has shown just how music can shape the architecture of the brain. This cognitive research illuminates the connection between music and learning and gives heft to longstanding arguments for the power of music education that are newly relevant in the wake of California’s Proposition 28, which sets aside money for arts education in schools.\u003c/p>\n\u003cp>“The K-12 grades are the years in which brain function is most rapidly evolving and information from all different types of learning and subjects is being processed and absorbed, including connections across what we might think of as different school subjects, but they are all connected in our developing brains,” said Giuliana Conti, director of education and equity for \u003ca class=\"external\" href=\"https://musicworkshopedu.org/\" target=\"_blank\" rel=\"noopener\">Music Workshop\u003c/a>, which is particularly popular at schools that often tap substitute teachers in an era of high teacher absences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Music education provides physical and auditory experiences that work like bridges for brain structures. As the brain processes musical sounds and body movements, neural pathways across different regions of the brain grow and strengthen. The more those pathways are activated, the more usable they become across time and other skill sets or learning experiences.”\u003c/p>\n\u003cp>Amid the ongoing crises in literacy and numeracy plaguing our schools and the enduring sting of pandemic learning loss, many arts advocates are pointing to music education as a way to boost executive functioning in the brain. This enhanced cognitive function, often coupled with a surge in well-being, may be the secret sauce that makes music education such an academic powerhouse, \u003ca class=\"external\" href=\"https://news.usc.edu/102681/childrens-brains-develop-faster-with-music-training/\" target=\"_blank\" rel=\"noopener\">research suggests.\u003c/a> Music may prime the brain to learn.\u003c/p>\n\u003cp>“Music is this wonderful, holistic way of engaging almost everything that is important for education,” said Nina Kraus, a noted neuroscientist at Northwestern University who studies the biology of auditory learning, in a \u003ca class=\"external\" href=\"https://ewa.org/watch-and-listen/webinar/video-can-arts-education-help-students-recover-academically\" target=\"_blank\" rel=\"noopener\">webinar.\u003c/a> “First of all, we know that the ingredients that are important in making music and the ones that are important for reading and literacy are the same ingredients. So when you’re strengthening your brain by making music, you’re strengthening your brain for language.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kraus, who grew up listening to her mother play the piano, is passionate about the impact of sound, ranging from the distracting to the sublime, from noise pollution to Puccini, on the brain. The gist of much of her research is how thoroughly sound shapes cognition. Music training, for example, sets up children’s brains to become better learners by enhancing the sound processing that underpins language, she said.\u003c/p>\n\u003cp>While we live in a visually oriented world, our brains are fundamentally wired for sound, she argues. Reading, for example, is a relatively new phenomenon in human history, while listening keenly for a sound, say a predator, is a primal impulse deeply embedded in the brain. Put simply, what we hear shapes who we are.\u003c/p>\n\u003cp>“Music really is the jackpot,” as Kraus, author of “\u003ca class=\"external\" href=\"https://mitpress.mit.edu/books/sound-mind\" target=\"_blank\" rel=\"noopener\">Of Sound Mind\u003c/a>,” puts it. She has conducted extensive research showing that music education helps boost test scores for low-income children.\u003c/p>\n\u003cp>Music also helps us manage \u003ca class=\"external\" href=\"https://pubmed.ncbi.nlm.nih.gov/24374731/\" target=\"_blank\" rel=\"noopener\">stress.\u003c/a>\u003cstrong> \u003c/strong>Perhaps that’s one reason that offering more music and arts classes is also associated with lower chronic absenteeism rates and higher attendance, research \u003ca class=\"external\" href=\"https://www.edvestors.org/media/pages/initiatives/bps-arts-expansion/bps-arts-expansion-impact/62f2206bb4-1646466315/the-arts-advantage-impacts-of-arts-education-on-boston-students_brief-final.pdf\" target=\"_blank\" rel=\"noopener\">suggests\u003c/a>. Think of music education as lifting weights with your brain. It makes the whole apparatus stronger and healthier.\u003c/p>\n\u003cp>“Music is therapeutic because it helps us to regulate our emotions,” said Richter, who adds that a culturally relevant music curriculum can help engage a diverse student body. “It helps us to lower our cortisol levels. It helps promote relaxation. It helps us with focus and concentration. It also helps us with connection. Now more than ever, we know how important connection is, especially among our youth.”\u003c/p>\n\u003cp>In the post-pandemic era, these insights may well fuel the uptake of music classes in a state struggling with low test scores, but the implications for brain health actually go far beyond academic prowess and social-emotional well-being in childhood.\u003c/p>\n\u003cp>Indeed, early musical experiences may impart a lifelong neuroplasticity, Kraus has documented. Studies suggest that a 65-year-old musician has the neural activity of a 25-year-old non-musician. A 65-year-old who played music as a child but hasn’t touched an instrument in ages still has neural responses faster than a peer who never played music, although slower than those of a die-hard musician.\u003c/p>\n\u003cp>“What I would say to everyone who thinks about picking up an instrument: It’s never too late,” Richter said. “Even just practicing scales can help with cell regeneration. So I encourage adults to continue to learn music along the way, whether that’s picking up an instrument or listening to music, it’s always really important for brain development.”\u003c/p>\n\u003cp>Music pricks up our hearts and minds, as well as our ears. Children must persevere to master a piece of music and collaborate to perform it in the spotlight. They must learn focus, patience and grace under pressure. That kind of electrifying shared experience, working as a community, is something new to many of them, experts say.\u003c/p>\n\u003cp>“When music is more regularly incorporated as part of children’s everyday lives,” Conti said, “it can move the needle in their learning and development more effectively across many different parts of their lives: socially, emotionally, musically and academically.”\u003c/p>\n\u003cp>It’s the intangible effects of music education, the elements that can’t be reduced to data points and parameters, that strike Kraus as the most profound. Music builds a feeling of joy and a sense of belonging between musicians and their listeners, which is something that little else in our age of digital background noise can do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Music connects us, and it connects us in a way that hardly anything I know does, so it’s very, very important,” Kraus said. “We live in a very disconnected world. Depression, anxiety, alienation, the inability to focus, all of that is on the rise. Intolerance is on the rise. Music is a way to bring us together.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Metal Symphony: How Bay Area Composer Jens Ibsen Is Shaking up the Classical Music World",
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"headTitle": "Metal Symphony: How Bay Area Composer Jens Ibsen Is Shaking up the Classical Music World | KQED",
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"content": "\u003cp>When Bay Area composer Jens Ibsen made his debut with the Sacalifornia composers Francisco Symphony last year, he wanted to do something different.\u003c/p>\n\u003cp>So, for his symphony piece, titled “Drowned in Light,” he took inspiration from one of his less traditional passions.\u003c/p>\n\u003cp>“I wanted the piece to sound really metal, and I feel like I got to do that,” Ibsen, 28, says.\u003c/p>\n\u003cp>The piece melds thrilling electric guitar solos and a pounding drum kit with the cinematic strings of the symphony. Ibsen’s goal was to bring together the intellectual stimulation of classical music with the physically stimulating aspects of rock. And his distinctive approach has lately garnered much attention.\u003c/p>\n\u003cfigure id=\"attachment_11975829\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11975829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED.jpg\" alt=\"A choir group sits in a semicircle, each in front of a music stand, facing a conductor\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Jens Ibsen (with face mask) works with the professional San Francisco choir Volti during a practice session in the basement of the First Unitarian Church in San Francisco on Feb. 7, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Drowned in Light,” which premiered last November, was the result of a $15,000 commission from the San Francisco Symphony and the San Francisco Conservatory of Music.\u003c/p>\n\u003cp>And since then, the commissions have kept coming. Ibsen recently premiered a work with the professional San Francisco choir \u003ca href=\"http://voltisf.org/\">Volti\u003c/a> in late February, and he’s currently working on a children’s opera that will debut at the Glimmerglass Festival in New York in August. This blending of styles comes from his almost life-long study of music, but it’s also an inherent part of his being.\u003c/p>\n\u003cp>Ibsen was born in Ghana to a Ghanaian mother and an American father.\u003c/p>\n\u003cp>“Music is kind of the reason why I’m around,” he says. His father developed a passion for the drums and traveled to Ghana to learn more from the source. “To make an extremely long story short, he met my mother and came back with a whole new family.”\u003c/p>\n\u003cp>Ibsen’s parents moved to the Bay Area when he and his twin sister were 10 months old. For the most part, the soundtrack to their early life was not in English. Rather, they absorbed African music, like Ghanaian highlife and Brazilian Samba and Candomble.\u003c/p>\n\u003cfigure id=\"attachment_11975831\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11975831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED.jpg\" alt=\"A man sits in front of a laptop that has musical notation on the screen.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Jens Ibsen works with the professional San Francisco choir Volti on one of his original compositions during a practice session in the basement of the First Unitarian Church in San Francisco on Feb. 7. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ibsen’s classical career began in elementary school at the suggestion of his music teacher, who sent him home one day with a flier to audition for the Grammy-award-winning \u003ca href=\"https://ragazzi.org/\">Ragazzi Boys Chorus \u003c/a>in Silicon Valley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was like, ‘Well, if I become a singer, then I’ll be cool. If I’m cool, that means girls will like me,” Ibsen says with a laugh. “And that’s all the motivation I needed as an 8-year-old.”\u003c/p>\n\u003cp>As a kid who had struggled to fit in socially, Ibsen soon found that the choir was one of the few outlets where he could be himself and feel good about it. It also helped that he was very good at it.\u003c/p>\n\u003cfigure id=\"attachment_11989226\" class=\"wp-caption alignright\" style=\"max-width: 503px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11989226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1.jpg\" alt=\"\" width=\"503\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1-1020x1359.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1-1153x1536.jpg 1153w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jens Ibsen plays piano at his childhood home in Pacifica on Jan. 26, 2024. \u003ccite>(Jessica Kariisa/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Several years later, at the age of 11, he got the opportunity to audition for the world-renowned Vienna Boys Choir.\u003c/p>\n\u003cp>“I don’t think I’ve ever been more nervous in my life,” he remembers.\u003c/p>\n\u003cp>He didn’t have any reason to be. Ibsen’s training with Ragazzi, not to mention his natural talent, prepared him well, and he was immediately offered a spot in the choir, becoming its first African-born member.\u003c/p>\n\u003cp>He packed up and moved to a palace in Austria, where the boys in the choir lived, went to school, and sang. Ibsen was excited and nervous about this big change in life, but he didn’t anticipate what he would encounter when he arrived.\u003c/p>\n\u003cp>“I’ve never experienced more overt racism than I did when I lived in Austria,” he says. “Everything I did was seen as alien and foreign. I was hazed the entire time I was there. So that was really, really difficult.”\u003c/p>\n\u003cp>After two and a half years with the choir, Ibsen came back to the Bay Area to start school at the \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">Ruth Asawa San Francisco School of the Arts\u003c/a>. Having heard a student was coming from a famous boys choir, incoming students started friending him on Facebook over the summer.\u003c/p>\n\u003cp>Unlike in Austria, he says, they were appreciative of what Ibsen would contribute to the school. It was a welcome change from the isolation he experienced in Vienna, and it was there that he first started composing music.\u003c/p>\n\u003cp>His first piece was for piano, one inspired by the Japanese video game Kingdom Hearts and its piano-forward score by composer Yoko Shimomura.\u003c/p>\n\u003cp>https://youtu.be/QlQsZqXgD90?si=jelFTBup0pY6fhLu\u003c/p>\n\u003cp>Ibsen’s path to metal music came by way of Japan as well. He grew up watching anime, and the ending theme of one of his favorite shows, Hunter x Hunter, was a \u003ca href=\"https://www.youtube.com/watch?v=CyIoNt2m1Gw\">song by the Japanese power metal band Galneryus\u003c/a>.\u003c/p>\n\u003cp>Hearing that, along with music from other Japanese metal bands like Dir En Grey, was transformative, Ibsen says.\u003c/p>\n\u003cp>“Discovering them was sort of a moment like, ‘Oh, music can be like this,’ ” he says. “It also made me experiment as a vocalist more with my range because you have these metal guys singing notes that you never hear in opera.”\u003c/p>\n\u003cp>https://youtu.be/o8-iem35c-E\u003c/p>\n\u003cp>When it comes to writing music, Ibsen says he doesn’t wait for inspiration to strike. He likens the process to a daily routine, like remembering to turn off the stove at night.\u003c/p>\n\u003cp>“I’m very disciplined about writing. I sit down, and I set a chunk of time, and I just do it, and I revise it later until it’s perfect,” he says. “If you have something down, you can decide how you feel. But if you have nothing, you’ve got nothing, right?”\u003c/p>\n\u003cp>Ibsen has composed for ensembles as grand as a symphony and as stripped down as piano and voice. But these days, he says, almost every idea starts the same way — on his phone.\u003c/p>\n\u003cp>“I’ll often make voice notes or text notes or both. If you even read one of these notes, you’re not going to have any idea what it’s going to sound like,” he says. “It’s just enough for me to be able to recall what I’ve stored internally. So it’s more like I’m creating these verbal triggers for myself.”\u003c/p>\n\u003cfigure id=\"attachment_11975836\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11975836\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED.jpg\" alt=\"A young Black man with a black face mask speaks to an older white man, with a stage curtain behind them.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Jens Ibsen speaks with conductor Robert Geary after a practice session with the professional San Francisco choir Volti at the First Unitarian Church in San Francisco on Feb. 7. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there, he’ll transfer the ideas into notation software on his laptop where he’ll finesse the compositions until they are complete.\u003c/p>\n\u003cp>“The material has to sort of live in my head for a while. And then the material tells me where it’s supposed to go,” he says.\u003c/p>\n\u003cp>In 2022, Jens won the second annual\u003ca href=\"https://sfcm.edu/discover/initiatives/emerging-black-composers-project\"> Emerging Black Composers\u003c/a> award. The prize was the commission that ended up becoming “Drowned In Light.” He says that after experiencing such blatant racism in the Vienna Boys Choir, receiving this distinguished award years later, based in part on his race, elicited a complicated set of emotions.\u003c/p>\n\u003cfigure id=\"attachment_11975828\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11975828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED.jpg\" alt=\"A document titled 'How god comes to the soul,' sits on someone's lap,\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A composition by composer Jens Ibsen, ‘How god comes to the soul,’ sits on the lap of an attendee during a practice session in the basement of the First Unitarian Church in San Francisco on Feb. 7. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For a while, I felt cynical because it felt like I’ve been good this whole time. Why now?” he says. “But I look back on the cynicism and I have a little more empathy for myself because I can see that these people like me because they believe in my art.”\u003c/p>\n\u003cp>Ibsen says he hopes his experience can inspire musical institutions to continue to support the work of other artists pushing the boundaries of music.\u003c/p>\n\u003cp>“We need to keep this energy for composers of all kinds of marginalized backgrounds.”\u003c/p>\n\u003cp>\u003cem>This story has been updated to correct a mis-identification of the professional San Francisco choir Volti.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Bay Area composer Jens Ibsen made his debut with the Sacalifornia composers Francisco Symphony last year, he wanted to do something different.\u003c/p>\n\u003cp>So, for his symphony piece, titled “Drowned in Light,” he took inspiration from one of his less traditional passions.\u003c/p>\n\u003cp>“I wanted the piece to sound really metal, and I feel like I got to do that,” Ibsen, 28, says.\u003c/p>\n\u003cp>The piece melds thrilling electric guitar solos and a pounding drum kit with the cinematic strings of the symphony. Ibsen’s goal was to bring together the intellectual stimulation of classical music with the physically stimulating aspects of rock. And his distinctive approach has lately garnered much attention.\u003c/p>\n\u003cfigure id=\"attachment_11975829\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11975829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED.jpg\" alt=\"A choir group sits in a semicircle, each in front of a music stand, facing a conductor\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-18-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Jens Ibsen (with face mask) works with the professional San Francisco choir Volti during a practice session in the basement of the First Unitarian Church in San Francisco on Feb. 7, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Drowned in Light,” which premiered last November, was the result of a $15,000 commission from the San Francisco Symphony and the San Francisco Conservatory of Music.\u003c/p>\n\u003cp>And since then, the commissions have kept coming. Ibsen recently premiered a work with the professional San Francisco choir \u003ca href=\"http://voltisf.org/\">Volti\u003c/a> in late February, and he’s currently working on a children’s opera that will debut at the Glimmerglass Festival in New York in August. This blending of styles comes from his almost life-long study of music, but it’s also an inherent part of his being.\u003c/p>\n\u003cp>Ibsen was born in Ghana to a Ghanaian mother and an American father.\u003c/p>\n\u003cp>“Music is kind of the reason why I’m around,” he says. His father developed a passion for the drums and traveled to Ghana to learn more from the source. “To make an extremely long story short, he met my mother and came back with a whole new family.”\u003c/p>\n\u003cp>Ibsen’s parents moved to the Bay Area when he and his twin sister were 10 months old. For the most part, the soundtrack to their early life was not in English. Rather, they absorbed African music, like Ghanaian highlife and Brazilian Samba and Candomble.\u003c/p>\n\u003cfigure id=\"attachment_11975831\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11975831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED.jpg\" alt=\"A man sits in front of a laptop that has musical notation on the screen.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-26-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Jens Ibsen works with the professional San Francisco choir Volti on one of his original compositions during a practice session in the basement of the First Unitarian Church in San Francisco on Feb. 7. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ibsen’s classical career began in elementary school at the suggestion of his music teacher, who sent him home one day with a flier to audition for the Grammy-award-winning \u003ca href=\"https://ragazzi.org/\">Ragazzi Boys Chorus \u003c/a>in Silicon Valley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was like, ‘Well, if I become a singer, then I’ll be cool. If I’m cool, that means girls will like me,” Ibsen says with a laugh. “And that’s all the motivation I needed as an 8-year-old.”\u003c/p>\n\u003cp>As a kid who had struggled to fit in socially, Ibsen soon found that the choir was one of the few outlets where he could be himself and feel good about it. It also helped that he was very good at it.\u003c/p>\n\u003cfigure id=\"attachment_11989226\" class=\"wp-caption alignright\" style=\"max-width: 503px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11989226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1.jpg\" alt=\"\" width=\"503\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1-1020x1359.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/image1-1153x1536.jpg 1153w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jens Ibsen plays piano at his childhood home in Pacifica on Jan. 26, 2024. \u003ccite>(Jessica Kariisa/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Several years later, at the age of 11, he got the opportunity to audition for the world-renowned Vienna Boys Choir.\u003c/p>\n\u003cp>“I don’t think I’ve ever been more nervous in my life,” he remembers.\u003c/p>\n\u003cp>He didn’t have any reason to be. Ibsen’s training with Ragazzi, not to mention his natural talent, prepared him well, and he was immediately offered a spot in the choir, becoming its first African-born member.\u003c/p>\n\u003cp>He packed up and moved to a palace in Austria, where the boys in the choir lived, went to school, and sang. Ibsen was excited and nervous about this big change in life, but he didn’t anticipate what he would encounter when he arrived.\u003c/p>\n\u003cp>“I’ve never experienced more overt racism than I did when I lived in Austria,” he says. “Everything I did was seen as alien and foreign. I was hazed the entire time I was there. So that was really, really difficult.”\u003c/p>\n\u003cp>After two and a half years with the choir, Ibsen came back to the Bay Area to start school at the \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">Ruth Asawa San Francisco School of the Arts\u003c/a>. Having heard a student was coming from a famous boys choir, incoming students started friending him on Facebook over the summer.\u003c/p>\n\u003cp>Unlike in Austria, he says, they were appreciative of what Ibsen would contribute to the school. It was a welcome change from the isolation he experienced in Vienna, and it was there that he first started composing music.\u003c/p>\n\u003cp>His first piece was for piano, one inspired by the Japanese video game Kingdom Hearts and its piano-forward score by composer Yoko Shimomura.\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/QlQsZqXgD90'\n title='//www.youtube.com/embed/QlQsZqXgD90'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ibsen’s path to metal music came by way of Japan as well. He grew up watching anime, and the ending theme of one of his favorite shows, Hunter x Hunter, was a \u003ca href=\"https://www.youtube.com/watch?v=CyIoNt2m1Gw\">song by the Japanese power metal band Galneryus\u003c/a>.\u003c/p>\n\u003cp>Hearing that, along with music from other Japanese metal bands like Dir En Grey, was transformative, Ibsen says.\u003c/p>\n\u003cp>“Discovering them was sort of a moment like, ‘Oh, music can be like this,’ ” he says. “It also made me experiment as a vocalist more with my range because you have these metal guys singing notes that you never hear in opera.”\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/o8-iem35c-E'\n title='//www.youtube.com/embed/o8-iem35c-E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When it comes to writing music, Ibsen says he doesn’t wait for inspiration to strike. He likens the process to a daily routine, like remembering to turn off the stove at night.\u003c/p>\n\u003cp>“I’m very disciplined about writing. I sit down, and I set a chunk of time, and I just do it, and I revise it later until it’s perfect,” he says. “If you have something down, you can decide how you feel. But if you have nothing, you’ve got nothing, right?”\u003c/p>\n\u003cp>Ibsen has composed for ensembles as grand as a symphony and as stripped down as piano and voice. But these days, he says, almost every idea starts the same way — on his phone.\u003c/p>\n\u003cp>“I’ll often make voice notes or text notes or both. If you even read one of these notes, you’re not going to have any idea what it’s going to sound like,” he says. “It’s just enough for me to be able to recall what I’ve stored internally. So it’s more like I’m creating these verbal triggers for myself.”\u003c/p>\n\u003cfigure id=\"attachment_11975836\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11975836\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED.jpg\" alt=\"A young Black man with a black face mask speaks to an older white man, with a stage curtain behind them.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-40-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Jens Ibsen speaks with conductor Robert Geary after a practice session with the professional San Francisco choir Volti at the First Unitarian Church in San Francisco on Feb. 7. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there, he’ll transfer the ideas into notation software on his laptop where he’ll finesse the compositions until they are complete.\u003c/p>\n\u003cp>“The material has to sort of live in my head for a while. And then the material tells me where it’s supposed to go,” he says.\u003c/p>\n\u003cp>In 2022, Jens won the second annual\u003ca href=\"https://sfcm.edu/discover/initiatives/emerging-black-composers-project\"> Emerging Black Composers\u003c/a> award. The prize was the commission that ended up becoming “Drowned In Light.” He says that after experiencing such blatant racism in the Vienna Boys Choir, receiving this distinguished award years later, based in part on his race, elicited a complicated set of emotions.\u003c/p>\n\u003cfigure id=\"attachment_11975828\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11975828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED.jpg\" alt=\"A document titled 'How god comes to the soul,' sits on someone's lap,\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240207-JENSIBSEN-01-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A composition by composer Jens Ibsen, ‘How god comes to the soul,’ sits on the lap of an attendee during a practice session in the basement of the First Unitarian Church in San Francisco on Feb. 7. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For a while, I felt cynical because it felt like I’ve been good this whole time. Why now?” he says. “But I look back on the cynicism and I have a little more empathy for myself because I can see that these people like me because they believe in my art.”\u003c/p>\n\u003cp>Ibsen says he hopes his experience can inspire musical institutions to continue to support the work of other artists pushing the boundaries of music.\u003c/p>\n\u003cp>“We need to keep this energy for composers of all kinds of marginalized backgrounds.”\u003c/p>\n\u003cp>\u003cem>This story has been updated to correct a mis-identification of the professional San Francisco choir Volti.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "After 58 Years, CCSF Music Chair Closer Than Ever to Realizing Her Dream",
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"headTitle": "After 58 Years, CCSF Music Chair Closer Than Ever to Realizing Her Dream | KQED",
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"content": "\u003cp>After 58 years of sharing her passion for music and the arts with City College of San Francisco students, music department chair Madeline Mueller may finally get what she’s always wanted.\u003c/p>\n\u003cp>As the college’s longest-tenured employee, Mueller is just as committed to advocating for a much overdue performing arts auditorium as she is to using her vast musical knowledge, sharp eye for detail and willingness to do any job to keep the music department running.\u003c/p>\n\u003cp>Only then, Mueller said, will she consider retirement.\u003c/p>\n\u003cp>“I could have retired years ago,” Mueller said. “But I made a promise to myself and to the administration that I wouldn’t retire — I used to say until they built the auditorium.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Mueller, the issue is simple: City College is an incomplete campus without a proper auditorium to support its performing arts majors, including music and theater.\u003c/p>\n\u003cp>The college has been discussing the project for years and even came close to breaking ground in 2012. However, after budget cuts and state roadblocks, Mueller said she was left feeling more like Charlie Brown from the \u003cem>Peanuts\u003c/em> comic strips.\u003c/p>\n\u003cp>“It’s like Lucy and the football,” Mueller said.\u003c/p>\n\u003cp>Lucy is the state, the administration and budget cuts — everything that has stopped the theater from being built. Mueller is Charlie Brown.\u003c/p>\n\u003cp>However, with renewed plans for the theater to go to the state for approval, City College seems closer than ever to building the performing arts auditorium of Mueller’s dreams. The project has an architect, design plans and a contractor.\u003c/p>\n\u003cfigure id=\"attachment_11986926\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL.jpg\" alt=\"What appear to be detailed architectural renderings, including mock-up illustrations of an interior space, are displayed in a glass case\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Plans for a new performing arts center hang in the City College of San Francisco music department on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City College is hopeful the state will approve the plans before the end of 2024, and media reports have the auditorium tentatively \u003ca href=\"https://www.theartnewspaper.com/2023/06/21/new-theatre-building-will-house-famous-diego-rivera-mural-in-san-francisco\">scheduled to open in 2027\u003c/a>.\u003c/p>\n\u003cp>“She’s been working for over 40 years to get our performing arts center designed,” said Steven Brown, horticulture department chair, who sits on the facilities committee with Mueller.\u003c/p>\n\u003cp>But before Mueller started her quest for a major auditorium at City College, she was an aspiring concert pianist, following in Beethoven’s footsteps.\u003c/p>\n\u003ch2>‘She’s a brilliant pianist’\u003c/h2>\n\u003cp>As a girl in Bakersfield, Mueller studied under Ethel McManus Shaver, her link to an illustrious chain of five pianists that stretches back to Beethoven. But like many aspiring performers, Mueller needed a backup plan, and hers was a community college teaching credential.\u003c/p>\n\u003cp>In 1965, two weeks into its fall semester, City College’s band director departed for a new position at San Francisco State, leaving his old post vacant. The music department suddenly needed a full-time substitute teacher.\u003c/p>\n\u003cfigure id=\"attachment_11986922\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL.jpg\" alt=\"A detailed close-up photograph of hands playing a piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller plays piano at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mueller stepped into her new teaching role that year. She fell in love with the college immediately.\u003c/p>\n\u003cp>“I was enchanted,” she said. “The school had such diversity. And the students were so smart and appreciative.”\u003c/p>\n\u003cp>Even after she began teaching, Mueller continued to perform — and not just at faculty recitals — at concerts throughout the Bay Area.\u003c/p>\n\u003cp>“She could have gone on to a career as an accompanist,” said Lenny Carlson, a retired City College music professor and jazz musician. “She’s a brilliant pianist.”\u003c/p>\n\u003cp>Carlson often chose Mueller, who’s premiered a lot of modern music as a soloist and as a part of an ensemble, to debut his compositions.\u003c/p>\n\u003cp>“I really enjoy writing music that has humor in it because I know that she will get it, however subtle it is,” Carlson said, who’s an accomplished jazz guitarist and composer.\u003c/p>\n\u003cp>Many of Mueller’s colleagues agree she has been the primary force in shaping the college’s music department over the decades. Her influence, whether teaching music or championing the department’s auditorium, is significant.\u003c/p>\n\u003cp>“This department wouldn’t exist without Madeline,” said Lynette Warfield, the former music department secretary. “And if it did, it would be an empty shell.”\u003c/p>\n\u003cfigure id=\"attachment_11986920\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL.jpg\" alt=\"An older woman wearing glasses and a pink coat speaks to a younger student as he plays a grand piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller works with piano student Francisco Guijarro at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once, Warfield said she witnessed an intradepartmental argument reach what she described as the point of no return — one person accused the other of having a terrible voice.\u003c/p>\n\u003cp>“After they talked to Madeline, the two were singing together,” Warfield said. “When Madeline is in the office, there’s harmony.”\u003c/p>\n\u003cp>For nearly 60 years, Mueller’s advocacy for the performing arts department at City College was witnessed at local gatherings with City College’s Board of Trustees, the Academic Senate and the Facilities Committee. Without fail, Mueller always made it a point to be present, often remaining until she was the sole occupant in the room.\u003c/p>\n\u003cp>“She’s always been an advocate,” Carlson said. “She was one of the founders of the Academic Senate and the Department Chairs’ Council.”\u003c/p>\n\u003cp>Mueller also serves on the Facilities Committee, which has overseen the planning of the new performing arts theater. Now, the project is the top priority on the Facilities Committee’s latest five-year plan and has a $185 million budget. Plans for the new theater are currently in front of the Division of the State Architect — and the committee hopes to have approval by December 2024.\u003c/p>\n\u003ch2>‘We’re clawing back’\u003c/h2>\n\u003cp>As plans slowly inch forward, City College’s lack of an auditorium to support its performing arts majors continues to be a goal Mueller and other faculty members rally around.\u003c/p>\n\u003cp>“We’re the only school in the whole system that doesn’t have an auditorium,” Mueller said. “It’s embarrassing.”\u003c/p>\n\u003cfigure id=\"attachment_11986925\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986925\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Students walk down steps leading to the planned site for a new performing arts center at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music department is not alone.\u003c/p>\n\u003cp>Brown, of the City College horticulture department, recalled a faculty meeting from early in his tenure with such a large number of participants that it couldn’t be hosted at the school’s Diego Rivera Theater.\u003c/p>\n\u003cp>“We had to rent the Riordan auditorium,” Brown said. “The private Catholic high school across the street has a bigger auditorium than City College, even though City College’s student body is 10 times bigger.”\u003c/p>\n\u003cp>During her tenure, Mueller said she’s watched CCSF prioritize other department buildings over the proposed performing arts center.\u003c/p>\n\u003cp>In 2000, Mueller said planning for a new auditorium began in earnest. Yet, after the performing arts and PE departments expressed a need for new facilities in 2001, an internal agreement stipulated that the PE department would prioritize the first portion of the construction.\u003c/p>\n\u003cp>The Wellness Center, which contains new gym facilities, was completed in 2008.\u003c/p>\n\u003cfigure id=\"attachment_11986919\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller looks through a 2016 issue of Etc Magazine, which features photos of herself at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the following years, the college hired an architecture firm, TEF Design, to draw up plans for the new performing arts center, but it was unable to obtain state-matching funds for several years. Instead, City College prioritized the construction of the new Multi-Use Building (MUB).\u003c/p>\n\u003cp>The MUB was finished in 2012 and cost $77 million.\u003c/p>\n\u003cp>Since 2000, when the initial planning for the performing arts center began, San Francisco voters have passed three propositions to fund new CCSF construction. These propositions in 2000, 2005 and 2020, all called Proposition A, authorized nearly $1.3 billion combined in bond funds for City College.[aside postID=news_11966741 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/11/231101-MusicTherapyHMBFarmworkers-24-BL-KQED-1020x680.jpg']Still, Mueller points to the delays her department has endured over the last 20 years as tantamount to ignoring the will of the voters.\u003c/p>\n\u003cp>“Three times the voters of San Francisco have put up major funding for this project,” Mueller said. “They said: Do it.”\u003c/p>\n\u003cp>But City College hindered its progress, Mueller claims.\u003c/p>\n\u003cp>In 2012, the Accrediting Commission for Community and Junior College (ACCJC) produced a “show-cause” order against CCSF, accusing the college of poor financial management. A show-cause order is a warning that a college is in danger of losing its accreditation unless it changes its practices. City College had to make immediate budget cuts.\u003c/p>\n\u003cp>In a February 2013 interview with \u003cem>The Guardsman\u003c/em>, interim chancellor Thelma Scott-Skillman announced that she asked the board not to move forward with constructing the new performing arts center.\u003c/p>\n\u003cp>Then, in September 2013, special trustee Robert Agrella officially announced that the project would not break ground.\u003c/p>\n\u003cp>“The college has no means to fund this excess cost,” Agrella said in an open letter to the college.\u003c/p>\n\u003cfigure id=\"attachment_11986923\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL.jpg\" alt=\"An older woman wearing glasses and a pink coat smiles as she leans on a grand piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller poses for a portrait at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mueller felt like Charlie Brown once again.\u003c/p>\n\u003cp>“Madeline wasn’t happy about it, but there was nothing she could do,” said Brown, who is also the co-chair of the Facilities Committee.\u003c/p>\n\u003cp>Adding to the frustration, Folsom Lake College, another California community college campus, received what Carlson deemed as “an exact replica of the design” that was meant for CCSF. Folsom’s performing arts theater was completed in 2011 before Agrella announced that CCSF’s project would be delayed.\u003c/p>\n\u003cp>“This was personal,” Carlson said. “This was a thumb in Madeline’s eye by administrators at the state level.”\u003c/p>\n\u003cp>The delay had a financial cost, too.\u003c/p>\n\u003cp>City College had to forfeit $22 million in matching funds from the state that it had planned to use in the construction of the performing arts theater.[aside postID=news_11966749 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-024-BL-qut-1020x680.jpg']In 2017, the ACCJC reaffirmed City College’s accreditation status, restoring some stability to the struggling school. Mueller, who had spent the last four years fighting against budget cuts in the music department, once again started to think about a new performing arts theater.\u003c/p>\n\u003cp>“We’re clawing back,” she said. “We’ve got our band back, we’ve got our choir back, and we’re desperately nagging them to get my orchestra back.”\u003c/p>\n\u003cp>For the first time in years, she’s cautiously optimistic about the future of the performing arts center. In late December, plans for it went before California’s Division of the State Architect, a key part of the approval process.\u003c/p>\n\u003cp>“It’s the first time we’ve had all our ducks in a row,” Mueller said.\u003c/p>\n\u003cp>Talks to build the new theater were restarted in 2020, according to Mueller, the same year San Francisco voters approved \u003ca href=\"https://www.spur.org/voter-guide/2020-03/sf-prop-a-city-college-facilities-bond#:~:text=What%20the%20Measure%20Would%20Do,major%20renovations%20since%20the%201970s.\">Proposition A, an $845 million bond measure for City College\u003c/a>. In 2021, the City College board approved a new design for the Performing Arts Center. Two years later, the architects for the new building, LMN Architects and TEF Design, were officially announced.\u003c/p>\n\u003cp>There was one change to the design: a large glass lobby to hold Diego Rivera’s \u003cem>Pan American Unity\u003c/em> mural, one of City College’s crown jewels.\u003c/p>\n\u003cp>“That was the component we never thought of,” Mueller said. “It did raise the cost, but it will preserve the iconic mural.”\u003c/p>\n\u003cp>With so many projects on her plate, it’s hard to imagine Mueller retiring any time soon.\u003c/p>\n\u003cp>For most of her career, her promise to bow out once the performing arts center was complete was an empty threat. Now, that time may come, after all.\u003c/p>\n\u003cp>“I’ll play it by ear,” she said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "After nearly six decades of teaching at City College of San Francisco, music department chair Madeline Mueller may finally get what she's always wanted: a performing arts auditorium on campus.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After 58 years of sharing her passion for music and the arts with City College of San Francisco students, music department chair Madeline Mueller may finally get what she’s always wanted.\u003c/p>\n\u003cp>As the college’s longest-tenured employee, Mueller is just as committed to advocating for a much overdue performing arts auditorium as she is to using her vast musical knowledge, sharp eye for detail and willingness to do any job to keep the music department running.\u003c/p>\n\u003cp>Only then, Mueller said, will she consider retirement.\u003c/p>\n\u003cp>“I could have retired years ago,” Mueller said. “But I made a promise to myself and to the administration that I wouldn’t retire — I used to say until they built the auditorium.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Mueller, the issue is simple: City College is an incomplete campus without a proper auditorium to support its performing arts majors, including music and theater.\u003c/p>\n\u003cp>The college has been discussing the project for years and even came close to breaking ground in 2012. However, after budget cuts and state roadblocks, Mueller said she was left feeling more like Charlie Brown from the \u003cem>Peanuts\u003c/em> comic strips.\u003c/p>\n\u003cp>“It’s like Lucy and the football,” Mueller said.\u003c/p>\n\u003cp>Lucy is the state, the administration and budget cuts — everything that has stopped the theater from being built. Mueller is Charlie Brown.\u003c/p>\n\u003cp>However, with renewed plans for the theater to go to the state for approval, City College seems closer than ever to building the performing arts auditorium of Mueller’s dreams. The project has an architect, design plans and a contractor.\u003c/p>\n\u003cfigure id=\"attachment_11986926\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL.jpg\" alt=\"What appear to be detailed architectural renderings, including mock-up illustrations of an interior space, are displayed in a glass case\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-28-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Plans for a new performing arts center hang in the City College of San Francisco music department on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City College is hopeful the state will approve the plans before the end of 2024, and media reports have the auditorium tentatively \u003ca href=\"https://www.theartnewspaper.com/2023/06/21/new-theatre-building-will-house-famous-diego-rivera-mural-in-san-francisco\">scheduled to open in 2027\u003c/a>.\u003c/p>\n\u003cp>“She’s been working for over 40 years to get our performing arts center designed,” said Steven Brown, horticulture department chair, who sits on the facilities committee with Mueller.\u003c/p>\n\u003cp>But before Mueller started her quest for a major auditorium at City College, she was an aspiring concert pianist, following in Beethoven’s footsteps.\u003c/p>\n\u003ch2>‘She’s a brilliant pianist’\u003c/h2>\n\u003cp>As a girl in Bakersfield, Mueller studied under Ethel McManus Shaver, her link to an illustrious chain of five pianists that stretches back to Beethoven. But like many aspiring performers, Mueller needed a backup plan, and hers was a community college teaching credential.\u003c/p>\n\u003cp>In 1965, two weeks into its fall semester, City College’s band director departed for a new position at San Francisco State, leaving his old post vacant. The music department suddenly needed a full-time substitute teacher.\u003c/p>\n\u003cfigure id=\"attachment_11986922\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL.jpg\" alt=\"A detailed close-up photograph of hands playing a piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-23-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller plays piano at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mueller stepped into her new teaching role that year. She fell in love with the college immediately.\u003c/p>\n\u003cp>“I was enchanted,” she said. “The school had such diversity. And the students were so smart and appreciative.”\u003c/p>\n\u003cp>Even after she began teaching, Mueller continued to perform — and not just at faculty recitals — at concerts throughout the Bay Area.\u003c/p>\n\u003cp>“She could have gone on to a career as an accompanist,” said Lenny Carlson, a retired City College music professor and jazz musician. “She’s a brilliant pianist.”\u003c/p>\n\u003cp>Carlson often chose Mueller, who’s premiered a lot of modern music as a soloist and as a part of an ensemble, to debut his compositions.\u003c/p>\n\u003cp>“I really enjoy writing music that has humor in it because I know that she will get it, however subtle it is,” Carlson said, who’s an accomplished jazz guitarist and composer.\u003c/p>\n\u003cp>Many of Mueller’s colleagues agree she has been the primary force in shaping the college’s music department over the decades. Her influence, whether teaching music or championing the department’s auditorium, is significant.\u003c/p>\n\u003cp>“This department wouldn’t exist without Madeline,” said Lynette Warfield, the former music department secretary. “And if it did, it would be an empty shell.”\u003c/p>\n\u003cfigure id=\"attachment_11986920\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL.jpg\" alt=\"An older woman wearing glasses and a pink coat speaks to a younger student as he plays a grand piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-10-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller works with piano student Francisco Guijarro at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once, Warfield said she witnessed an intradepartmental argument reach what she described as the point of no return — one person accused the other of having a terrible voice.\u003c/p>\n\u003cp>“After they talked to Madeline, the two were singing together,” Warfield said. “When Madeline is in the office, there’s harmony.”\u003c/p>\n\u003cp>For nearly 60 years, Mueller’s advocacy for the performing arts department at City College was witnessed at local gatherings with City College’s Board of Trustees, the Academic Senate and the Facilities Committee. Without fail, Mueller always made it a point to be present, often remaining until she was the sole occupant in the room.\u003c/p>\n\u003cp>“She’s always been an advocate,” Carlson said. “She was one of the founders of the Academic Senate and the Department Chairs’ Council.”\u003c/p>\n\u003cp>Mueller also serves on the Facilities Committee, which has overseen the planning of the new performing arts theater. Now, the project is the top priority on the Facilities Committee’s latest five-year plan and has a $185 million budget. Plans for the new theater are currently in front of the Division of the State Architect — and the committee hopes to have approval by December 2024.\u003c/p>\n\u003ch2>‘We’re clawing back’\u003c/h2>\n\u003cp>As plans slowly inch forward, City College’s lack of an auditorium to support its performing arts majors continues to be a goal Mueller and other faculty members rally around.\u003c/p>\n\u003cp>“We’re the only school in the whole system that doesn’t have an auditorium,” Mueller said. “It’s embarrassing.”\u003c/p>\n\u003cfigure id=\"attachment_11986925\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986925\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-33-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Students walk down steps leading to the planned site for a new performing arts center at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music department is not alone.\u003c/p>\n\u003cp>Brown, of the City College horticulture department, recalled a faculty meeting from early in his tenure with such a large number of participants that it couldn’t be hosted at the school’s Diego Rivera Theater.\u003c/p>\n\u003cp>“We had to rent the Riordan auditorium,” Brown said. “The private Catholic high school across the street has a bigger auditorium than City College, even though City College’s student body is 10 times bigger.”\u003c/p>\n\u003cp>During her tenure, Mueller said she’s watched CCSF prioritize other department buildings over the proposed performing arts center.\u003c/p>\n\u003cp>In 2000, Mueller said planning for a new auditorium began in earnest. Yet, after the performing arts and PE departments expressed a need for new facilities in 2001, an internal agreement stipulated that the PE department would prioritize the first portion of the construction.\u003c/p>\n\u003cp>The Wellness Center, which contains new gym facilities, was completed in 2008.\u003c/p>\n\u003cfigure id=\"attachment_11986919\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986919\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-02-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller looks through a 2016 issue of Etc Magazine, which features photos of herself at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the following years, the college hired an architecture firm, TEF Design, to draw up plans for the new performing arts center, but it was unable to obtain state-matching funds for several years. Instead, City College prioritized the construction of the new Multi-Use Building (MUB).\u003c/p>\n\u003cp>The MUB was finished in 2012 and cost $77 million.\u003c/p>\n\u003cp>Since 2000, when the initial planning for the performing arts center began, San Francisco voters have passed three propositions to fund new CCSF construction. These propositions in 2000, 2005 and 2020, all called Proposition A, authorized nearly $1.3 billion combined in bond funds for City College.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, Mueller points to the delays her department has endured over the last 20 years as tantamount to ignoring the will of the voters.\u003c/p>\n\u003cp>“Three times the voters of San Francisco have put up major funding for this project,” Mueller said. “They said: Do it.”\u003c/p>\n\u003cp>But City College hindered its progress, Mueller claims.\u003c/p>\n\u003cp>In 2012, the Accrediting Commission for Community and Junior College (ACCJC) produced a “show-cause” order against CCSF, accusing the college of poor financial management. A show-cause order is a warning that a college is in danger of losing its accreditation unless it changes its practices. City College had to make immediate budget cuts.\u003c/p>\n\u003cp>In a February 2013 interview with \u003cem>The Guardsman\u003c/em>, interim chancellor Thelma Scott-Skillman announced that she asked the board not to move forward with constructing the new performing arts center.\u003c/p>\n\u003cp>Then, in September 2013, special trustee Robert Agrella officially announced that the project would not break ground.\u003c/p>\n\u003cp>“The college has no means to fund this excess cost,” Agrella said in an open letter to the college.\u003c/p>\n\u003cfigure id=\"attachment_11986923\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11986923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL.jpg\" alt=\"An older woman wearing glasses and a pink coat smiles as she leans on a grand piano\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240517-CCSFProfileMadelineMueller-24-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Music department chair Madeline Mueller poses for a portrait at the City College of San Francisco on May 17, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mueller felt like Charlie Brown once again.\u003c/p>\n\u003cp>“Madeline wasn’t happy about it, but there was nothing she could do,” said Brown, who is also the co-chair of the Facilities Committee.\u003c/p>\n\u003cp>Adding to the frustration, Folsom Lake College, another California community college campus, received what Carlson deemed as “an exact replica of the design” that was meant for CCSF. Folsom’s performing arts theater was completed in 2011 before Agrella announced that CCSF’s project would be delayed.\u003c/p>\n\u003cp>“This was personal,” Carlson said. “This was a thumb in Madeline’s eye by administrators at the state level.”\u003c/p>\n\u003cp>The delay had a financial cost, too.\u003c/p>\n\u003cp>City College had to forfeit $22 million in matching funds from the state that it had planned to use in the construction of the performing arts theater.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2017, the ACCJC reaffirmed City College’s accreditation status, restoring some stability to the struggling school. Mueller, who had spent the last four years fighting against budget cuts in the music department, once again started to think about a new performing arts theater.\u003c/p>\n\u003cp>“We’re clawing back,” she said. “We’ve got our band back, we’ve got our choir back, and we’re desperately nagging them to get my orchestra back.”\u003c/p>\n\u003cp>For the first time in years, she’s cautiously optimistic about the future of the performing arts center. In late December, plans for it went before California’s Division of the State Architect, a key part of the approval process.\u003c/p>\n\u003cp>“It’s the first time we’ve had all our ducks in a row,” Mueller said.\u003c/p>\n\u003cp>Talks to build the new theater were restarted in 2020, according to Mueller, the same year San Francisco voters approved \u003ca href=\"https://www.spur.org/voter-guide/2020-03/sf-prop-a-city-college-facilities-bond#:~:text=What%20the%20Measure%20Would%20Do,major%20renovations%20since%20the%201970s.\">Proposition A, an $845 million bond measure for City College\u003c/a>. In 2021, the City College board approved a new design for the Performing Arts Center. Two years later, the architects for the new building, LMN Architects and TEF Design, were officially announced.\u003c/p>\n\u003cp>There was one change to the design: a large glass lobby to hold Diego Rivera’s \u003cem>Pan American Unity\u003c/em> mural, one of City College’s crown jewels.\u003c/p>\n\u003cp>“That was the component we never thought of,” Mueller said. “It did raise the cost, but it will preserve the iconic mural.”\u003c/p>\n\u003cp>With so many projects on her plate, it’s hard to imagine Mueller retiring any time soon.\u003c/p>\n\u003cp>For most of her career, her promise to bow out once the performing arts center was complete was an empty threat. Now, that time may come, after all.\u003c/p>\n\u003cp>“I’ll play it by ear,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "madonna-fans-chase-center",
"title": "‘Be in My World’: For Many Madonna Fans, Her Art and Advocacy Go Hand in Hand",
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"headTitle": "‘Be in My World’: For Many Madonna Fans, Her Art and Advocacy Go Hand in Hand | KQED",
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"content": "\u003cp>\u003cem>This story is part of the series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]C[/dropcap]had Belicena vividly remembers the first time he heard Madonna’s music.\u003c/p>\n\u003cp>The year was 1983. As an 11-year-old boy in the Philippines, “I remember going inside a shopping mall, and I heard ‘Borderline.’ And it stopped me in my tracks,” Belicena said.\u003c/p>\n\u003cp>“‘This voice is very different. This song is very different,” he recalls thinking. “‘Somehow, I need to know who this woman is.’”\u003c/p>\n\u003cp>More than 40 years later, Belicena — now a Daly City resident — donned a fabulous white fur coat, a black tank top with “Mother” emblazoned across it and a crimson fedora to see Madonna herself perform at San Francisco’s Chase Center this week.\u003c/p>\n\u003cfigure id=\"attachment_11977691\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977691\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chad Belicena wears a shirt that says, ‘Mother’ while attending the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Queen of Pop \u003ca href=\"https://www.kqed.org/arts/13953137/live-review-madonna-gives-a-master-class-in-eras-in-san-francisco\">brought her Celebration Tour to the Bay Area for two consecutive nights\u003c/a>, and her fans came through in droves — embodying Madonna’s four decades of music through their outfits, merch and energy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what became clear from talking with fans was not just their passion for the music but for the impact Madonna has had on their lives and the role she has played in shaping their personal and political opinions.\u003c/p>\n\u003cfigure id=\"attachment_11977700\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977700\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Falcioni (left) and Christopher Manning wait in line for the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from her creative and theatrical prowess, the Material Girl personifies long-standing advocacy for gender equality, LGBTQ+ rights and HIV/AIDS education.\u003c/p>\n\u003cp>Even when she’s not being explicitly “political,” Madonna’s music and performances are frequently politicized by others. Just think of the criticism from religious and conservative groups after the release of her \u003ca href=\"https://www.rollingstone.com/music/music-features/madonna-vmas-biography-excerpt-1234829918/\">1984 performance of “Like a Virgin” at the MTV Video Music Awards\u003c/a>, her \u003ca href=\"https://www.etonline.com/like-a-prayer-30-years-later-how-the-controversial-music-video-barely-made-it-to-air-121023\">1989 music video for “Like a Prayer”\u003c/a> or her \u003ca href=\"https://www.billboard.com/music/pop/madonna-erotica-album-sex-book-oral-history-8006663/\">1995 album \u003cem>Erotica\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11977696\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977696\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Heather Breiling wears Madonna pants while attending the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘She has always loved and supported our community’\u003c/h2>\n\u003cp>“[Madonna] doesn’t give a shit about what anyone thinks about her,” said Sister Roma of the Sisters of Perpetual Indulgence, who was in attendance at Tuesday’s show, wearing a glittering black dress with a tiara adorned with purple feathers.\u003c/p>\n\u003cp>“People always say, ‘If you have a platform, you should use it.’ Madonna has always used her platform,” Roma said. “She is one of the biggest LGBTQ and AIDS activists the world has ever seen.”\u003c/p>\n\u003cfigure id=\"attachment_11977697\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977697\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sister Roma and Honey Mahogany pose for a photo before the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She has always loved and supported our community … and she really put her career at risk quite often, taking these positions,” Roma said.\u003c/p>\n\u003cp>During the show, as Madonna sang her 1986 song “Live to Tell,” images of friends who died of AIDS — like \u003ca href=\"https://www.facebook.com/madonna/photos/in-my-apartment-on-the-les-where-i-lived-with-my-best-friend-martin-burgoyne-who/10156798913734402/?paipv=0&eav=AfbsIYtD47iRN09is_tMlCTgG6QQDHJ19o3YZe27I3_4uUGGwsf0BI19bXClhn7CCMg&_rdr\">Martin Burgoyne\u003c/a> and \u003ca href=\"https://michiganlgbtqremember.files.wordpress.com/2017/01/christopher-flynn-obit-cruise-19901107.pdf\">Christopher Flynn\u003c/a> — were projected on giant screens. As the song progressed, more faces appeared until the screens were flooded with thousands of portraits, eventually fading to black with the message: “In loving memory to all those we lost to AIDS.”\u003c/p>\n\u003ch2>‘Be in my world’\u003c/h2>\n\u003cp>In conversations with fans at the Chase Center, one thing kept coming up: For her fans, Madonna is not just her music. For many, she is also the confidence and safety that fans feel when listening to her music, watching her perform and hearing her speak out politically.\u003c/p>\n\u003cfigure id=\"attachment_11977698\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977698\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathy Moreno and her daughter Amaya, 16, wait in line for a photo with a Madonna sign before the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Madonna brings me strength as a woman,” said Amaya Moreno, 16, from the East Bay. “She helps me bring out my feminine energy.”\u003c/p>\n\u003cp>Standing next to Moreno was her mom, Kathy, a longtime Madonna fan. Madonna’s art is “all about expression, being yourself, being outspoken,” Kathy said. “Being a woman.”\u003c/p>\n\u003cp>For the mother-daughter duo, the inclusivity expressed in both Madonna’s music and politics was a particular draw — or, as Amaya put it, “She’s standing up for everyone.”\u003c/p>\n\u003cp>“We love that she brings people together from all walks of life, all sides of life,” Kathy said. “We want to hear messages that we believe in, that bring love into our lives.”\u003c/p>\n\u003cfigure id=\"attachment_11977393\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977393\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Katie DeClaire and Mandy Waite dance before the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Belicena of Daly City, Madonna was who he looked to when navigating his identity as a young gay man in the Philippines. “She said, ‘Come near me, be in my world; I can make you feel safe,’” he said.\u003c/p>\n\u003ch2>‘Our voices could be heard’\u003c/h2>\n\u003cp>When he moved to California in the 1990s, Belicena became involved in the community response to the HIV/AIDS crisis, which was taking the lives of thousands of gay men. One of these efforts was the annual \u003ca href=\"https://www.sfgate.com/news/article/the-dance-a-thon-as-aids-fund-raiser-3150037.php\">AIDS Dance-A-Thon held at San Francisco’s Moscone Center\u003c/a>, which raised millions of dollars for AIDS organizations. No matter the year, Belicena says, Madonna’s music was played at these events.\u003c/p>\n\u003cfigure id=\"attachment_11977396\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977396\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Joey Martinez wears a leather jacket filled with Madonna pins, collected over 20 years, before the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Madonna became more active in HIV/AIDS fundraising efforts throughout the ’90s, it further deepened Belicena’s bond with the singer and her music. “Of course, it matters that artists take a political stance,” he said.\u003c/p>\n\u003cp>For Belicena, who now works in the Bay Area as a psychiatric nurse, public and mental health are issues of special importance in 2024 — an election year. And “artists have a platform to talk about these things much louder than us,” Belicena said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“But if we vote and go to the polls,” he said, “I think our voices could be heard as loud as these artists.”\u003c/p>\n\n",
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"title": "‘Be in My World’: For Many Madonna Fans, Her Art and Advocacy Go Hand in Hand | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">C\u003c/span>\u003c/p>\u003cp>had Belicena vividly remembers the first time he heard Madonna’s music.\u003c/p>\n\u003cp>The year was 1983. As an 11-year-old boy in the Philippines, “I remember going inside a shopping mall, and I heard ‘Borderline.’ And it stopped me in my tracks,” Belicena said.\u003c/p>\n\u003cp>“‘This voice is very different. This song is very different,” he recalls thinking. “‘Somehow, I need to know who this woman is.’”\u003c/p>\n\u003cp>More than 40 years later, Belicena — now a Daly City resident — donned a fabulous white fur coat, a black tank top with “Mother” emblazoned across it and a crimson fedora to see Madonna herself perform at San Francisco’s Chase Center this week.\u003c/p>\n\u003cfigure id=\"attachment_11977691\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977691\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-18-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chad Belicena wears a shirt that says, ‘Mother’ while attending the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Queen of Pop \u003ca href=\"https://www.kqed.org/arts/13953137/live-review-madonna-gives-a-master-class-in-eras-in-san-francisco\">brought her Celebration Tour to the Bay Area for two consecutive nights\u003c/a>, and her fans came through in droves — embodying Madonna’s four decades of music through their outfits, merch and energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what became clear from talking with fans was not just their passion for the music but for the impact Madonna has had on their lives and the role she has played in shaping their personal and political opinions.\u003c/p>\n\u003cfigure id=\"attachment_11977700\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977700\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-19-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Falcioni (left) and Christopher Manning wait in line for the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from her creative and theatrical prowess, the Material Girl personifies long-standing advocacy for gender equality, LGBTQ+ rights and HIV/AIDS education.\u003c/p>\n\u003cp>Even when she’s not being explicitly “political,” Madonna’s music and performances are frequently politicized by others. Just think of the criticism from religious and conservative groups after the release of her \u003ca href=\"https://www.rollingstone.com/music/music-features/madonna-vmas-biography-excerpt-1234829918/\">1984 performance of “Like a Virgin” at the MTV Video Music Awards\u003c/a>, her \u003ca href=\"https://www.etonline.com/like-a-prayer-30-years-later-how-the-controversial-music-video-barely-made-it-to-air-121023\">1989 music video for “Like a Prayer”\u003c/a> or her \u003ca href=\"https://www.billboard.com/music/pop/madonna-erotica-album-sex-book-oral-history-8006663/\">1995 album \u003cem>Erotica\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11977696\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977696\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-28-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Heather Breiling wears Madonna pants while attending the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘She has always loved and supported our community’\u003c/h2>\n\u003cp>“[Madonna] doesn’t give a shit about what anyone thinks about her,” said Sister Roma of the Sisters of Perpetual Indulgence, who was in attendance at Tuesday’s show, wearing a glittering black dress with a tiara adorned with purple feathers.\u003c/p>\n\u003cp>“People always say, ‘If you have a platform, you should use it.’ Madonna has always used her platform,” Roma said. “She is one of the biggest LGBTQ and AIDS activists the world has ever seen.”\u003c/p>\n\u003cfigure id=\"attachment_11977697\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977697\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sister Roma and Honey Mahogany pose for a photo before the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She has always loved and supported our community … and she really put her career at risk quite often, taking these positions,” Roma said.\u003c/p>\n\u003cp>During the show, as Madonna sang her 1986 song “Live to Tell,” images of friends who died of AIDS — like \u003ca href=\"https://www.facebook.com/madonna/photos/in-my-apartment-on-the-les-where-i-lived-with-my-best-friend-martin-burgoyne-who/10156798913734402/?paipv=0&eav=AfbsIYtD47iRN09is_tMlCTgG6QQDHJ19o3YZe27I3_4uUGGwsf0BI19bXClhn7CCMg&_rdr\">Martin Burgoyne\u003c/a> and \u003ca href=\"https://michiganlgbtqremember.files.wordpress.com/2017/01/christopher-flynn-obit-cruise-19901107.pdf\">Christopher Flynn\u003c/a> — were projected on giant screens. As the song progressed, more faces appeared until the screens were flooded with thousands of portraits, eventually fading to black with the message: “In loving memory to all those we lost to AIDS.”\u003c/p>\n\u003ch2>‘Be in my world’\u003c/h2>\n\u003cp>In conversations with fans at the Chase Center, one thing kept coming up: For her fans, Madonna is not just her music. For many, she is also the confidence and safety that fans feel when listening to her music, watching her perform and hearing her speak out politically.\u003c/p>\n\u003cfigure id=\"attachment_11977698\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977698\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-15-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathy Moreno and her daughter Amaya, 16, wait in line for a photo with a Madonna sign before the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Madonna brings me strength as a woman,” said Amaya Moreno, 16, from the East Bay. “She helps me bring out my feminine energy.”\u003c/p>\n\u003cp>Standing next to Moreno was her mom, Kathy, a longtime Madonna fan. Madonna’s art is “all about expression, being yourself, being outspoken,” Kathy said. “Being a woman.”\u003c/p>\n\u003cp>For the mother-daughter duo, the inclusivity expressed in both Madonna’s music and politics was a particular draw — or, as Amaya put it, “She’s standing up for everyone.”\u003c/p>\n\u003cp>“We love that she brings people together from all walks of life, all sides of life,” Kathy said. “We want to hear messages that we believe in, that bring love into our lives.”\u003c/p>\n\u003cfigure id=\"attachment_11977393\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977393\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-12-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Katie DeClaire and Mandy Waite dance before the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Belicena of Daly City, Madonna was who he looked to when navigating his identity as a young gay man in the Philippines. “She said, ‘Come near me, be in my world; I can make you feel safe,’” he said.\u003c/p>\n\u003ch2>‘Our voices could be heard’\u003c/h2>\n\u003cp>When he moved to California in the 1990s, Belicena became involved in the community response to the HIV/AIDS crisis, which was taking the lives of thousands of gay men. One of these efforts was the annual \u003ca href=\"https://www.sfgate.com/news/article/the-dance-a-thon-as-aids-fund-raiser-3150037.php\">AIDS Dance-A-Thon held at San Francisco’s Moscone Center\u003c/a>, which raised millions of dollars for AIDS organizations. No matter the year, Belicena says, Madonna’s music was played at these events.\u003c/p>\n\u003cfigure id=\"attachment_11977396\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977396\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/240227-MadonnaFans-21-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Joey Martinez wears a leather jacket filled with Madonna pins, collected over 20 years, before the Madonna Celebration Tour concert at the Chase Center in San Francisco on Feb. 27, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Madonna became more active in HIV/AIDS fundraising efforts throughout the ’90s, it further deepened Belicena’s bond with the singer and her music. “Of course, it matters that artists take a political stance,” he said.\u003c/p>\n\u003cp>For Belicena, who now works in the Bay Area as a psychiatric nurse, public and mental health are issues of special importance in 2024 — an election year. And “artists have a platform to talk about these things much louder than us,” Belicena said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But if we vote and go to the polls,” he said, “I think our voices could be heard as loud as these artists.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Seeing Bad Bunny at Chase Center? From Parking and Bag Policies, Here's What to Know",
"headTitle": "Seeing Bad Bunny at Chase Center? From Parking and Bag Policies, Here’s What to Know | KQED",
"content": "\u003cp>Bay Area, it’s time to perrear y llorar. \u003ca href=\"https://www.kqed.org/forum/2010101889894/whats-your-song-of-the-summer\">Grammy winner Bad Bunny\u003c/a>‘s Most Wanted Tour is coming to San Francisco’s Chase Center for two nights this week, Friday, March 1 and Saturday, March 2.\u003c/p>\n\u003cp>It’s the first time Bay Area fans will get to hear tracks from last year’s ‘nadie sabe lo que va pasar mañana’ album, along with chart-topping tracks like “Yo Perreo Sola” and “un x100to” (\u003ca href=\"https://music.apple.com/us/playlist/set-list-bad-bunnys-most-wanted-tour/pl.a62d9ff404994767ad86a3c33fd8b93b\">full show setlist\u003c/a>.) So, \u003ca href=\"https://variety.com/2023/music/news/bad-bunny-most-wanted-tour-2024-1235762064/\">if you’re a longtime Bad Bunny fan who secured a ticket\u003c/a> to one of these concerts, and you want to focus on enjoying the night rather than worrying about parking or getting home, keep reading our guide to attending a show at Chase Center.\u003c/p>\n\u003cp>For the most up-to-date details, \u003ca href=\"https://twitter.com/ChaseCenter\">follow Chase Center on social media\u003c/a> for any last-minute updates. And if you’re anything like this author, don’t forget to pregame the show by scrolling through TikToks of fans looking longingly at the man himself, Benito Martínez Ocasio, from the stadium crowd:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@desi.assis/video/7338565179224952094\" data-video-id=\"7338565179224952094\">\n\u003csection>\u003ca title=\"@desi.assis\" href=\"https://www.tiktok.com/@desi.assis?refer=embed\" target=\"_blank\" rel=\"noopener\">@desi.assis\u003c/a> I cant belive how close he was 🥹🥹🥹🫶🏽🫶🏽🫶🏽🫶🏽🐰🐰🐰🐰 \u003ca title=\"badbunny2024\" href=\"https://www.tiktok.com/tag/badbunny2024?refer=embed\" target=\"_blank\" rel=\"noopener\">#badbunny2024\u003c/a> \u003ca title=\"nslqvpm\" href=\"https://www.tiktok.com/tag/nslqvpm?refer=embed\" target=\"_blank\" rel=\"noopener\">#nslqvpm\u003c/a> \u003ca title=\"nadiesabietour\" href=\"https://www.tiktok.com/tag/nadiesabietour?refer=embed\" target=\"_blank\" rel=\"noopener\">#nadiesabietour\u003c/a> \u003ca title=\"♬ You Look Lonely x Resonance - Slowed + Reverb - JU$t\" href=\"https://www.tiktok.com/music/You-Look-Lonely-x-Resonance-Slowed-Reverb-7257380007285557250?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ You Look Lonely x Resonance – Slowed + Reverb – JU$t\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>\u003cb>Jump straight to:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#chasecenterbags\">What can I bring into Chase Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#chasecenterparking\">What are the parking options at Chase Center for the Bad Bunny shows?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#bartnearchasecenter\">What’s the best way to take public transit to Chase Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>What time do the Bad Bunny shows at Chase Center start?\u003c/h2>\n\u003cp>Both of Bad Bunny’s shows at Chase Center on Friday and Saturday start at 8 p.m. Doors will open at 7 p.m.\u003c/p>\n\u003cp>There will be \u003ca href=\"https://forecast.weather.gov/MapClick.php?x=165&y=156&site=mtr&zmx=&zmy=&map_x=165&map_y=156\">chances of rain both nights\u003c/a>, so while Chase Center is an indoor venue, consider bringing an umbrella or a hooded jacket for your entries and exits.\u003c/p>\n\u003ch2>\u003ca id=\"chasecenterbags\">\u003c/a>What’s the Chase Center bag policy?\u003c/h2>\n\u003cp>Backpacks (except for single-compartment drawstring bags) and hard-sided bags of any kind are prohibited from entering Chase Center. Any other bag you bring must be smaller than 14” x 14” x 6” in size.\u003c/p>\n\u003cp>Bags that do not meet the requirements can be checked at one of two bag check locations for a fee of $10. Chase Center says that proceeds generated from the bag check counters will be donated to the \u003ca href=\"https://community.warriors.com/foundation/\">Warriors Community Foundation\u003c/a>, which supports education and youth development in the Bay Area.\u003c/p>\n\u003cp>Here are some more \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">things you cannot bring into the Bad Bunny shows 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 cow bells.\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 \u003ci>can \u003c/i>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 on the prohibited items list (\u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">like they initially were at Levi’s Stadium for Taylor Swift’s Eras tour dates last year\u003c/a>), Chase Center also offers charging stations compatible with most cell phone devices. Guests may rent a portable charger to take back to their seats at a cost of $2 for every 30 minutes.\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 during the show\u003c/a>, 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>How do I know if I’ve got a good seat at the Bad Bunny Chase Center show?\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 \u003ca href=\"https://warriors.io-media.com/web/index.html#\">check out the view from your seat using Chase Center’s Virtual Venue map\u003c/a>.\u003c/p>\n\u003cp>For what it’s worth, this is the artist’s first tour \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a46163069/why-bad-bunny-kendall-jenner-broke-up/\">after splitting from Kendall Jenner in December\u003c/a>, so you know some songs are going to be putting Benito — and fans — into his feels. On a personal note for those living in their romantic fantasies, maybe \u003cem>you\u003c/em> will have the seat where Benito makes direct eye contact with you and falls in love. You should be reading a book.\u003c/p>\n\u003ch2>What should I know about accessibility at Chase Center?\u003c/h2>\n\u003cp>Chase Center addresses questions about accessibility in their online \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">A to Z Guide\u003c/a>, where you can find 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-CC4FANS.\u003c/p>\n\u003cp>To schedule an American Sign Language interpreter, guests should contact \u003ca href=\"mailto:guestexperiences@warriors.com\">guestexperiences@warriors.com\u003c/a> ahead of time.\u003c/p>\n\u003ch2>\u003ca id=\"chasecenterparking\">\u003c/a>What should I know about parking at and near Chase Center?\u003c/h2>\n\u003cp>Currently, the venue’s website refers fans to the \u003ca href=\"https://www.parkwhiz.com/chase-center-parking/bad-bunny-most-wanted-tour-1378801/?view=list\">third-party parking website ParkWhiz\u003c/a> for other non-Chase Center parking options nearby. These spaces may potentially be a bit far from the venue, so consider wearing comfier shoes for the walk over.\u003c/p>\n\u003cp>A limited number of accessible parking spaces at Chase Center are available for purchase on a first-come, first-served basis and cost between $60 and $100 depending on the size of your vehicle and the event, a Chase Center representative confirmed to KQED. Accessible parking is located at 150 Warriors Way Garage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>What about using rideshare services at Chase Center?\u003c/h2>\n\u003cp>While getting \u003ci>to \u003c/i>the venue using a rideshare service might be fairly smooth, finding a car after the show is almost certainly going to be a challenge — 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 multiple \u003ca href=\"https://images.ctfassets.net/0lzgl3qjkmm1/6k8OJ6yu4tTfjV4wHsmKTG/0b4cc696d2b3f2360ad34bbc16ffbffd/uber-map.png\">designated pick-up 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.\u003c/p>\n\u003cp>As you leave the show, the rideshare apps will automatically show you the best places to get picked up \u003ca href=\"https://images.ctfassets.net/0lzgl3qjkmm1/6k8OJ6yu4tTfjV4wHsmKTG/0b4cc696d2b3f2360ad34bbc16ffbffd/uber-map.png\">within a five-minute walk radius\u003c/a>. The Chase Center website recommends walking a few blocks away before requesting a ride.\u003c/p>\n\u003cp>Accessible drop-offs and pick-ups 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>\u003ca id=\"bartnearchasecenter\">\u003c/a>What’s the best way to take public transit to the Bad Bunny 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\u003cfigure id=\"attachment_11976704\" class=\"wp-caption alignnone\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11976704\" 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\" alt=\"A map showing different transportation routes in San Francisco.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-160x160.jpg 160w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A map showing different transportation routes in San Francisco. \u003ccite>(Courtesy of the SFMTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\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 will be able to \u003ca href=\"https://www.chasecenter.com/transportation-guide\">ride Muni without 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. \u003ca href=\"https://www.sfmta.com/routes/t-third-street\">See 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 Chase Center.\u003c/p>\n\u003cp>Muni Route 22 serves as a connection to 16th St. Mission BART station. This stop is located on 3rd Street and Gene Friend Way.\u003c/p>\n\u003cp>Muni Route 15 serves as a connection to Montgomery St. BART station. This stop is located on 3rd 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 \u003ca href=\"https://www.bart.gov/\">find more information and schedules 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 4th 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 located across the street and take Muni to the UCSF/Chase Center stop.\u003c/p>\n\u003cp>On weekdays, the last Caltrain from San Francisco departs at 12:03 a.m. \u003ca href=\"https://www.caltrain.com/\">See the Caltrain schedule here.\u003c/a>\u003c/p>\n\u003cp>\u003cb>Biking\u003c/b>\u003c/p>\n\u003cp>Chase Center offers guests free secure bike storage from 1 hour before doors open until one hour after the end of the event.\u003c/p>\n\u003cp>Public bike parking is available along 16th Street and Terry Francois Boulevard.\u003c/p>\n\u003cp>There is also a Lyft/Bay Wheels bike share station 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>Can I still get a ticket for the Bad Bunny shows?\u003c/h2>\n\u003cp>There are tickets still available for \u003ca href=\"https://www.ticketmaster.com/bad-bunny-most-wanted-tour-san-francisco-california-03-01-2024/event/1C005F520ADB6555?landing=c\">night one\u003c/a> and \u003ca href=\"https://www.ticketmaster.com/bad-bunny-most-wanted-tour-san-francisco-california-03-02-2024/event/1C005F520CAD6673?landing=c\">night two\u003c/a> of Bad Bunny’s San Francisco stint on Ticketmaster — although prices are well over a hundred dollars.\u003c/p>\n\u003cp>However, Ticketmaster is allowing resale on their own platform for Bad Bunny’s tour, which is the most secure way to buy second-hand tickets. (You can access these by using the filter.)\u003c/p>\n\u003cp>You can also find \u003ca href=\"https://www.stubhub.com/bad-bunny-san-francisco-tickets-3-1-2024/event/152474183/\">resale tickets on sites like StubHub\u003c/a> or even on social media, but make sure you’re not purchasing fake tickets.\u003c/p>\n\u003cp>If you’re buying a resale ticket, a note: The \u003ca href=\"https://abc7news.com/taylor-swift-scams-concert-tickets-better-business-bureau/13474055/\">Better Businesses Bureau issued a warning about resale scams\u003c/a> during Taylor Swift’s 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\u003ch2>Are there Bad Bunny after-parties in the Bay Area?\u003c/h2>\n\u003cp>If you want to keep riding the high of seeing your favorite singer — or if you didn’t get tickets — there are some events in San Francisco and Oakland dedicated to Bad Bunny this week.\u003c/p>\n\u003cul>\n\u003cli>On Friday at Temple Nightclub: \u003ca href=\"https://www.eventbrite.com/e/bad-bunny-tribute-party-tickets-851315175607?aff=ebdssbdestsearch\">Bad Bunny Tribute Party\u003c/a>\u003c/li>\n\u003cli>On Friday at The Grand: \u003ca href=\"https://v5online.com/most-wanted-tour-after-parties/\">Official Afterparty\u003c/a>\u003c/li>\n\u003cli>On Saturday at Que Rico: \u003ca href=\"https://www.eventbrite.com/e/papi-chulo-que-rico-bad-bunny-concert-after-party-tickets-851212739217?aff=ebdssbdestsearch\">Papi Chulo @ Que Rico: Bad Bunny Concert After Party\u003c/a>\u003c/li>\n\u003cli>On Saturday at the Valencia Room: \u003ca href=\"https://www.eventbrite.com/e/perreo-y-mas-bad-bunny-after-party-030224-tickets-812622956137?aff=ebdssbdestsearch\">Perreo Y Mas Bad Bunny After Party\u003c/a>\u003c/li>\n\u003cli>March 10th at The New Parish: \u003ca href=\"https://dothebay.com/events/2023/3/10/the-ultimate-bad-bunny-birthday-bash-18-the-new-parish-oakland-mar-3-tickets\">All Bad Bunny Everything – The Ultimate Birthday Bash Tribute Party\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003ci>KQED’s Ugur Dursun, Carlos Cabrera-Lomelí and Carly Severn contributed to this story.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "If you're going to one of Bad Bunny's shows in San Francisco this week, here's everything you need to know about getting to Chase Center, parking and bag policies.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area, it’s time to perrear y llorar. \u003ca href=\"https://www.kqed.org/forum/2010101889894/whats-your-song-of-the-summer\">Grammy winner Bad Bunny\u003c/a>‘s Most Wanted Tour is coming to San Francisco’s Chase Center for two nights this week, Friday, March 1 and Saturday, March 2.\u003c/p>\n\u003cp>It’s the first time Bay Area fans will get to hear tracks from last year’s ‘nadie sabe lo que va pasar mañana’ album, along with chart-topping tracks like “Yo Perreo Sola” and “un x100to” (\u003ca href=\"https://music.apple.com/us/playlist/set-list-bad-bunnys-most-wanted-tour/pl.a62d9ff404994767ad86a3c33fd8b93b\">full show setlist\u003c/a>.) So, \u003ca href=\"https://variety.com/2023/music/news/bad-bunny-most-wanted-tour-2024-1235762064/\">if you’re a longtime Bad Bunny fan who secured a ticket\u003c/a> to one of these concerts, and you want to focus on enjoying the night rather than worrying about parking or getting home, keep reading our guide to attending a show at Chase Center.\u003c/p>\n\u003cp>For the most up-to-date details, \u003ca href=\"https://twitter.com/ChaseCenter\">follow Chase Center on social media\u003c/a> for any last-minute updates. And if you’re anything like this author, don’t forget to pregame the show by scrolling through TikToks of fans looking longingly at the man himself, Benito Martínez Ocasio, from the stadium crowd:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@desi.assis/video/7338565179224952094\" data-video-id=\"7338565179224952094\">\n\u003csection>\u003ca title=\"@desi.assis\" href=\"https://www.tiktok.com/@desi.assis?refer=embed\" target=\"_blank\" rel=\"noopener\">@desi.assis\u003c/a> I cant belive how close he was 🥹🥹🥹🫶🏽🫶🏽🫶🏽🫶🏽🐰🐰🐰🐰 \u003ca title=\"badbunny2024\" href=\"https://www.tiktok.com/tag/badbunny2024?refer=embed\" target=\"_blank\" rel=\"noopener\">#badbunny2024\u003c/a> \u003ca title=\"nslqvpm\" href=\"https://www.tiktok.com/tag/nslqvpm?refer=embed\" target=\"_blank\" rel=\"noopener\">#nslqvpm\u003c/a> \u003ca title=\"nadiesabietour\" href=\"https://www.tiktok.com/tag/nadiesabietour?refer=embed\" target=\"_blank\" rel=\"noopener\">#nadiesabietour\u003c/a> \u003ca title=\"♬ You Look Lonely x Resonance - Slowed + Reverb - JU$t\" href=\"https://www.tiktok.com/music/You-Look-Lonely-x-Resonance-Slowed-Reverb-7257380007285557250?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ You Look Lonely x Resonance – Slowed + Reverb – JU$t\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Jump straight to:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#chasecenterbags\">What can I bring into Chase Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#chasecenterparking\">What are the parking options at Chase Center for the Bad Bunny shows?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#bartnearchasecenter\">What’s the best way to take public transit to Chase Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>What time do the Bad Bunny shows at Chase Center start?\u003c/h2>\n\u003cp>Both of Bad Bunny’s shows at Chase Center on Friday and Saturday start at 8 p.m. Doors will open at 7 p.m.\u003c/p>\n\u003cp>There will be \u003ca href=\"https://forecast.weather.gov/MapClick.php?x=165&y=156&site=mtr&zmx=&zmy=&map_x=165&map_y=156\">chances of rain both nights\u003c/a>, so while Chase Center is an indoor venue, consider bringing an umbrella or a hooded jacket for your entries and exits.\u003c/p>\n\u003ch2>\u003ca id=\"chasecenterbags\">\u003c/a>What’s the Chase Center bag policy?\u003c/h2>\n\u003cp>Backpacks (except for single-compartment drawstring bags) and hard-sided bags of any kind are prohibited from entering Chase Center. Any other bag you bring must be smaller than 14” x 14” x 6” in size.\u003c/p>\n\u003cp>Bags that do not meet the requirements can be checked at one of two bag check locations for a fee of $10. Chase Center says that proceeds generated from the bag check counters will be donated to the \u003ca href=\"https://community.warriors.com/foundation/\">Warriors Community Foundation\u003c/a>, which supports education and youth development in the Bay Area.\u003c/p>\n\u003cp>Here are some more \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">things you cannot bring into the Bad Bunny shows 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 cow bells.\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 \u003ci>can \u003c/i>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 on the prohibited items list (\u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">like they initially were at Levi’s Stadium for Taylor Swift’s Eras tour dates last year\u003c/a>), Chase Center also offers charging stations compatible with most cell phone devices. Guests may rent a portable charger to take back to their seats at a cost of $2 for every 30 minutes.\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 during the show\u003c/a>, 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>How do I know if I’ve got a good seat at the Bad Bunny Chase Center show?\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 \u003ca href=\"https://warriors.io-media.com/web/index.html#\">check out the view from your seat using Chase Center’s Virtual Venue map\u003c/a>.\u003c/p>\n\u003cp>For what it’s worth, this is the artist’s first tour \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a46163069/why-bad-bunny-kendall-jenner-broke-up/\">after splitting from Kendall Jenner in December\u003c/a>, so you know some songs are going to be putting Benito — and fans — into his feels. On a personal note for those living in their romantic fantasies, maybe \u003cem>you\u003c/em> will have the seat where Benito makes direct eye contact with you and falls in love. You should be reading a book.\u003c/p>\n\u003ch2>What should I know about accessibility at Chase Center?\u003c/h2>\n\u003cp>Chase Center addresses questions about accessibility in their online \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">A to Z Guide\u003c/a>, where you can find 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-CC4FANS.\u003c/p>\n\u003cp>To schedule an American Sign Language interpreter, guests should contact \u003ca href=\"mailto:guestexperiences@warriors.com\">guestexperiences@warriors.com\u003c/a> ahead of time.\u003c/p>\n\u003ch2>\u003ca id=\"chasecenterparking\">\u003c/a>What should I know about parking at and near Chase Center?\u003c/h2>\n\u003cp>Currently, the venue’s website refers fans to the \u003ca href=\"https://www.parkwhiz.com/chase-center-parking/bad-bunny-most-wanted-tour-1378801/?view=list\">third-party parking website ParkWhiz\u003c/a> for other non-Chase Center parking options nearby. These spaces may potentially be a bit far from the venue, so consider wearing comfier shoes for the walk over.\u003c/p>\n\u003cp>A limited number of accessible parking spaces at Chase Center are available for purchase on a first-come, first-served basis and cost between $60 and $100 depending on the size of your vehicle and the event, a Chase Center representative confirmed to KQED. Accessible parking is located at 150 Warriors Way Garage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>What about using rideshare services at Chase Center?\u003c/h2>\n\u003cp>While getting \u003ci>to \u003c/i>the venue using a rideshare service might be fairly smooth, finding a car after the show is almost certainly going to be a challenge — 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 multiple \u003ca href=\"https://images.ctfassets.net/0lzgl3qjkmm1/6k8OJ6yu4tTfjV4wHsmKTG/0b4cc696d2b3f2360ad34bbc16ffbffd/uber-map.png\">designated pick-up 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.\u003c/p>\n\u003cp>As you leave the show, the rideshare apps will automatically show you the best places to get picked up \u003ca href=\"https://images.ctfassets.net/0lzgl3qjkmm1/6k8OJ6yu4tTfjV4wHsmKTG/0b4cc696d2b3f2360ad34bbc16ffbffd/uber-map.png\">within a five-minute walk radius\u003c/a>. The Chase Center website recommends walking a few blocks away before requesting a ride.\u003c/p>\n\u003cp>Accessible drop-offs and pick-ups 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>\u003ca id=\"bartnearchasecenter\">\u003c/a>What’s the best way to take public transit to the Bad Bunny 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\u003cfigure id=\"attachment_11976704\" class=\"wp-caption alignnone\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11976704\" 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\" alt=\"A map showing different transportation routes in San Francisco.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-160x160.jpg 160w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A map showing different transportation routes in San Francisco. \u003ccite>(Courtesy of the SFMTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\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 will be able to \u003ca href=\"https://www.chasecenter.com/transportation-guide\">ride Muni without 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. \u003ca href=\"https://www.sfmta.com/routes/t-third-street\">See 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 Chase Center.\u003c/p>\n\u003cp>Muni Route 22 serves as a connection to 16th St. Mission BART station. This stop is located on 3rd Street and Gene Friend Way.\u003c/p>\n\u003cp>Muni Route 15 serves as a connection to Montgomery St. BART station. This stop is located on 3rd 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 \u003ca href=\"https://www.bart.gov/\">find more information and schedules 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 4th 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 located across the street and take Muni to the UCSF/Chase Center stop.\u003c/p>\n\u003cp>On weekdays, the last Caltrain from San Francisco departs at 12:03 a.m. \u003ca href=\"https://www.caltrain.com/\">See the Caltrain schedule here.\u003c/a>\u003c/p>\n\u003cp>\u003cb>Biking\u003c/b>\u003c/p>\n\u003cp>Chase Center offers guests free secure bike storage from 1 hour before doors open until one hour after the end of the event.\u003c/p>\n\u003cp>Public bike parking is available along 16th Street and Terry Francois Boulevard.\u003c/p>\n\u003cp>There is also a Lyft/Bay Wheels bike share station 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>Can I still get a ticket for the Bad Bunny shows?\u003c/h2>\n\u003cp>There are tickets still available for \u003ca href=\"https://www.ticketmaster.com/bad-bunny-most-wanted-tour-san-francisco-california-03-01-2024/event/1C005F520ADB6555?landing=c\">night one\u003c/a> and \u003ca href=\"https://www.ticketmaster.com/bad-bunny-most-wanted-tour-san-francisco-california-03-02-2024/event/1C005F520CAD6673?landing=c\">night two\u003c/a> of Bad Bunny’s San Francisco stint on Ticketmaster — although prices are well over a hundred dollars.\u003c/p>\n\u003cp>However, Ticketmaster is allowing resale on their own platform for Bad Bunny’s tour, which is the most secure way to buy second-hand tickets. (You can access these by using the filter.)\u003c/p>\n\u003cp>You can also find \u003ca href=\"https://www.stubhub.com/bad-bunny-san-francisco-tickets-3-1-2024/event/152474183/\">resale tickets on sites like StubHub\u003c/a> or even on social media, but make sure you’re not purchasing fake tickets.\u003c/p>\n\u003cp>If you’re buying a resale ticket, a note: The \u003ca href=\"https://abc7news.com/taylor-swift-scams-concert-tickets-better-business-bureau/13474055/\">Better Businesses Bureau issued a warning about resale scams\u003c/a> during Taylor Swift’s 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\u003ch2>Are there Bad Bunny after-parties in the Bay Area?\u003c/h2>\n\u003cp>If you want to keep riding the high of seeing your favorite singer — or if you didn’t get tickets — there are some events in San Francisco and Oakland dedicated to Bad Bunny this week.\u003c/p>\n\u003cul>\n\u003cli>On Friday at Temple Nightclub: \u003ca href=\"https://www.eventbrite.com/e/bad-bunny-tribute-party-tickets-851315175607?aff=ebdssbdestsearch\">Bad Bunny Tribute Party\u003c/a>\u003c/li>\n\u003cli>On Friday at The Grand: \u003ca href=\"https://v5online.com/most-wanted-tour-after-parties/\">Official Afterparty\u003c/a>\u003c/li>\n\u003cli>On Saturday at Que Rico: \u003ca href=\"https://www.eventbrite.com/e/papi-chulo-que-rico-bad-bunny-concert-after-party-tickets-851212739217?aff=ebdssbdestsearch\">Papi Chulo @ Que Rico: Bad Bunny Concert After Party\u003c/a>\u003c/li>\n\u003cli>On Saturday at the Valencia Room: \u003ca href=\"https://www.eventbrite.com/e/perreo-y-mas-bad-bunny-after-party-030224-tickets-812622956137?aff=ebdssbdestsearch\">Perreo Y Mas Bad Bunny After Party\u003c/a>\u003c/li>\n\u003cli>March 10th at The New Parish: \u003ca href=\"https://dothebay.com/events/2023/3/10/the-ultimate-bad-bunny-birthday-bash-18-the-new-parish-oakland-mar-3-tickets\">All Bad Bunny Everything – The Ultimate Birthday Bash Tribute Party\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003ci>KQED’s Ugur Dursun, Carlos Cabrera-Lomelí and Carly Severn contributed to this story.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
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