Steve Albini, Iconoclastic Rock Musician and Engineer, Dies at 61
Sacramento Singer Nate Curry Goes Where the Love Is
Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?
A ‘Latina Takeover’ for Bay Area Hip-Hop
Seiji Oda Is Reshaping Bay Area Rap With Lo-Fi, Minimalist Hyphy
SF’s Zach Rodell Is a Go-To Artist for Tripped-Out Concert Visuals
Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died
See Awadagin Pratt’s Incredible ‘Rounds’ While You Can
Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert
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Staff at his Chicago recording studio, Electrical Audio, confirmed news of his death with NPR. Albini was 61 years old.\u003c/p>\n\u003cp>As a performer, he fronted Shellac and Big Black, two indie-rock bands that pushed punk and noise past absurd and abrasive limits. Albini famously did not like to be called a “producer,” but he worked on — by \u003ca href=\"https://web.archive.org/web/20180625075305/https://www.freepresshouston.com/the-steve-albini-interview/\">his own estimate\u003c/a> — “a couple thousand” albums as a recording engineer, including classics like the Pixies’ \u003cem>Surfer Rosa\u003c/em>, Nirvana’s \u003cem>In Utero\u003c/em> and PJ Harvey’s \u003cem>Rid of Me\u003c/em>.\u003c/p>\n\u003cp>Shellac’s sixth studio album,\u003cem> To All Trains\u003c/em>, is set to be released May 17.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957475/steve-albini-iconoclastic-rock-musician-and-engineer-dies-at-61","authors":["byline_arts_13957475"],"categories":["arts_1","arts_69","arts_1564"],"affiliates":["arts_137"],"featImg":"arts_13957476","label":"arts_137"},"arts_13957459":{"type":"posts","id":"arts_13957459","meta":{"index":"posts_1591205157","site":"arts","id":"13957459","score":null,"sort":[1715193642000]},"guestAuthors":[],"slug":"nate-curry-r-b-singer-tight-knit-interview-sacramento","title":"Sacramento Singer Nate Curry Goes Where the Love Is","publishDate":1715193642,"format":"standard","headTitle":"Sacramento Singer Nate Curry Goes Where the Love Is | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Not many people start their music careers at three years old, but Sacramento artist \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\">Nate Curry\u003c/a> is one of those few. His father was part of the ’90s rap group \u003ca href=\"https://open.spotify.com/artist/3bjlavnEmvheUS5aWw3cAm?autoplay=true\">The Cuf\u003c/a>, so it didn’t take Curry long to figure out what he wanted to do when he grew up. “I would just do shows with my dad,” Curry says. “I would jump on stage with their group.”\u003c/p>\n\u003cp>Now, 27 years later, he is living his childhood dream. After getting noticed for his 2017 singles “\u003ca href=\"https://youtu.be/-EdA6-W_joY?si=0fnw1ldE0f52jUtQ\">Cold Shoulder\u003c/a>” and “\u003ca href=\"https://youtu.be/0n8cbJ5_LNA?si=KtaWaKYxlKH9B1x-\">Temporary Fix\u003c/a>,” Curry got his first taste of the national spotlight on a 2019 tour with fellow Sacramento artist Hobo Johnson. In 2023, Curry released \u003ca href=\"https://open.spotify.com/album/5QroxHPF8n9MKWNCRC13Dv\">\u003cem>Tight Knit\u003c/em>\u003c/a>, a 12-minute R&B project that compares an intense love connection to the stitches of his signature purple beanie. Curry says he’s arrived at a newfound clarity and mindfulness in creating, which has opened up new opportunities.\u003c/p>\n\u003cp>“I’m just where the love is,” Curry says. “If there happens to be music, then we’re going.”\u003c/p>\n\u003cp>https://youtu.be/0n8cbJ5_LNA?si=KtaWaKYxlKH9B1x-\u003c/p>\n\u003cp>Curry was slated to perform at Sol Blume, one of the West Coast’s biggest R&B festivals. Unfortunately, \u003ca href=\"https://www.kqed.org/arts/13956315/sol-blume-festival-postponed-until-2025\">the event was delayed from May 2024 to August 2025\u003c/a>, but Curry hasn’t lost momentum. On July 19, he’ll take the stage with Kool John at \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts in the Park series\u003c/a>, which spotlights other local artists including Igwe Aka and DJ Shino Smoke.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Curry’s dad, the producer \u003ca href=\"https://www.instagram.com/sbvce\">SBVCE\u003c/a> (formerly N8 the Gr8), introduced him to the music world and helped his son hone his sound. Curry evolved from rapping like a “real hip-hop head” to singing airy, introspective, 808-heavy R&B that puts a new spin on his traditional roots. This foundation gave him confidence, and eventually, Curry decided to branch out on his own.\u003c/p>\n\u003cp>“I got to a point where I wanted to see what I could do as a man for myself and try some things,” he says.\u003c/p>\n\u003cp>https://youtu.be/wrQTByrJAYE?si=W2aqlh9cxZdUM3or\u003c/p>\n\u003cp>His new track, “Nah G,” is an anthemic single that was made over a FaceTime call. The song pushes the idea of Curry being himself to the fullest, realizing his career is more about the journey than the destination. On the bouncy track, reminiscent of a video game soundtrack, he playfully says “no” to people in 14 different ways.\u003c/p>\n\u003cp>Curry has collaborated extensively with artists from the Bay Area, including Pinole producer and HBK member P-Lo, who appears on “Knock It” from Curry’s 2022 \u003cem>By Design\u003c/em> album. “Through P-Lo, I met so many people. He has been such a great fool,” Curry says. “He’s always recommending me somewhere. He’s always showed full love and put me with the people that lined up with my wave.”\u003c/p>\n\u003cp>https://youtu.be/byYsxBbnhvo?si=XgqOTtBeSyN9zT9W\u003c/p>\n\u003cp>Curry and P-Lo’s collaborations show the unity between Bay Area and Sacramento artists. Sacramento artists regularly venture down I-80 to the Bay Area for inspiration and connections; meanwhile, many Bay Area-raised artists have relocated to Sac for (slightly) more affordable housing. The two regions have a symbiotic relationship that finds its way into the music and beyond.\u003c/p>\n\u003cp>“It’s Northern Cali,” says Curry. “It’s up.”\u003c/p>\n\u003cp>That statewide creative exchange extends to Los Angeles as well. Through P-Lo, Curry met the LA producer \u003ca href=\"https://www.instagram.com/cassiolopes/\">Cassio Lopes\u003c/a>, who produced and shot the video for “Nah G” and worked closely with P-Lo for his album, \u003cem>Stunna\u003c/em>.\u003c/p>\n\u003cp>“The moment I met Nate, it felt like I’ve known him my entire life,” Lopes said.\u003c/p>\n\u003cp>https://youtu.be/H4xkyLiIc48?si=X__QNuKu2TpBfrtD\u003c/p>\n\u003cp>From that initial meeting, Lopes and Curry became fast friends and frequent collaborators. As Curry continues his journey and expands his artistry, he will return to Cesar Chavez Park on July 19 for a full circle moment. This will be the first time Curry and Lopes perform on stage together. Curry hopes it’ll be a “beautiful wave.”\u003c/p>\n\u003cp>“I absolutely can’t wait for that,” he exclaims. “The energy is going to be up.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More details about \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts In the Park series are here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The R&B artist works up and down the West Coast with P-Lo and Cassio Lopes, and is ready for a bigger stage.","status":"publish","parent":0,"modified":1715193642,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":762},"headData":{"title":"Sacramento Singer Nate Curry Goes Where the Love Is | KQED","description":"The R&B artist works up and down the West Coast with P-Lo and Cassio Lopes, and is ready for a bigger stage.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sacramento Singer Nate Curry Goes Where the Love Is","datePublished":"2024-05-08T18:40:42.000Z","dateModified":"2024-05-08T18:40:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Nia Coats","nprStoryId":"kqed-13957459","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13957459/nate-curry-r-b-singer-tight-knit-interview-sacramento","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not many people start their music careers at three years old, but Sacramento artist \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\">Nate Curry\u003c/a> is one of those few. His father was part of the ’90s rap group \u003ca href=\"https://open.spotify.com/artist/3bjlavnEmvheUS5aWw3cAm?autoplay=true\">The Cuf\u003c/a>, so it didn’t take Curry long to figure out what he wanted to do when he grew up. “I would just do shows with my dad,” Curry says. “I would jump on stage with their group.”\u003c/p>\n\u003cp>Now, 27 years later, he is living his childhood dream. After getting noticed for his 2017 singles “\u003ca href=\"https://youtu.be/-EdA6-W_joY?si=0fnw1ldE0f52jUtQ\">Cold Shoulder\u003c/a>” and “\u003ca href=\"https://youtu.be/0n8cbJ5_LNA?si=KtaWaKYxlKH9B1x-\">Temporary Fix\u003c/a>,” Curry got his first taste of the national spotlight on a 2019 tour with fellow Sacramento artist Hobo Johnson. In 2023, Curry released \u003ca href=\"https://open.spotify.com/album/5QroxHPF8n9MKWNCRC13Dv\">\u003cem>Tight Knit\u003c/em>\u003c/a>, a 12-minute R&B project that compares an intense love connection to the stitches of his signature purple beanie. Curry says he’s arrived at a newfound clarity and mindfulness in creating, which has opened up new opportunities.\u003c/p>\n\u003cp>“I’m just where the love is,” Curry says. “If there happens to be music, then we’re going.”\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/0n8cbJ5_LNA'\n title='//www.youtube.com/embed/0n8cbJ5_LNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Curry was slated to perform at Sol Blume, one of the West Coast’s biggest R&B festivals. Unfortunately, \u003ca href=\"https://www.kqed.org/arts/13956315/sol-blume-festival-postponed-until-2025\">the event was delayed from May 2024 to August 2025\u003c/a>, but Curry hasn’t lost momentum. On July 19, he’ll take the stage with Kool John at \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts in the Park series\u003c/a>, which spotlights other local artists including Igwe Aka and DJ Shino Smoke.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curry’s dad, the producer \u003ca href=\"https://www.instagram.com/sbvce\">SBVCE\u003c/a> (formerly N8 the Gr8), introduced him to the music world and helped his son hone his sound. Curry evolved from rapping like a “real hip-hop head” to singing airy, introspective, 808-heavy R&B that puts a new spin on his traditional roots. This foundation gave him confidence, and eventually, Curry decided to branch out on his own.\u003c/p>\n\u003cp>“I got to a point where I wanted to see what I could do as a man for myself and try some things,” he says.\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/wrQTByrJAYE'\n title='//www.youtube.com/embed/wrQTByrJAYE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His new track, “Nah G,” is an anthemic single that was made over a FaceTime call. The song pushes the idea of Curry being himself to the fullest, realizing his career is more about the journey than the destination. On the bouncy track, reminiscent of a video game soundtrack, he playfully says “no” to people in 14 different ways.\u003c/p>\n\u003cp>Curry has collaborated extensively with artists from the Bay Area, including Pinole producer and HBK member P-Lo, who appears on “Knock It” from Curry’s 2022 \u003cem>By Design\u003c/em> album. “Through P-Lo, I met so many people. He has been such a great fool,” Curry says. “He’s always recommending me somewhere. He’s always showed full love and put me with the people that lined up with my wave.”\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/byYsxBbnhvo'\n title='//www.youtube.com/embed/byYsxBbnhvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Curry and P-Lo’s collaborations show the unity between Bay Area and Sacramento artists. Sacramento artists regularly venture down I-80 to the Bay Area for inspiration and connections; meanwhile, many Bay Area-raised artists have relocated to Sac for (slightly) more affordable housing. The two regions have a symbiotic relationship that finds its way into the music and beyond.\u003c/p>\n\u003cp>“It’s Northern Cali,” says Curry. “It’s up.”\u003c/p>\n\u003cp>That statewide creative exchange extends to Los Angeles as well. Through P-Lo, Curry met the LA producer \u003ca href=\"https://www.instagram.com/cassiolopes/\">Cassio Lopes\u003c/a>, who produced and shot the video for “Nah G” and worked closely with P-Lo for his album, \u003cem>Stunna\u003c/em>.\u003c/p>\n\u003cp>“The moment I met Nate, it felt like I’ve known him my entire life,” Lopes 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/H4xkyLiIc48'\n title='//www.youtube.com/embed/H4xkyLiIc48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From that initial meeting, Lopes and Curry became fast friends and frequent collaborators. As Curry continues his journey and expands his artistry, he will return to Cesar Chavez Park on July 19 for a full circle moment. This will be the first time Curry and Lopes perform on stage together. Curry hopes it’ll be a “beautiful wave.”\u003c/p>\n\u003cp>“I absolutely can’t wait for that,” he exclaims. “The energy is going to be up.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More details about \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts In the Park series are here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957459/nate-curry-r-b-singer-tight-knit-interview-sacramento","authors":["byline_arts_13957459"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_831","arts_5779"],"featImg":"arts_13957405","label":"arts"},"arts_13957370":{"type":"posts","id":"arts_13957370","meta":{"index":"posts_1591205157","site":"arts","id":"13957370","score":null,"sort":[1715107270000]},"guestAuthors":[],"slug":"katy-perry-met-gala-2024-ai-photo-viral-fake-fashion","title":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","publishDate":1715107270,"format":"standard","headTitle":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for? | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Some of the biggest names in music, entertainment and fashion assembled in New York City for Monday’s \u003ca href=\"https://www.kqed.org/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks\">“Garden of Time”-themed Met Gala\u003c/a>, decked out in flowers, sparkles and extravagant timepieces.\u003c/p>\n\u003cp>Contrary to the images circulating on social media, Katy Perry was not one of them.\u003c/p>\n\u003cp>“Couldn’t make it to the MET, had to work,” the singer \u003ca href=\"https://www.instagram.com/p/C6pivKUNWxQ/?img_index=5\">posted on Instagram\u003c/a>, alongside a video of herself singing in the studio — as well as two photos seemingly showing her at the gala.\u003c/p>\n\u003cp>They were actually made with AI.\u003c/p>\n\u003cp>https://twitter.com/jxries/status/1787603212075233371\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the first, Perry appears to be standing on a hedge-lined red carpet at the Met, wearing an elaborate ball gown covered in flowers and butterflies, with her dark hair styled in long waves. In the second, a close-up shot, Perry is wearing a metallic corset top with a large key handle down the middle and a short skirt of flowers and leaves, her hair straight and tousled.\u003c/p>\n\u003cp>The photos — whose exact origin is unclear — made a splash on X (formerly known as Twitter) earlier in the night, as viewers at home refreshed their feeds and weighed in on their favorite celebrity fits.\u003c/p>\n\u003cp>One \u003ca href=\"https://x.com/jxries/status/1787603212075233371\">X post\u003c/a> of the ball gown photo had over 300,000 likes and nearly 70,000 reposts as of Tuesday morning — and a note at the bottom clarifying that it was created with AI. Another post, \u003ca href=\"https://x.com/wanthatoo/status/1787604418956754956\">of the corset outfit\u003c/a>, garnered over 100,000 likes and was eventually labeled “digitally created.”\u003c/p>\n\u003cp>https://twitter.com/wanthatoo/status/1787604418956754956\u003c/p>\n\u003cp>Perry is a regular Met Gala attendee (and famous for dressing on-theme, including as a \u003ca href=\"https://www.vogue.com/slideshow/katy-perry-best-met-gala-looks\">chandelier and hamburger\u003c/a> in recent years), so internet observers would be forgiven for assuming she was there on Monday.\u003c/p>\n\u003cp>Even Perry’s mom, Mary Hudson, thought so. One of the posts in the singer’s Instagram carousel was a screenshot of a text conversation between the two.\u003c/p>\n\u003cp>[aside postid='arts_13957112']“Didn’t know you went to the Met,” her mom wrote. “What a gorgeous gown, you look like the Rose Parade, you are your own float lol.”\u003c/p>\n\u003cp>Perry was quick to clear things up.\u003c/p>\n\u003cp>“Lol mom the AI got you too,” she replied. “BEWARE!”\u003c/p>\n\u003cp>AI-generated images are increasingly easy to make, and celebrity deep fakes are increasingly prevalent — from sexually explicit \u003ca href=\"https://natlawreview.com/article/why-taylor-swift-ai-scandal-pushing-lawmakers-address-pornographic-deepfakes\">deep fakes of Taylor Swift\u003c/a> circulating earlier this year to \u003ca href=\"https://www.npr.org/2024/01/22/1226129926/nh-primary-biden-ai-robocall\">robocalls imitating President Biden\u003c/a> ahead of the New Hampshire primary.\u003c/p>\n\u003cp>In fact, Perry wasn’t the only star to be basically photoshopped onto the Met Gala red carpet: A viral X post claimed to show an elaborately dressed Rihanna in attendance, when she was actually home \u003ca href=\"https://www.eonline.com/news/1400722/why-rihanna-skipped-met-gala-2024-at-the-last-minute\">sick with the flu\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/tereluprados/status/1787618574564999346\u003c/p>\n\u003cp>Another purported to show Lady Gaga, who hasn’t been there \u003ca href=\"https://www.kqed.org/arts/13856751/camp-lgbtq-celebs-shut-down-the-2019-met-gala\">since 2019\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/he_so_candid/status/1787608442116472883\u003c/p>\n\u003cp>And before the gala, \u003ca href=\"https://x.com/duasmoker/status/1787606705380917712\">photos circulated of Dua Lipa\u003c/a> wearing bangs and a corset, only for her to show up on the carpet with crimson hair and an all-black ensemble — and for an X user to point out the early photos were from a \u003ca href=\"https://www.vogue.com/article/dua-lipa-demeanor-video-marie-antoinette\">2021 \u003cem>Vogue\u003c/em> shoot\u003c/a>.\u003c/p>\n\u003cp>While some social media users dismissed the Met Gala fakes as part of the fun, others see them as a worrisome sign of what could lie ahead.\u003c/p>\n\u003cp>Experts warn AI-generated deep fakes pose a threat to everything from \u003ca href=\"https://www.npr.org/2024/02/16/1232001889/ai-deepfakes-election-tech-accord\">election security\u003c/a> to \u003ca href=\"https://www.npr.org/2023/03/22/1165448073/voice-clones-ai-scams-ftc\">everyday scams\u003c/a>. And just last month, more than 200 artists — including Perry herself — \u003ca href=\"https://artistrightsnow.medium.com/200-artists-urge-tech-platforms-stop-devaluing-music-559fb109bbac\">signed a letter\u003c/a> urging tech platforms and digital music services to stop using AI to “infringe upon and devalue the rights of human artists.”\u003c/p>\n\u003ch3>How to tell if an image is fake (or at least suspicious)\u003c/h3>\n\u003cp>So what clues should Mary Hudson — and other discerning viewers — be looking for to spot potential fakes?\u003c/p>\n\u003cp>[aside postid='arts_13952796']Sam Gregory of the nonprofit Witness, which helps people use video and technology to protect human rights, encourages viewers to rely on context and intuition in situations like this one.\u003c/p>\n\u003cp>“My starting point with all images like [Perry’s] is to not trust the online detectors as there are too many variables around whether they give an accurate result,” he explained over email.\u003c/p>\n\u003cp>He said when he ran both Perry images through a widely-used detector, the flower dress came back as “likely human” and the corset as “likely AI generated.” He also discourages people from looking for visual clues in these kinds of images, saying that can “lead down a rabbit hole of unproductive forensic skepticism.”\u003c/p>\n\u003cp>With a high-profile event like the Met Gala, Gregory says, it’s best to use “classic media literacy and verification approaches.” In this case, that could mean looking for more proof of Perry’s attendance, from a variety of sources.\u003c/p>\n\u003cp>“Although some media literacy strategies like checking the source might lead us astray — perhaps we do trust Katy Perry to share real images of herself — if we use another strategy and look for other images from the same event from reliable sources, we’d quickly see this isn’t real,” he explained.\u003c/p>\n\u003cp>He adds that it reminds him of the AI-created images of a \u003ca href=\"https://www.npr.org/2023/05/22/1177590231/fake-viral-images-of-an-explosion-at-the-pentagon-were-probably-created-by-ai\">fire at the Pentagon\u003c/a> that went viral last year. In both cases, he says, the first question people should ask themselves is not whether they can spot the AI glitches in the photo, but “Why aren’t there other photos and videos of this event in a highly populated area?”\u003c/p>\n\u003cp>[aside postid='arts_13932477']But the bigger question, as Gregory sees it, is whether the public should be expected to do this at all.\u003c/p>\n\u003cp>“Why wouldn’t Katy Perry be at the Met Gala and why would we second-guess that, particularly if she’s part of the deception?” he says.\u003c/p>\n\u003cp>More help may be coming from social media platforms, amid growing concerns about the potential for AI to mislead users. Meta said earlier this year that it would start \u003ca href=\"https://www.npr.org/2024/02/06/1229317971/meta-labeling-ai-generated-images-instagram-facebook-artificial-intelligence\">labeling AI-generated images\u003c/a> on Facebook, Instagram and Threads, \u003ca href=\"https://about.fb.com/news/2024/04/metas-approach-to-labeling-ai-generated-content-and-manipulated-media/\">beginning in May\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for now — and as always — keeping your guard up is key. If you need some more pointers, check out these expert tips on how to spot \u003ca href=\"https://www.npr.org/2023/06/07/1180768459/how-to-identify-ai-generated-deepfake-images\">AI-generated images\u003c/a> and \u003ca href=\"https://www.npr.org/2024/04/01/1241657867/april-fools-day-online-misinformation\">avoid getting tricked online\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"Katy Perry, Rihanna and Lady Gaga weren't at the Met Gala despite AI-generated red carpet photos of them circulating online.","status":"publish","parent":0,"modified":1715107270,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1093},"headData":{"title":"How to Spot Fake Images of Real Celebrities, Concocted By AI | KQED","description":"Katy Perry, Rihanna and Lady Gaga weren't at the Met Gala despite AI-generated red carpet photos of them circulating online.","ogTitle":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","ogDescription":"","ogImgId":"","twTitle":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","twDescription":"","twImgId":"","socialTitle":"How to Spot Fake Images of Real Celebrities, Concocted By AI %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","datePublished":"2024-05-07T18:41:10.000Z","dateModified":"2024-05-07T18:41:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Rachel Treisman, NPR","nprStoryId":"1249570785","nprHtmlLink":"https://www.npr.org/2024/05/07/1249570785/katy-perry-met-gala-deepfake","nprRetrievedStory":"1","nprPubDate":"2024-05-07T10:33:30-04:00","nprStoryDate":"2024-05-07T10:33:30-04:00","nprLastModifiedDate":"2024-05-07T11:59:56-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13957370/katy-perry-met-gala-2024-ai-photo-viral-fake-fashion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the biggest names in music, entertainment and fashion assembled in New York City for Monday’s \u003ca href=\"https://www.kqed.org/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks\">“Garden of Time”-themed Met Gala\u003c/a>, decked out in flowers, sparkles and extravagant timepieces.\u003c/p>\n\u003cp>Contrary to the images circulating on social media, Katy Perry was not one of them.\u003c/p>\n\u003cp>“Couldn’t make it to the MET, had to work,” the singer \u003ca href=\"https://www.instagram.com/p/C6pivKUNWxQ/?img_index=5\">posted on Instagram\u003c/a>, alongside a video of herself singing in the studio — as well as two photos seemingly showing her at the gala.\u003c/p>\n\u003cp>They were actually made with AI.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787603212075233371"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the first, Perry appears to be standing on a hedge-lined red carpet at the Met, wearing an elaborate ball gown covered in flowers and butterflies, with her dark hair styled in long waves. In the second, a close-up shot, Perry is wearing a metallic corset top with a large key handle down the middle and a short skirt of flowers and leaves, her hair straight and tousled.\u003c/p>\n\u003cp>The photos — whose exact origin is unclear — made a splash on X (formerly known as Twitter) earlier in the night, as viewers at home refreshed their feeds and weighed in on their favorite celebrity fits.\u003c/p>\n\u003cp>One \u003ca href=\"https://x.com/jxries/status/1787603212075233371\">X post\u003c/a> of the ball gown photo had over 300,000 likes and nearly 70,000 reposts as of Tuesday morning — and a note at the bottom clarifying that it was created with AI. Another post, \u003ca href=\"https://x.com/wanthatoo/status/1787604418956754956\">of the corset outfit\u003c/a>, garnered over 100,000 likes and was eventually labeled “digitally created.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787604418956754956"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Perry is a regular Met Gala attendee (and famous for dressing on-theme, including as a \u003ca href=\"https://www.vogue.com/slideshow/katy-perry-best-met-gala-looks\">chandelier and hamburger\u003c/a> in recent years), so internet observers would be forgiven for assuming she was there on Monday.\u003c/p>\n\u003cp>Even Perry’s mom, Mary Hudson, thought so. One of the posts in the singer’s Instagram carousel was a screenshot of a text conversation between the two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957112","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Didn’t know you went to the Met,” her mom wrote. “What a gorgeous gown, you look like the Rose Parade, you are your own float lol.”\u003c/p>\n\u003cp>Perry was quick to clear things up.\u003c/p>\n\u003cp>“Lol mom the AI got you too,” she replied. “BEWARE!”\u003c/p>\n\u003cp>AI-generated images are increasingly easy to make, and celebrity deep fakes are increasingly prevalent — from sexually explicit \u003ca href=\"https://natlawreview.com/article/why-taylor-swift-ai-scandal-pushing-lawmakers-address-pornographic-deepfakes\">deep fakes of Taylor Swift\u003c/a> circulating earlier this year to \u003ca href=\"https://www.npr.org/2024/01/22/1226129926/nh-primary-biden-ai-robocall\">robocalls imitating President Biden\u003c/a> ahead of the New Hampshire primary.\u003c/p>\n\u003cp>In fact, Perry wasn’t the only star to be basically photoshopped onto the Met Gala red carpet: A viral X post claimed to show an elaborately dressed Rihanna in attendance, when she was actually home \u003ca href=\"https://www.eonline.com/news/1400722/why-rihanna-skipped-met-gala-2024-at-the-last-minute\">sick with the flu\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787618574564999346"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Another purported to show Lady Gaga, who hasn’t been there \u003ca href=\"https://www.kqed.org/arts/13856751/camp-lgbtq-celebs-shut-down-the-2019-met-gala\">since 2019\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787608442116472883"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And before the gala, \u003ca href=\"https://x.com/duasmoker/status/1787606705380917712\">photos circulated of Dua Lipa\u003c/a> wearing bangs and a corset, only for her to show up on the carpet with crimson hair and an all-black ensemble — and for an X user to point out the early photos were from a \u003ca href=\"https://www.vogue.com/article/dua-lipa-demeanor-video-marie-antoinette\">2021 \u003cem>Vogue\u003c/em> shoot\u003c/a>.\u003c/p>\n\u003cp>While some social media users dismissed the Met Gala fakes as part of the fun, others see them as a worrisome sign of what could lie ahead.\u003c/p>\n\u003cp>Experts warn AI-generated deep fakes pose a threat to everything from \u003ca href=\"https://www.npr.org/2024/02/16/1232001889/ai-deepfakes-election-tech-accord\">election security\u003c/a> to \u003ca href=\"https://www.npr.org/2023/03/22/1165448073/voice-clones-ai-scams-ftc\">everyday scams\u003c/a>. And just last month, more than 200 artists — including Perry herself — \u003ca href=\"https://artistrightsnow.medium.com/200-artists-urge-tech-platforms-stop-devaluing-music-559fb109bbac\">signed a letter\u003c/a> urging tech platforms and digital music services to stop using AI to “infringe upon and devalue the rights of human artists.”\u003c/p>\n\u003ch3>How to tell if an image is fake (or at least suspicious)\u003c/h3>\n\u003cp>So what clues should Mary Hudson — and other discerning viewers — be looking for to spot potential fakes?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Sam Gregory of the nonprofit Witness, which helps people use video and technology to protect human rights, encourages viewers to rely on context and intuition in situations like this one.\u003c/p>\n\u003cp>“My starting point with all images like [Perry’s] is to not trust the online detectors as there are too many variables around whether they give an accurate result,” he explained over email.\u003c/p>\n\u003cp>He said when he ran both Perry images through a widely-used detector, the flower dress came back as “likely human” and the corset as “likely AI generated.” He also discourages people from looking for visual clues in these kinds of images, saying that can “lead down a rabbit hole of unproductive forensic skepticism.”\u003c/p>\n\u003cp>With a high-profile event like the Met Gala, Gregory says, it’s best to use “classic media literacy and verification approaches.” In this case, that could mean looking for more proof of Perry’s attendance, from a variety of sources.\u003c/p>\n\u003cp>“Although some media literacy strategies like checking the source might lead us astray — perhaps we do trust Katy Perry to share real images of herself — if we use another strategy and look for other images from the same event from reliable sources, we’d quickly see this isn’t real,” he explained.\u003c/p>\n\u003cp>He adds that it reminds him of the AI-created images of a \u003ca href=\"https://www.npr.org/2023/05/22/1177590231/fake-viral-images-of-an-explosion-at-the-pentagon-were-probably-created-by-ai\">fire at the Pentagon\u003c/a> that went viral last year. In both cases, he says, the first question people should ask themselves is not whether they can spot the AI glitches in the photo, but “Why aren’t there other photos and videos of this event in a highly populated area?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932477","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But the bigger question, as Gregory sees it, is whether the public should be expected to do this at all.\u003c/p>\n\u003cp>“Why wouldn’t Katy Perry be at the Met Gala and why would we second-guess that, particularly if she’s part of the deception?” he says.\u003c/p>\n\u003cp>More help may be coming from social media platforms, amid growing concerns about the potential for AI to mislead users. Meta said earlier this year that it would start \u003ca href=\"https://www.npr.org/2024/02/06/1229317971/meta-labeling-ai-generated-images-instagram-facebook-artificial-intelligence\">labeling AI-generated images\u003c/a> on Facebook, Instagram and Threads, \u003ca href=\"https://about.fb.com/news/2024/04/metas-approach-to-labeling-ai-generated-content-and-manipulated-media/\">beginning in May\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for now — and as always — keeping your guard up is key. If you need some more pointers, check out these expert tips on how to spot \u003ca href=\"https://www.npr.org/2023/06/07/1180768459/how-to-identify-ai-generated-deepfake-images\">AI-generated images\u003c/a> and \u003ca href=\"https://www.npr.org/2024/04/01/1241657867/april-fools-day-online-misinformation\">avoid getting tricked online\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957370/katy-perry-met-gala-2024-ai-photo-viral-fake-fashion","authors":["byline_arts_13957370"],"categories":["arts_1","arts_76","arts_69","arts_75"],"tags":["arts_22039","arts_11323","arts_22131","arts_1935"],"affiliates":["arts_137"],"featImg":"arts_13957371","label":"arts_137"},"arts_13957335":{"type":"posts","id":"arts_13957335","meta":{"index":"posts_1591205157","site":"arts","id":"13957335","score":null,"sort":[1715104559000]},"guestAuthors":[],"slug":"queens-of-the-underground-latina-takeover-hip-hop","title":"A ‘Latina Takeover’ for Bay Area Hip-Hop","publishDate":1715104559,"format":"standard","headTitle":"A ‘Latina Takeover’ for Bay Area Hip-Hop | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The prominence of women in hip-hop in 2024 can’t go unnoticed.\u003c/p>\n\u003cp>From Megan Thee Stallion, Sexy Redd, Latto and Ice Spice to Rapsody, Doechii, Tierra Whack and Flo Milli, more talented women than ever are carrying the torch. Even so, the playing field is still stacked against MCs, DJs and dancers who are women, says the Bay Area’s Megan Correa.\u003c/p>\n\u003cp>Correa, a hip-hop event organizer and artist who goes by \u003ca href=\"https://www.instagram.com/lilmc.music/?hl=en\" target=\"_blank\" rel=\"noopener\">Lil MC\u003c/a>, says that despite the accomplishments of women at the forefront of the culture, she and others in the industry still have to work twice as hard as their male counterparts to gain the same amount of respect. That’s in addition to being confined to historic archetypes and dealing with the ever-present issue of sexism.\u003c/p>\n\u003cfigure id=\"attachment_13957343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13957343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2-800x534.jpg\" alt=\"Women on a smokey stage with purple lighting holding their fist up. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Femme Deadly Venoms performs at a recent Queens of The Underground showcase. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response, Lil MC and her partner \u003ca href=\"https://www.instagram.com/kailalove.ai/?img_index=1\" target=\"_blank\" rel=\"noopener\">Kaila Love\u003c/a> founded \u003ca href=\"https://www.queensoftheunderground.com/\" target=\"_blank\" rel=\"noopener\">Queens of The Underground\u003c/a>, an organization that hosts monthly parties highlighting women in hip-hop. And behind the scenes, Queens of The Underground functions as an artist development group, coaching MCs through the process of building websites, learning about \u003ca href=\"https://www.iconcollective.edu/songwriter-split-sheet\">royalty split sheets\u003c/a> and navigating the industry.\u003c/p>\n\u003cp>Formed in 2020, the organization also holds quarterly showcases with stacked lineups of women from the Bay Area paired with national headliners.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Friday, May 10, one such quarterly showcase rolls into \u003ca href=\"https://www.instagram.com/neckofthewoodssf/?img_index=1\" target=\"_blank\" rel=\"noopener\">Neck of The Woods\u003c/a> in San Francisco for a special “Latina Takeover,” with a full lineup of Latina MCs, dancers and DJs to turn the party out.\u003c/p>\n\u003cp>Well-known Los Angeles MC \u003ca href=\"https://www.instagram.com/reverielove/?img_index=1\" target=\"_blank\" rel=\"noopener\">Reverie\u003c/a> headlines, with Bay Area openers \u003ca href=\"https://www.instagram.com/tatyana_tysf/\" target=\"_blank\" rel=\"noopener\">TYSF\u003c/a>, \u003ca href=\"https://www.instagram.com/_friscobaby/\" target=\"_blank\" rel=\"noopener\">Frisco Baby,\u003c/a> Lil MC, and a performance by burlesque artist \u003ca href=\"https://www.instagram.com/quindelanoche/?img_index=1\" target=\"_blank\" rel=\"noopener\">Qu’in De La Noche\u003c/a>. The event, hosted by \u003ca href=\"https://www.instagram.com/snowygee_/?img_index=1\" target=\"_blank\" rel=\"noopener\">Snowy Gee\u003c/a>, will also feature the Bay Area’s legendary aerosol artist \u003ca href=\"https://www.instagram.com/dj_agana/\" target=\"_blank\" rel=\"noopener\">DJ Agana\u003c/a> on the turntables all night.\u003c/p>\n\u003cfigure id=\"attachment_13957344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13957344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1-800x509.jpg\" alt=\"Four women on stage dancing. \" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1.jpg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daylite, Nini Heart & Dance Crew showing their moves at a Queens of The Underground event. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised all over the Bay and currently residing in San Francisco, Lil MC started rapping when she was in high school, and got into battle rap in her early twenties. That’s when she noticed the discrepancy in representation. “I was the only woman I’d see in these rap battles,” she says.\u003c/p>\n\u003cp>Lil MC adds that nowadays, “You go out to any hip-hop space — Bay Area, L.A., Atlanta — there’s at least one or two women on the bill.” But even with the change in optics, “there’s a lot of exploitation as a female artist.”\u003c/p>\n\u003cp>Lil MC says her ultimate goal is to combat the idea that women in hip-hop have to fit into one of two stereotypes: either hyper-sexualized, or super-woke and super-conscious. “I feel like there isn’t really a big lane for women to just be a rapper — just rap,” says Lil MC. “I really want to shift that, especially for Bay Area artists.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Queens of The Underground ‘Latina Takeover’ edition takes the stage on Friday, May 10, at Neck of the Woods in San Francisco. \u003ca href=\"https://www.queensoftheunderground.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Tired stereotypes are no match for the women of Queens of the Underground.","status":"publish","parent":0,"modified":1715117668,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":550},"headData":{"title":"A ‘Latina Takeover’ for Bay Area Hip-Hop | KQED","description":"Tired stereotypes are no match for the women of Queens of the Underground.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A ‘Latina Takeover’ for Bay Area Hip-Hop","datePublished":"2024-05-07T17:55:59.000Z","dateModified":"2024-05-07T21:34:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957335","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957335/queens-of-the-underground-latina-takeover-hip-hop","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The prominence of women in hip-hop in 2024 can’t go unnoticed.\u003c/p>\n\u003cp>From Megan Thee Stallion, Sexy Redd, Latto and Ice Spice to Rapsody, Doechii, Tierra Whack and Flo Milli, more talented women than ever are carrying the torch. Even so, the playing field is still stacked against MCs, DJs and dancers who are women, says the Bay Area’s Megan Correa.\u003c/p>\n\u003cp>Correa, a hip-hop event organizer and artist who goes by \u003ca href=\"https://www.instagram.com/lilmc.music/?hl=en\" target=\"_blank\" rel=\"noopener\">Lil MC\u003c/a>, says that despite the accomplishments of women at the forefront of the culture, she and others in the industry still have to work twice as hard as their male counterparts to gain the same amount of respect. That’s in addition to being confined to historic archetypes and dealing with the ever-present issue of sexism.\u003c/p>\n\u003cfigure id=\"attachment_13957343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13957343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2-800x534.jpg\" alt=\"Women on a smokey stage with purple lighting holding their fist up. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-2.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Femme Deadly Venoms performs at a recent Queens of The Underground showcase. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response, Lil MC and her partner \u003ca href=\"https://www.instagram.com/kailalove.ai/?img_index=1\" target=\"_blank\" rel=\"noopener\">Kaila Love\u003c/a> founded \u003ca href=\"https://www.queensoftheunderground.com/\" target=\"_blank\" rel=\"noopener\">Queens of The Underground\u003c/a>, an organization that hosts monthly parties highlighting women in hip-hop. And behind the scenes, Queens of The Underground functions as an artist development group, coaching MCs through the process of building websites, learning about \u003ca href=\"https://www.iconcollective.edu/songwriter-split-sheet\">royalty split sheets\u003c/a> and navigating the industry.\u003c/p>\n\u003cp>Formed in 2020, the organization also holds quarterly showcases with stacked lineups of women from the Bay Area paired with national headliners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Friday, May 10, one such quarterly showcase rolls into \u003ca href=\"https://www.instagram.com/neckofthewoodssf/?img_index=1\" target=\"_blank\" rel=\"noopener\">Neck of The Woods\u003c/a> in San Francisco for a special “Latina Takeover,” with a full lineup of Latina MCs, dancers and DJs to turn the party out.\u003c/p>\n\u003cp>Well-known Los Angeles MC \u003ca href=\"https://www.instagram.com/reverielove/?img_index=1\" target=\"_blank\" rel=\"noopener\">Reverie\u003c/a> headlines, with Bay Area openers \u003ca href=\"https://www.instagram.com/tatyana_tysf/\" target=\"_blank\" rel=\"noopener\">TYSF\u003c/a>, \u003ca href=\"https://www.instagram.com/_friscobaby/\" target=\"_blank\" rel=\"noopener\">Frisco Baby,\u003c/a> Lil MC, and a performance by burlesque artist \u003ca href=\"https://www.instagram.com/quindelanoche/?img_index=1\" target=\"_blank\" rel=\"noopener\">Qu’in De La Noche\u003c/a>. The event, hosted by \u003ca href=\"https://www.instagram.com/snowygee_/?img_index=1\" target=\"_blank\" rel=\"noopener\">Snowy Gee\u003c/a>, will also feature the Bay Area’s legendary aerosol artist \u003ca href=\"https://www.instagram.com/dj_agana/\" target=\"_blank\" rel=\"noopener\">DJ Agana\u003c/a> on the turntables all night.\u003c/p>\n\u003cfigure id=\"attachment_13957344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13957344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1-800x509.jpg\" alt=\"Four women on stage dancing. \" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1.jpg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daylite, Nini Heart & Dance Crew showing their moves at a Queens of The Underground event. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised all over the Bay and currently residing in San Francisco, Lil MC started rapping when she was in high school, and got into battle rap in her early twenties. That’s when she noticed the discrepancy in representation. “I was the only woman I’d see in these rap battles,” she says.\u003c/p>\n\u003cp>Lil MC adds that nowadays, “You go out to any hip-hop space — Bay Area, L.A., Atlanta — there’s at least one or two women on the bill.” But even with the change in optics, “there’s a lot of exploitation as a female artist.”\u003c/p>\n\u003cp>Lil MC says her ultimate goal is to combat the idea that women in hip-hop have to fit into one of two stereotypes: either hyper-sexualized, or super-woke and super-conscious. “I feel like there isn’t really a big lane for women to just be a rapper — just rap,” says Lil MC. “I really want to shift that, especially for Bay Area artists.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Queens of The Underground ‘Latina Takeover’ edition takes the stage on Friday, May 10, at Neck of the Woods in San Francisco. \u003ca href=\"https://www.queensoftheunderground.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957335/queens-of-the-underground-latina-takeover-hip-hop","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_831","arts_1256","arts_585","arts_20141"],"featImg":"arts_13957337","label":"arts_140"},"arts_13957194":{"type":"posts","id":"arts_13957194","meta":{"index":"posts_1591205157","site":"arts","id":"13957194","score":null,"sort":[1715095813000]},"guestAuthors":[],"slug":"seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy","title":"Seiji Oda Is Reshaping Bay Area Rap With Lo-Fi, Minimalist Hyphy","publishDate":1715095813,"format":"standard","headTitle":"Seiji Oda Is Reshaping Bay Area Rap With Lo-Fi, Minimalist Hyphy | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.instagram.com/seijioda/?hl=en\">Seiji Oda\u003c/a> is adept at remixing the energy around him. Over the past few years, the Oakland-raised artist — who is of Japanese, Irish and Panamanian heritage — has been at the forefront of pushing a new kind of Bay Area sound, a saucy combination of Northern California rap, \u003ca href=\"https://www.kqed.org/arts/13924014/seiji-odas-anri-city-pop-003-celebrates-lunar-new-year-with-a-ride-through-japantown\">Japanese City Pop\u003c/a> and free-flowing jazz. He’s dubbed it “lofi // HYPHY.”\u003c/p>\n\u003cp>On social media, he’s gone viral for \u003ca href=\"https://www.instagram.com/p/C0-E7hTSazq/?hl=en\">popping his collar while sitting on a tree branch\u003c/a>, \u003ca href=\"https://www.instagram.com/p/C6b8tBJPs0c/?hl=en\">dancing in a Japanese garden\u003c/a> or \u003ca href=\"https://www.instagram.com/p/C6NoYJLL2uE/?hl=en\">going stupid beneath a waterfall\u003c/a> — all while his raps casually slap in the background. In each clip, he summons the holy spirit of a mid-aughts hyphy ghost while somehow remaining as chill as \u003ca href=\"https://www.youtube.com/watch?v=f932UdEg4p8\">Lofi Girl studying at a desk\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13955802']His music is a bottled-up version of big Bay Area energy, taking the form of a peaceful bonsai tree. There isn’t really a category to describe Seiji Oda’s vibe, either. Hyphy heart whispering? Gentle gigging? Serene smeezing? Acoustic turfing? Going dumb in acapella? Therapeutic thizzing?\u003c/p>\n\u003cp>“Growing up, I was listening to Bay music,” he says. “Mac Dre, that type of shit. But when I got into making music, it was the more melodic stuff like jazz. That kind of sparked my interest in melding that with Bay music.”\u003c/p>\n\u003cp>Seiji Oda’s latest track, “a gentle gigg,” delivers exactly that: a cool minimalism and tranquility distilled into lo-fi hyphy. The Jake Chapman-produced single — which has already accumulated thousands of views, and been shared by SZA, G-Eazy and SiR — evokes E-40’s “Tell Me When To Go” while floating over a soundscape of gentle bells and flutes, stripped-down drums and a hint of mobb music bass.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KwFJ4cH51-s\u003c/p>\n\u003cp>Like much of Seiji Oda’s output, the track blends the Bay’s famously uptempo street ethos alongside elements of nature and gratitude. His lyrics underscore the Bay’s contrasting discrepancies, too: “I got friends who went to Berklee School of Music / I got friends who let that glock spill on you for talking stupid / I got homies that’s hella hyphy born after the hyphy movement / I got OGs who teach peace and started revolutions.”\u003c/p>\n\u003cp>It’s audio proof that Seiji Oda has been quietly nurturing his aura, and he supplies it in abundance — a playerish kind of positivity inspired by anime, international travel, vintage clothing, retro Japanese vocals, Oakland sideshows and much more. Now, others seem to be catching on.\u003c/p>\n\u003cp>[aside postID='arts_13953009']“I feel like the reason I make art is to give people an oasis in the world,” he says. “I really want to create a soundscape; that’s the goal. I’m always positive, and very simply myself. I’m not trying to be anything other than that.”\u003c/p>\n\u003cp>“The industry tries to lump Asian artists into one vague genre, [but] we’re not all gonna fit on the Jasmine or Tapioca playlist,” he continues. “I wanna show the young life we can do anything, not just what people expect of us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He’s certainly on his way to doing that, and is currently establishing himself as one of the region’s most promising, original talents. As he sagely reminds us on his latest track: “We all got game, so each one teach one / we all different.”\u003c/p>\n\n","blocks":[],"excerpt":"Oakland-raised Seiji Oda is going viral with quirky, lovable videos backed by his meditative hyphy tracks.","status":"publish","parent":0,"modified":1715094724,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":605},"headData":{"title":"Seiji Oda Is Reshaping Bay Area Rap With Lo-Fi, Minimalist Hyphy | KQED","description":"Oakland-raised Seiji Oda is going viral with quirky, lovable videos backed by his meditative hyphy tracks.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Seiji Oda Is Reshaping Bay Area Rap With Lo-Fi, Minimalist Hyphy","datePublished":"2024-05-07T15:30:13.000Z","dateModified":"2024-05-07T15:12:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/seijioda/?hl=en\">Seiji Oda\u003c/a> is adept at remixing the energy around him. Over the past few years, the Oakland-raised artist — who is of Japanese, Irish and Panamanian heritage — has been at the forefront of pushing a new kind of Bay Area sound, a saucy combination of Northern California rap, \u003ca href=\"https://www.kqed.org/arts/13924014/seiji-odas-anri-city-pop-003-celebrates-lunar-new-year-with-a-ride-through-japantown\">Japanese City Pop\u003c/a> and free-flowing jazz. He’s dubbed it “lofi // HYPHY.”\u003c/p>\n\u003cp>On social media, he’s gone viral for \u003ca href=\"https://www.instagram.com/p/C0-E7hTSazq/?hl=en\">popping his collar while sitting on a tree branch\u003c/a>, \u003ca href=\"https://www.instagram.com/p/C6b8tBJPs0c/?hl=en\">dancing in a Japanese garden\u003c/a> or \u003ca href=\"https://www.instagram.com/p/C6NoYJLL2uE/?hl=en\">going stupid beneath a waterfall\u003c/a> — all while his raps casually slap in the background. In each clip, he summons the holy spirit of a mid-aughts hyphy ghost while somehow remaining as chill as \u003ca href=\"https://www.youtube.com/watch?v=f932UdEg4p8\">Lofi Girl studying at a desk\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955802","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>His music is a bottled-up version of big Bay Area energy, taking the form of a peaceful bonsai tree. There isn’t really a category to describe Seiji Oda’s vibe, either. Hyphy heart whispering? Gentle gigging? Serene smeezing? Acoustic turfing? Going dumb in acapella? Therapeutic thizzing?\u003c/p>\n\u003cp>“Growing up, I was listening to Bay music,” he says. “Mac Dre, that type of shit. But when I got into making music, it was the more melodic stuff like jazz. That kind of sparked my interest in melding that with Bay music.”\u003c/p>\n\u003cp>Seiji Oda’s latest track, “a gentle gigg,” delivers exactly that: a cool minimalism and tranquility distilled into lo-fi hyphy. The Jake Chapman-produced single — which has already accumulated thousands of views, and been shared by SZA, G-Eazy and SiR — evokes E-40’s “Tell Me When To Go” while floating over a soundscape of gentle bells and flutes, stripped-down drums and a hint of mobb music bass.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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/KwFJ4cH51-s'\n title='//www.youtube.com/embed/KwFJ4cH51-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like much of Seiji Oda’s output, the track blends the Bay’s famously uptempo street ethos alongside elements of nature and gratitude. His lyrics underscore the Bay’s contrasting discrepancies, too: “I got friends who went to Berklee School of Music / I got friends who let that glock spill on you for talking stupid / I got homies that’s hella hyphy born after the hyphy movement / I got OGs who teach peace and started revolutions.”\u003c/p>\n\u003cp>It’s audio proof that Seiji Oda has been quietly nurturing his aura, and he supplies it in abundance — a playerish kind of positivity inspired by anime, international travel, vintage clothing, retro Japanese vocals, Oakland sideshows and much more. Now, others seem to be catching on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953009","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I feel like the reason I make art is to give people an oasis in the world,” he says. “I really want to create a soundscape; that’s the goal. I’m always positive, and very simply myself. I’m not trying to be anything other than that.”\u003c/p>\n\u003cp>“The industry tries to lump Asian artists into one vague genre, [but] we’re not all gonna fit on the Jasmine or Tapioca playlist,” he continues. “I wanna show the young life we can do anything, not just what people expect of us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He’s certainly on his way to doing that, and is currently establishing himself as one of the region’s most promising, original talents. As he sagely reminds us on his latest track: “We all got game, so each one teach one / we all different.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy","authors":["11748"],"categories":["arts_1","arts_69"],"tags":["arts_22013","arts_4672","arts_8505","arts_6975","arts_21673","arts_17464","arts_1143","arts_974"],"featImg":"arts_13957246","label":"arts"},"arts_13957282":{"type":"posts","id":"arts_13957282","meta":{"index":"posts_1591205157","site":"arts","id":"13957282","score":null,"sort":[1715029250000]},"guestAuthors":[],"slug":"zach-rodell-concert-visual-projection-artist-sf","title":"SF’s Zach Rodell Is a Go-To Artist for Tripped-Out Concert Visuals","publishDate":1715029250,"format":"standard","headTitle":"SF’s Zach Rodell Is a Go-To Artist for Tripped-Out Concert Visuals | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Moments before Panchiko takes the stage at their sold-out UC Theatre show in April, \u003ca href=\"https://www.instagram.com/zackr_thx_1138/?hl=en\">Zach Rodell\u003c/a> is plotting a visual projection display he’s never done before. He’s just gotten back from doing visuals at Coachella with LA psych rockers Jjuujjuu. And while Panchiko’s Berkeley tour stop might be Rodell’s first time working with the British indie band, he’s doing anything but playing it safe.\u003c/p>\n\u003cp>“You always want to envelop the audience so there’s visuals in your peripheral,” Rodell says as he juggles software platforms on his computer, which is connected to different MIDI controllers and analog hardware. “Lose your senses. Get lost in a show. … So I’m gonna try something really risky.”\u003c/p>\n\u003cp>The show is about to start, yet Rodell — who lives in San Francisco’s Sunset district — is still downloading new digital art code packets from his command center next to the sound booth. He wants to project a deep-cut Sega Saturn warning graphic to make it look like the band is playing inside of an old video game — a fitting decision given that Panchiko’s young, internet-obsessed fanbase \u003ca href=\"https://www.34st.com/article/2024/04/resurrection-of-panchiko-lost-wave-band-comeback\">unearthed their music online\u003c/a> almost 20 years after it was first released.\u003c/p>\n\u003cfigure id=\"attachment_13957285\" class=\"wp-caption aligncenter\" style=\"max-width: 2300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell.jpg\" alt=\"\" width=\"2300\" height=\"1533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell.jpg 2300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1920x1280.jpg 1920w\" sizes=\"(max-width: 2300px) 100vw, 2300px\">\u003cfigcaption class=\"wp-caption-text\">Chokecherry performs at the Chapel in San Francisco on April 12, surrounded by Zach Rodell’s visuals. \u003ccite>(Greg Chow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodell typically begins his process by recording a band on stage, then projecting that footage live onto a venue’s walls while layering it with fuzzed-out graphics and trippy, distorted colors. It creates a kind of living, breathing visual companion to the music, whose metamorphosis unfolds before the audience.\u003c/p>\n\u003cp>Panchiko’s performance feels like a full-on audiovisual ecosystem. The band plays in front of a live superimposition of themselves soaked in Rodell’s digital watercolors, layered atop anime and gaming graphics. At the end of the night, Rodell is pleased with himself, even though he says wi-fi issues prevented him from executing all the “risks” he wanted to take, including a live AI art projection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Regardless, the band is stoked, and Rodell gets confirmed to work with Panchiko for their next seven tour dates. Not to mention, he still has the second weekend of Coachella to head down to.\u003c/p>\n\u003ch2>Elevating the concert experience\u003c/h2>\n\u003cp>Coupled with his regular lighting and visual technician gigs at San Francisco rooms like Rickshaw Stop, Great American Music Hall and The Chapel, Rodell’s work is in demand. He was in talks to do visuals for André 3000’s Big Sur show this past April at Henry Miller Library, before road closures on Highway 1 forced a postponement.\u003c/p>\n\u003cp>When Oakland band \u003ca href=\"https://www.kqed.org/arts/13928718/fake-fruit-is-the-best-emerging-band-in-the-bay-is-the-universe-conspiring-against-them\">Fake Fruit\u003c/a> headlined a bill at Rickshaw Stop earlier this year, Rodell wrapped a canvas around the entire room to create 360-degree projections. At one point, it felt like the band and audience were inside a psychedelic aquarium. It was sick.\u003c/p>\n\u003cp>“Every show that Zach works, he elevates,” says Rickshaw Stop Head of Operations Dan Strachota.\u003c/p>\n\u003cp>https://youtu.be/ui5I-YwbaKs?si=VuF6UBb71BqsTMnr&t=155\u003c/p>\n\u003cp>Rodell’s rise comes at a fortuitous time in the live music industry, where promoters and consumers are swarming over the idea of concerts that are visually enhanced. Look no further than the Sphere in Las Vegas for the alpha example of this: It’s an immersive, 18,600-person concert hall where attendees are inside of a live music snow globe of sorts, featuring a 360-degree 16K LED visual display, spatial audio and 4D effects. U2 and Phish played widely publicized residencies since it opened last September, and Dead & Company have a 24-show run starting this month.\u003c/p>\n\u003ch2>Continuing a psychedelic SF legacy\u003c/h2>\n\u003cp>When it comes to Dead & Co especially, it’s hard to not think about how this represents an evolution of the ’60s Grateful Dead shows in SF venues like the Avalon and Carousel Ballroom. Visual artists like Bill Ham and Glenn McKay created psychedelic, oil-spinning light shows, making venues feel like the inside of a lava lamp — a perfect place to indulge in hallucinogens. Rodell is friends with the 92-year old Ham, and his work builds upon that ’60s San Francisco tradition. Even if it happened by accident.\u003c/p>\n\u003cp>Rodell grew up in the Inland Empire city of Rancho Cucamonga. “I love that it’s my hometown. Frank Zappa got arrested here,” he says with a smile. [aside postid='arts_13956541']\u003c/p>\n\u003cp>He went to school for airplane mechanics and made a move to East Palo Alto in 2012 to live with a girl he met on a Coachella message board. (“I ran into Mark Zuckerberg once, and he wouldn’t let me pet his dog,” he quips.) He was working at a startup that made oil-less generators, and immersed himself in live music and festival culture.\u003c/p>\n\u003cp>While volunteering at Sonoma County’s psych-rock staple, Huichica Festival, in 2015, Rodell found himself backstage talking to — of all people — Dead Kennedys frontman and SF political jester Jello Biafra.\u003c/p>\n\u003cp>“We were talking about how Bernie [Sanders] just lost the primary, and Jello was like, ‘I can’t talk about this stuff ’cause the Green Party will be all up on me,’” Rodell recalls. “So he changes the subject and was like, ‘Look at all this lighting stuff!’”\u003c/p>\n\u003cp>Biafra was referencing the spinning platters adorned with oils, dyes and inks that Mad Alchemy Light Show’s Lance Gordon began making in the ’70s and revived in the late aughts after a decades-long hiatus.\u003c/p>\n\u003cp>Gordon was inspired by the likes of Ham, McKay and Brotherhood of Light, artists who helped cement the live legacies of the Grateful Dead, Big Brother and the Holding Company and The Allman Brothers Band. These acts were seen as truly psychedelic performers. Today, Mad Alchemy is, by all accounts, the modern day benchmark for psychedelic light shows.\u003c/p>\n\u003cfigure id=\"attachment_13957284\" class=\"wp-caption aligncenter\" style=\"max-width: 2300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell.jpg\" alt=\"\" width=\"2300\" height=\"1533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell.jpg 2300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1920x1280.jpg 1920w\" sizes=\"(max-width: 2300px) 100vw, 2300px\">\u003cfigcaption class=\"wp-caption-text\">JJuujjuu performs at the Chapel in San Francisco, surrounded by Zach Rodell’s visuals. \u003ccite>(Greg Chow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Intrigued, Rodell got Gordon’s card, followed up and was soon working with him as an assistant. He broke up with the girl and dove deeper into his work with Mad Alchemy, including a yearly stint at Desert Daze festival in Joshua Tree, which has grown into the nation’s premier psych music fest. (He’s worked Desert Daze seven times, creating visuals for over 100 artists in the process.) Rodell gleaned much from Gordon, but the pair had a falling out in 2018. They briefly came back together during the pandemic in 2020, and Rodell set off on his own for good in 2021.\u003c/p>\n\u003cp>“Mad Alchemy is only liquids — it’s beautiful — but I want to do all types of visuals. I’m not trying to copy his stuff,” Rodell says. “I like cam footage and repurposing the footage of the band into art, and it’s mostly improv. The more I have to put thought into something or worry about it, I find myself not having as much fun.”\u003c/p>\n\u003cp>He learns new techniques online, watching YouTube videos, staying active on forums, always looking for new modes to add to his arsenal. Over the years, he’s worked with bands from all over the world, in all edges of psychedelia, pushing the envelope of the complete experience. Australia’s Surprise Chef, Afro-soul collective Budos Band, New Zealand psych-folk singer Aldous Harding, LA dreamy indie outfit The Marías, Bronx funk legends ESG, Zamrock pioneers W.I.T.C.H., local luminary \u003ca href=\"https://www.kqed.org/arts/13956541/shannon-shaw-the-clams-the-moon-is-in-the-wrong-place\">Shannon Shaw\u003c/a>, Stereolab’s Laetitia Sadier and so forth.\u003c/p>\n\u003ch2>Trippy visuals for a new generation\u003c/h2>\n\u003cp>Fast forward to a recent Friday night at The Chapel in San Francisco’s Mission District, and Rodell is erecting scaffolding to mount his enormous, 65-pound projector to do visuals for SF shoegaze band LSD and the Search For God, along with Jjuujjuu and Chokecherry. Jjuujjuu is bringing Rodell to Coachella with them later that weekend. Bandleader Phil Pirrone — who also happens to have founded the Desert Daze festival — knows exactly why Rodell is the artist he wants to accompany the band on music’s biggest stage at Coachella.\u003c/p>\n\u003cp>“Our show is less about us and more about you,” Pirrone says. “He helps facilitate that. For our kind of band, and for Zach as the kind of projection artist he is, it always feels like it completes the intention of it to be an out-of-body experience.” [aside postid='arts_13957227']\u003c/p>\n\u003cp>With Rodell’s help, a band can have this living organism behind them, almost like a kinetic, phonetic embodiment of the music. Just as Bill Ham and Glenn McKay intended in the ’60s, the visuals help audiences let go of their inhibitions and feel more alive. For Rodell — who enjoys his morning coffee while looking out at Ocean Beach, and drives his gear solo to gigs, even Coachella — his art is an extension of a deeply personal connection to live music. One that he hopes to pass on to others.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m just hoping down the line I’m gonna meet some kid who was like, ‘I tripped balls to your shows in high school!’” he exclaims. “I wanna hear that, that someone had an amazing time at a show, and the visuals helped it out and made the band look cool.”\u003c/p>\n\n","blocks":[],"excerpt":"His kaleidoscopic projections have taken him from Bay Area clubs to Coachella. ","status":"publish","parent":0,"modified":1715036254,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1638},"headData":{"title":"SF’s Zach Rodell Is a Go-To Artist for Tripped-Out Concert Visuals | KQED","description":"His kaleidoscopic projections have taken him from Bay Area clubs to Coachella. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF’s Zach Rodell Is a Go-To Artist for Tripped-Out Concert Visuals","datePublished":"2024-05-06T21:00:50.000Z","dateModified":"2024-05-06T22:57:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Adrian Spinelli ","nprStoryId":"kqed-13957282","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13957282/zach-rodell-concert-visual-projection-artist-sf","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moments before Panchiko takes the stage at their sold-out UC Theatre show in April, \u003ca href=\"https://www.instagram.com/zackr_thx_1138/?hl=en\">Zach Rodell\u003c/a> is plotting a visual projection display he’s never done before. He’s just gotten back from doing visuals at Coachella with LA psych rockers Jjuujjuu. And while Panchiko’s Berkeley tour stop might be Rodell’s first time working with the British indie band, he’s doing anything but playing it safe.\u003c/p>\n\u003cp>“You always want to envelop the audience so there’s visuals in your peripheral,” Rodell says as he juggles software platforms on his computer, which is connected to different MIDI controllers and analog hardware. “Lose your senses. Get lost in a show. … So I’m gonna try something really risky.”\u003c/p>\n\u003cp>The show is about to start, yet Rodell — who lives in San Francisco’s Sunset district — is still downloading new digital art code packets from his command center next to the sound booth. He wants to project a deep-cut Sega Saturn warning graphic to make it look like the band is playing inside of an old video game — a fitting decision given that Panchiko’s young, internet-obsessed fanbase \u003ca href=\"https://www.34st.com/article/2024/04/resurrection-of-panchiko-lost-wave-band-comeback\">unearthed their music online\u003c/a> almost 20 years after it was first released.\u003c/p>\n\u003cfigure id=\"attachment_13957285\" class=\"wp-caption aligncenter\" style=\"max-width: 2300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell.jpg\" alt=\"\" width=\"2300\" height=\"1533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell.jpg 2300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chokecherryat-The-Chapel_photo-by-Greg-Chow-_-visuals-by-Zach-Rodell-1920x1280.jpg 1920w\" sizes=\"(max-width: 2300px) 100vw, 2300px\">\u003cfigcaption class=\"wp-caption-text\">Chokecherry performs at the Chapel in San Francisco on April 12, surrounded by Zach Rodell’s visuals. \u003ccite>(Greg Chow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodell typically begins his process by recording a band on stage, then projecting that footage live onto a venue’s walls while layering it with fuzzed-out graphics and trippy, distorted colors. It creates a kind of living, breathing visual companion to the music, whose metamorphosis unfolds before the audience.\u003c/p>\n\u003cp>Panchiko’s performance feels like a full-on audiovisual ecosystem. The band plays in front of a live superimposition of themselves soaked in Rodell’s digital watercolors, layered atop anime and gaming graphics. At the end of the night, Rodell is pleased with himself, even though he says wi-fi issues prevented him from executing all the “risks” he wanted to take, including a live AI art projection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Regardless, the band is stoked, and Rodell gets confirmed to work with Panchiko for their next seven tour dates. Not to mention, he still has the second weekend of Coachella to head down to.\u003c/p>\n\u003ch2>Elevating the concert experience\u003c/h2>\n\u003cp>Coupled with his regular lighting and visual technician gigs at San Francisco rooms like Rickshaw Stop, Great American Music Hall and The Chapel, Rodell’s work is in demand. He was in talks to do visuals for André 3000’s Big Sur show this past April at Henry Miller Library, before road closures on Highway 1 forced a postponement.\u003c/p>\n\u003cp>When Oakland band \u003ca href=\"https://www.kqed.org/arts/13928718/fake-fruit-is-the-best-emerging-band-in-the-bay-is-the-universe-conspiring-against-them\">Fake Fruit\u003c/a> headlined a bill at Rickshaw Stop earlier this year, Rodell wrapped a canvas around the entire room to create 360-degree projections. At one point, it felt like the band and audience were inside a psychedelic aquarium. It was sick.\u003c/p>\n\u003cp>“Every show that Zach works, he elevates,” says Rickshaw Stop Head of Operations Dan Strachota.\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/ui5I-YwbaKs'\n title='//www.youtube.com/embed/ui5I-YwbaKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rodell’s rise comes at a fortuitous time in the live music industry, where promoters and consumers are swarming over the idea of concerts that are visually enhanced. Look no further than the Sphere in Las Vegas for the alpha example of this: It’s an immersive, 18,600-person concert hall where attendees are inside of a live music snow globe of sorts, featuring a 360-degree 16K LED visual display, spatial audio and 4D effects. U2 and Phish played widely publicized residencies since it opened last September, and Dead & Company have a 24-show run starting this month.\u003c/p>\n\u003ch2>Continuing a psychedelic SF legacy\u003c/h2>\n\u003cp>When it comes to Dead & Co especially, it’s hard to not think about how this represents an evolution of the ’60s Grateful Dead shows in SF venues like the Avalon and Carousel Ballroom. Visual artists like Bill Ham and Glenn McKay created psychedelic, oil-spinning light shows, making venues feel like the inside of a lava lamp — a perfect place to indulge in hallucinogens. Rodell is friends with the 92-year old Ham, and his work builds upon that ’60s San Francisco tradition. Even if it happened by accident.\u003c/p>\n\u003cp>Rodell grew up in the Inland Empire city of Rancho Cucamonga. “I love that it’s my hometown. Frank Zappa got arrested here,” he says with a smile. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956541","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He went to school for airplane mechanics and made a move to East Palo Alto in 2012 to live with a girl he met on a Coachella message board. (“I ran into Mark Zuckerberg once, and he wouldn’t let me pet his dog,” he quips.) He was working at a startup that made oil-less generators, and immersed himself in live music and festival culture.\u003c/p>\n\u003cp>While volunteering at Sonoma County’s psych-rock staple, Huichica Festival, in 2015, Rodell found himself backstage talking to — of all people — Dead Kennedys frontman and SF political jester Jello Biafra.\u003c/p>\n\u003cp>“We were talking about how Bernie [Sanders] just lost the primary, and Jello was like, ‘I can’t talk about this stuff ’cause the Green Party will be all up on me,’” Rodell recalls. “So he changes the subject and was like, ‘Look at all this lighting stuff!’”\u003c/p>\n\u003cp>Biafra was referencing the spinning platters adorned with oils, dyes and inks that Mad Alchemy Light Show’s Lance Gordon began making in the ’70s and revived in the late aughts after a decades-long hiatus.\u003c/p>\n\u003cp>Gordon was inspired by the likes of Ham, McKay and Brotherhood of Light, artists who helped cement the live legacies of the Grateful Dead, Big Brother and the Holding Company and The Allman Brothers Band. These acts were seen as truly psychedelic performers. Today, Mad Alchemy is, by all accounts, the modern day benchmark for psychedelic light shows.\u003c/p>\n\u003cfigure id=\"attachment_13957284\" class=\"wp-caption aligncenter\" style=\"max-width: 2300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957284\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell.jpg\" alt=\"\" width=\"2300\" height=\"1533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell.jpg 2300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JJuujjuu_CHapel_Photo-by-greg-CHow_Visuals-by-Zach-Rodell-1920x1280.jpg 1920w\" sizes=\"(max-width: 2300px) 100vw, 2300px\">\u003cfigcaption class=\"wp-caption-text\">JJuujjuu performs at the Chapel in San Francisco, surrounded by Zach Rodell’s visuals. \u003ccite>(Greg Chow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Intrigued, Rodell got Gordon’s card, followed up and was soon working with him as an assistant. He broke up with the girl and dove deeper into his work with Mad Alchemy, including a yearly stint at Desert Daze festival in Joshua Tree, which has grown into the nation’s premier psych music fest. (He’s worked Desert Daze seven times, creating visuals for over 100 artists in the process.) Rodell gleaned much from Gordon, but the pair had a falling out in 2018. They briefly came back together during the pandemic in 2020, and Rodell set off on his own for good in 2021.\u003c/p>\n\u003cp>“Mad Alchemy is only liquids — it’s beautiful — but I want to do all types of visuals. I’m not trying to copy his stuff,” Rodell says. “I like cam footage and repurposing the footage of the band into art, and it’s mostly improv. The more I have to put thought into something or worry about it, I find myself not having as much fun.”\u003c/p>\n\u003cp>He learns new techniques online, watching YouTube videos, staying active on forums, always looking for new modes to add to his arsenal. Over the years, he’s worked with bands from all over the world, in all edges of psychedelia, pushing the envelope of the complete experience. Australia’s Surprise Chef, Afro-soul collective Budos Band, New Zealand psych-folk singer Aldous Harding, LA dreamy indie outfit The Marías, Bronx funk legends ESG, Zamrock pioneers W.I.T.C.H., local luminary \u003ca href=\"https://www.kqed.org/arts/13956541/shannon-shaw-the-clams-the-moon-is-in-the-wrong-place\">Shannon Shaw\u003c/a>, Stereolab’s Laetitia Sadier and so forth.\u003c/p>\n\u003ch2>Trippy visuals for a new generation\u003c/h2>\n\u003cp>Fast forward to a recent Friday night at The Chapel in San Francisco’s Mission District, and Rodell is erecting scaffolding to mount his enormous, 65-pound projector to do visuals for SF shoegaze band LSD and the Search For God, along with Jjuujjuu and Chokecherry. Jjuujjuu is bringing Rodell to Coachella with them later that weekend. Bandleader Phil Pirrone — who also happens to have founded the Desert Daze festival — knows exactly why Rodell is the artist he wants to accompany the band on music’s biggest stage at Coachella.\u003c/p>\n\u003cp>“Our show is less about us and more about you,” Pirrone says. “He helps facilitate that. For our kind of band, and for Zach as the kind of projection artist he is, it always feels like it completes the intention of it to be an out-of-body experience.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957227","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Rodell’s help, a band can have this living organism behind them, almost like a kinetic, phonetic embodiment of the music. Just as Bill Ham and Glenn McKay intended in the ’60s, the visuals help audiences let go of their inhibitions and feel more alive. For Rodell — who enjoys his morning coffee while looking out at Ocean Beach, and drives his gear solo to gigs, even Coachella — his art is an extension of a deeply personal connection to live music. One that he hopes to pass on to others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m just hoping down the line I’m gonna meet some kid who was like, ‘I tripped balls to your shows in high school!’” he exclaims. “I wanna hear that, that someone had an amazing time at a show, and the visuals helped it out and made the band look cool.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957282/zach-rodell-concert-visual-projection-artist-sf","authors":["byline_arts_13957282"],"categories":["arts_1","arts_69","arts_70"],"tags":["arts_10278","arts_681","arts_1146"],"featImg":"arts_13957283","label":"arts"},"arts_13957227":{"type":"posts","id":"arts_13957227","meta":{"index":"posts_1591205157","site":"arts","id":"13957227","score":null,"sort":[1714774495000]},"guestAuthors":[],"slug":"gary-floyd-san-francisco-queer-punk-iconoclast-has-died","title":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died","publishDate":1714774495,"format":"standard","headTitle":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Punk rock legend Gary Floyd, an unapologetic singer who helped start the queercore movement in the 1980s, has died from congenital heart failure at 71 years old, \u003ca href=\"https://www.austinchronicle.com/daily/music/2024-05-03/gary-floyd-scene-defining-singer-of-austin-punks-the-dicks-has-died/\">\u003cem>The Austin Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>In music as in life, Floyd championed anti-fascist, anti-oppression causes. Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/z8O2ToQ_Dok?si=V9Teqg2qW9BhGo_Q\u003c/p>\n\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/FStWWeWOXJA?si=Gpp4086tEAN-VIat\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n","blocks":[],"excerpt":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. ","status":"publish","parent":0,"modified":1714775102,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":400},"headData":{"title":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died | KQED","description":"The Dicks frontman impacted a generation with his anti-fascist anthems and performances in drag. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Gary Floyd, San Francisco Queer Punk Iconoclast, Has Died","datePublished":"2024-05-03T22:14:55.000Z","dateModified":"2024-05-03T22:25:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957227","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957227/gary-floyd-san-francisco-queer-punk-iconoclast-has-died","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Punk rock legend Gary Floyd, an unapologetic singer who helped start the queercore movement in the 1980s, has died from congenital heart failure at 71 years old, \u003ca href=\"https://www.austinchronicle.com/daily/music/2024-05-03/gary-floyd-scene-defining-singer-of-austin-punks-the-dicks-has-died/\">\u003cem>The Austin Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>In music as in life, Floyd championed anti-fascist, anti-oppression causes. Before his music career, he was a conscientious objector of the Vietnam War.\u003c/p>\n\u003cp>Floyd first rose to fame in Texas with his band The Dicks, whose 1980 single “Hate the Police” remains a hardcore anthem. Floyd’s bold stage presence with the band, sometimes in full drag, captivated audiences in Austin during the Raegan era, and their songs like “No Nazi’s Friend” became a rallying cry.\u003c/p>\n\u003cp>Through his Alternative Tentacles label, Jello Biafra released the Dicks’ 1985 album \u003cem>These People\u003c/em> and reissued the band’s 1983 debut album \u003cem>Kill From the Heart\u003c/em>.\u003c/p>\n\u003cp>“My God, a 300-pound communist drag queen who can sing like Janis Joplin,” Biafra said of seeing Floyd for the first time,\u003ca href=\"https://www.austinchronicle.com/music/2000-05-12/77163/\"> in a 2000 \u003cem>Austin Chronicle\u003c/em> interview\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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/z8O2ToQ_Dok'\n title='//www.youtube.com/embed/z8O2ToQ_Dok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Floyd relocated to San Francisco in 1982, where he remained for the rest of his life. There, he relaunched The Dicks, and played in newer bands, including Sister Double Happiness, Black Kali Ma and the Buddha Brothers.\u003c/p>\n\u003cp>“SF is changing so much,” Floyd \u003ca href=\"https://www.maximumrocknroll.com/gary-floyd-interview/\">told \u003cem>Maximum Rocknroll\u003c/em>\u003c/a> in 2014. “A city of money, rents are stupid but people somehow pay them. Many things that brought me here and kept me here are gone.”\u003c/p>\n\u003cp>Later in life, Floyd became a Buddhist, gave up drinking and pursued other artforms while struggling with diabetes and other health issues. His memoir \u003cem>Please Bee Nice: My Life Up ’Til Now\u003c/em> was published in 2014, and his Dicks lyric book \u003cem>I Said That\u003c/em> followed in 2017. In 2022, he exhibited his colorful, chaotic visual artworks at a solo show in Austin titled \u003ci>Maybe We’ll See Butterflies\u003c/i>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FStWWeWOXJA'\n title='//www.youtube.com/embed/FStWWeWOXJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>As Floyd’s friend Biafra \u003ca href=\"https://alternativetentacles.com/blogs/news/remembering-gary-floyd\">remembered him today\u003c/a>: “Out Queerpunk from the very beginning. Flamboyant, fierce; and a deeply spiritual being who did so much to lift so many hearts and spirits. A singer’s singer, truly. Punk, Southern Rock grunge, and especially the Blues. It all came from the blues, and he could touch and penetrate like no other.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957227/gary-floyd-san-francisco-queer-punk-iconoclast-has-died","authors":["11387"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_10278","arts_913","arts_1079"],"featImg":"arts_13957230","label":"arts"},"arts_13957201":{"type":"posts","id":"arts_13957201","meta":{"index":"posts_1591205157","site":"arts","id":"13957201","score":null,"sort":[1714763926000]},"guestAuthors":[],"slug":"awadagin-pratt-rounds-new-century-chamber-orchestra","title":"See Awadagin Pratt’s Incredible ‘Rounds’ While You Can","publishDate":1714763926,"format":"standard","headTitle":"See Awadagin Pratt’s Incredible ‘Rounds’ While You Can | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In attending live music, one must always be open to the element of surprise.\u003c/p>\n\u003cp>Case in point: I’d gone to the New Century Chamber Orchestra’s performance in Berkeley Thursday night to see a short piece by the composer Florence Price, whose \u003ca href=\"https://www.nytimes.com/2023/04/07/arts/music/florence-price-music.html\">discovered trove of manuscripts in 2009\u003c/a> has led to a recent renaissance. Another draw of the concert was Leonard Bernstein’s \u003cem>Serenade\u003c/em>, what with the biopic \u003cem>Maestro\u003c/em> still fresh on my mind.\u003c/p>\n\u003cp>But the jaw-dropping highlight of the program, which repeats Friday at the Green Music Center and Saturday at the Presidio Theatre, was pianist Awadagin Pratt’s performance of Jessie Montgomery’s \u003cem>Rounds\u003c/em>. Re-reading my notebook, I see that while Pratt commanded the piano keys, I scrawled things like “holy shit,” “D E L I C A T E ~then~ \u003cem>thundering\u003c/em>,” and “this is what classical music needs in 2024.”\u003c/p>\n\u003cp>Opening with precise string pizzicatos and weaving piano arpeggios, \u003cem>Rounds\u003c/em> soon transformed into a beautiful discordance that pushed and pulled over the course of 15 minutes. At times, Pratt threw his head back, eyes closed, letting the unusual combinations of notes hang in the air. And the solo cadenza? It was one of the most beautiful sounds I’ve heard come out of a grand piano in years.\u003c/p>\n\u003cfigure id=\"attachment_13957208\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg\" alt=\"\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13957208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1536x924.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Awadagin Pratt and New Century Chamber Orchestra Director Daniel Hope at the First Congregational Church in Berkeley on May 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Diamond’s identically titled \u003cem>Rounds\u003c/em> opened the program, evoking the Midwestern plains with humor and verve; a lively conversation between the upper and lower registers of the orchestra propelled the third movement. Florence Price’s short “Adoration” gave director and violinist Daniel Hope the spotlight, showing off a tender touch, and the chance to breathe amidst the rapid bowing required of the other pieces. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Closing the program was Bernstein’s \u003cem>Serenade\u003c/em>, a five-part rumination on love that zig-zagged from manic to sorrowful. Without a formal conductor at a podium, the orchestra got a bit off in a few moments, but Bernstein’s fast-tempo sense of fun justified it, like a few apples bouncing overboard in a bumpy wagon race. The fifth movement, an early evocation of jazz in classical music, still sounded very modern, and ridiculously fast playing by Hope brought everything to a final halt.\u003c/p>\n\u003cp>But yes, it was Awadagin Pratt’s night. There’s a reason \u003ca href=\"https://www.jessiemontgomery.com/jessie-montgomerys-rounds-wins-2024-grammy-award-for-best-contemporary-classical-composition/\">his recording of \u003cem>Rounds\u003c/em> won a Grammy Award\u003c/a>, and here in the Bay Area, we can count ourselves lucky that he recently joined the San Francisco Conservatory of Music as a professor of piano.\u003c/p>\n\u003cp>Saturday marks Pratt’s first performance in San Francisco since joining the faculty — may there be many more here to come. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Awadagin Pratt and the New Century Chamber Orchestra perform on Friday, May 3 at the \u003ca href=\"https://gmc.sonoma.edu/ncco/\">Green Music Center\u003c/a> in Rohnert Park, and on Saturday, May 4 at the \u003ca href=\"https://www.presidiotheatre.org/show/2024loveandwar/\">Presidio Theatre\u003c/a> in San Francisco. \u003ca href=\"https://www.ncco.org/23-24-season/love-war\">Find tickets and details here\u003c/a>.\u003c/em> \u003c/p>\n\n","blocks":[],"excerpt":"The pianist's live performance of Jessie Montgomery's Grammy-winning ‘Rounds’ is a thing of rare beauty.","status":"publish","parent":0,"modified":1714778927,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":519},"headData":{"title":"See Awadagin Pratt’s Incredible ‘Rounds’ While You Can | KQED","description":"The pianist's live performance of Jessie Montgomery's Grammy-winning ‘Rounds’ is a thing of rare beauty.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"See Awadagin Pratt’s Incredible ‘Rounds’ While You Can","datePublished":"2024-05-03T19:18:46.000Z","dateModified":"2024-05-03T23:28:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957201","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957201/awadagin-pratt-rounds-new-century-chamber-orchestra","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In attending live music, one must always be open to the element of surprise.\u003c/p>\n\u003cp>Case in point: I’d gone to the New Century Chamber Orchestra’s performance in Berkeley Thursday night to see a short piece by the composer Florence Price, whose \u003ca href=\"https://www.nytimes.com/2023/04/07/arts/music/florence-price-music.html\">discovered trove of manuscripts in 2009\u003c/a> has led to a recent renaissance. Another draw of the concert was Leonard Bernstein’s \u003cem>Serenade\u003c/em>, what with the biopic \u003cem>Maestro\u003c/em> still fresh on my mind.\u003c/p>\n\u003cp>But the jaw-dropping highlight of the program, which repeats Friday at the Green Music Center and Saturday at the Presidio Theatre, was pianist Awadagin Pratt’s performance of Jessie Montgomery’s \u003cem>Rounds\u003c/em>. Re-reading my notebook, I see that while Pratt commanded the piano keys, I scrawled things like “holy shit,” “D E L I C A T E ~then~ \u003cem>thundering\u003c/em>,” and “this is what classical music needs in 2024.”\u003c/p>\n\u003cp>Opening with precise string pizzicatos and weaving piano arpeggios, \u003cem>Rounds\u003c/em> soon transformed into a beautiful discordance that pushed and pulled over the course of 15 minutes. At times, Pratt threw his head back, eyes closed, letting the unusual combinations of notes hang in the air. And the solo cadenza? It was one of the most beautiful sounds I’ve heard come out of a grand piano in years.\u003c/p>\n\u003cfigure id=\"attachment_13957208\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg\" alt=\"\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13957208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Pratt.Hope_-1536x924.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Awadagin Pratt and New Century Chamber Orchestra Director Daniel Hope at the First Congregational Church in Berkeley on May 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Diamond’s identically titled \u003cem>Rounds\u003c/em> opened the program, evoking the Midwestern plains with humor and verve; a lively conversation between the upper and lower registers of the orchestra propelled the third movement. Florence Price’s short “Adoration” gave director and violinist Daniel Hope the spotlight, showing off a tender touch, and the chance to breathe amidst the rapid bowing required of the other pieces. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Closing the program was Bernstein’s \u003cem>Serenade\u003c/em>, a five-part rumination on love that zig-zagged from manic to sorrowful. Without a formal conductor at a podium, the orchestra got a bit off in a few moments, but Bernstein’s fast-tempo sense of fun justified it, like a few apples bouncing overboard in a bumpy wagon race. The fifth movement, an early evocation of jazz in classical music, still sounded very modern, and ridiculously fast playing by Hope brought everything to a final halt.\u003c/p>\n\u003cp>But yes, it was Awadagin Pratt’s night. There’s a reason \u003ca href=\"https://www.jessiemontgomery.com/jessie-montgomerys-rounds-wins-2024-grammy-award-for-best-contemporary-classical-composition/\">his recording of \u003cem>Rounds\u003c/em> won a Grammy Award\u003c/a>, and here in the Bay Area, we can count ourselves lucky that he recently joined the San Francisco Conservatory of Music as a professor of piano.\u003c/p>\n\u003cp>Saturday marks Pratt’s first performance in San Francisco since joining the faculty — may there be many more here to come. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Awadagin Pratt and the New Century Chamber Orchestra perform on Friday, May 3 at the \u003ca href=\"https://gmc.sonoma.edu/ncco/\">Green Music Center\u003c/a> in Rohnert Park, and on Saturday, May 4 at the \u003ca href=\"https://www.presidiotheatre.org/show/2024loveandwar/\">Presidio Theatre\u003c/a> in San Francisco. \u003ca href=\"https://www.ncco.org/23-24-season/love-war\">Find tickets and details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957201/awadagin-pratt-rounds-new-century-chamber-orchestra","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1270","arts_1312","arts_10278","arts_2520","arts_22132","arts_1146","arts_585"],"featImg":"arts_13957209","label":"arts_140"},"arts_13957193":{"type":"posts","id":"arts_13957193","meta":{"index":"posts_1591205157","site":"arts","id":"13957193","score":null,"sort":[1714759368000]},"guestAuthors":[],"slug":"510-day-oakland-anti-gentrification-rally-concert","title":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","publishDate":1714759368,"format":"standard","headTitle":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For the past nine years on May 10, Oaklanders born and raised in the Town have been celebrating 510 Day with the rallying cry of “We Still Here.” Part party, part protest, 510 Day brings together artists and activists to uplift local culture and strategize about strengthening Black, brown and working class communities in the face of gentrification.\u003c/p>\n\u003cp>Hosted by rapper, poet, thespian (and co-host of the \u003ca href=\"https://www.kqed.org/arts/tag/whats-pimpin\">KQED-produced vodcast \u003cem>What’s Pimpin’?\u003c/em>\u003c/a>) RyanNicole and \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">community advocate\u003c/a> Kenzie Smith, festivities kick off at 1 p.m. at Lake Merritt with an artist vendor marketplace on Lakeshore and Grand Avenues. DJ Infinxte Soul will spin to get the vibe right; at 3:30 p.m., young people are invited to make their voices heard in a youth rally and march that takes off on Lakeshore, across from the Cleveland Cascade stairs. At 4 p.m., unhoused Oaklanders will take the mic and share their experiences. [aside postid='arts_13918908']\u003c/p>\n\u003cp>Starting promptly at 5:10 p.m. at the pillars of the Pergola, the evening will continue on the We Still Here main stage with performances from \u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\">Oakland Poet Laureate Ayodele Nzinga\u003c/a>, hip-hop artists Raw G, Champ Green and Loove Moore, youth org 67 Sueños and others. A second Black Market Stage will feature additional performances from Felonious Music Group.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950643/mistah-fab-week-oakland-2024\">Mistah F.A.B.\u003c/a>’s Dope Era Whips car club will post up across from the We Still Here stage. Performances continue until 8 p.m. Afterwards, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black, the Bay’s “mother of DJs,”\u003c/a> will close out the evening with a \u003ca href=\"https://www.kqed.org/arts/13934148/days-like-this-oakland-lake-merritt-house-music-dance-party\">Days Like This dance party\u003c/a>, in homage to the free dance music gathering at the lake.\u003c/p>\n\u003cp>510 Day is sponsored by The Village, a grassroots organization supporting unhoused people; Communities United for Restorative Justice and Young Women’s Freedom Center (which both fight mass incarceration and support system-impacted youth); and other community groups.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>510 Day is free to attend on May 10, 1–10 p.m. For the full schedule and updates, check the \u003ca href=\"https://www.instagram.com/510day/\">@510Day Instagram\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The May 10 event at Lake Merritt celebrates local culture in the face of gentrification. ","status":"publish","parent":0,"modified":1714774798,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":351},"headData":{"title":"With Free 510 Day Celebrations, Oaklanders Say ‘We Still Here’ | KQED","description":"The May 10 event at Lake Merritt celebrates local culture in the face of gentrification. ","ogTitle":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","ogDescription":"","ogImgId":"","twTitle":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","twDescription":"","twImgId":"","socialTitle":"With Free 510 Day Celebrations, Oaklanders Say ‘We Still Here’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oaklanders Say ‘We Still Here’ With a 510 Day Rally and Free Concert","datePublished":"2024-05-03T18:02:48.000Z","dateModified":"2024-05-03T22:19:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957193","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957193/510-day-oakland-anti-gentrification-rally-concert","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past nine years on May 10, Oaklanders born and raised in the Town have been celebrating 510 Day with the rallying cry of “We Still Here.” Part party, part protest, 510 Day brings together artists and activists to uplift local culture and strategize about strengthening Black, brown and working class communities in the face of gentrification.\u003c/p>\n\u003cp>Hosted by rapper, poet, thespian (and co-host of the \u003ca href=\"https://www.kqed.org/arts/tag/whats-pimpin\">KQED-produced vodcast \u003cem>What’s Pimpin’?\u003c/em>\u003c/a>) RyanNicole and \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">community advocate\u003c/a> Kenzie Smith, festivities kick off at 1 p.m. at Lake Merritt with an artist vendor marketplace on Lakeshore and Grand Avenues. DJ Infinxte Soul will spin to get the vibe right; at 3:30 p.m., young people are invited to make their voices heard in a youth rally and march that takes off on Lakeshore, across from the Cleveland Cascade stairs. At 4 p.m., unhoused Oaklanders will take the mic and share their experiences. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13918908","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Starting promptly at 5:10 p.m. at the pillars of the Pergola, the evening will continue on the We Still Here main stage with performances from \u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\">Oakland Poet Laureate Ayodele Nzinga\u003c/a>, hip-hop artists Raw G, Champ Green and Loove Moore, youth org 67 Sueños and others. A second Black Market Stage will feature additional performances from Felonious Music Group.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950643/mistah-fab-week-oakland-2024\">Mistah F.A.B.\u003c/a>’s Dope Era Whips car club will post up across from the We Still Here stage. Performances continue until 8 p.m. Afterwards, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black, the Bay’s “mother of DJs,”\u003c/a> will close out the evening with a \u003ca href=\"https://www.kqed.org/arts/13934148/days-like-this-oakland-lake-merritt-house-music-dance-party\">Days Like This dance party\u003c/a>, in homage to the free dance music gathering at the lake.\u003c/p>\n\u003cp>510 Day is sponsored by The Village, a grassroots organization supporting unhoused people; Communities United for Restorative Justice and Young Women’s Freedom Center (which both fight mass incarceration and support system-impacted youth); and other community groups.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>510 Day is free to attend on May 10, 1–10 p.m. For the full schedule and updates, check the \u003ca href=\"https://www.instagram.com/510day/\">@510Day Instagram\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957193/510-day-oakland-anti-gentrification-rally-concert","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_7624","arts_10278","arts_1332","arts_1143","arts_585"],"featImg":"arts_13876766","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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