A Lowrider Cruise in Honor of Selena, the Queen of Tejano, in San Francisco
Deep Sea Fishing, Filipino Roots and Belonging ‘Where We Are’
Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)
Ticket Alert: Charli XCX and Troye Sivan Are Coming to San Francsico
Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82
Maggie Rogers’ In-Person Ticket Policy: What’s Not to Love?
A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten
System of a Down, Deftones to Headline San Francisco Concert After Outside Lands
Beyoncé Becomes First Black Woman to Hit No. 1 on Country Albums Chart
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This year, it takes place directly following the group’s Blessing of the Cars, or La Bendicion, a 1 p.m. ceremony at 24th and Mission BART Plaza.\u003c/p>\n\u003cp>Participants in freshly painted classic cars and creative hydraulics are expected to come from all over Northern California to ride slow and low at the event, which carries the tagline: “Anything for Selenas.” \u003c/p>\n\u003cp>The Texas-raised singer, one of the most popular Latin music stars in the world, would have been 53 this year. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A lowrider cruise in the Mission District will pay tribute to the widely beloved singer.","status":"publish","parent":0,"modified":1713465612,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":187},"headData":{"title":"A Lowrider Cruise in Honor of Selena, the Queen of Tejano, in San Francisco | KQED","description":"A lowrider cruise in the Mission District will pay tribute to the widely beloved singer.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956177/a-lowrider-cruise-in-honor-of-selena-the-queen-of-tejano-in-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been almost 30 years since Selena, the undisputed Queen of Tejano Music, was tragically murdered — but a group of lowriders are ensuring her memory isn’t forgotten. \u003c/p>\n\u003cp>On Saturday, April 20, a lowrider cruise in San Francisco’s Mission District will pay tribute to the widely beloved singer of hits like “Como La Flor” and “Amor Prohibido.” The cruise will start at 4 p.m., and run along Mission Street between Cesar Chavez and 20th Streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11966254","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The annual cruise is organized by the San Francisco Lowrider Council. This year, it takes place directly following the group’s Blessing of the Cars, or La Bendicion, a 1 p.m. ceremony at 24th and Mission BART Plaza.\u003c/p>\n\u003cp>Participants in freshly painted classic cars and creative hydraulics are expected to come from all over Northern California to ride slow and low at the event, which carries the tagline: “Anything for Selenas.” \u003c/p>\n\u003cp>The Texas-raised singer, one of the most popular Latin music stars in the world, would have been 53 this year. \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/13956177/a-lowrider-cruise-in-honor-of-selena-the-queen-of-tejano-in-san-francisco","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_11615","arts_69"],"tags":["arts_22093","arts_10278","arts_22092","arts_1257","arts_22091","arts_585"],"featImg":"arts_13956180","label":"arts_140"},"arts_13956068":{"type":"posts","id":"arts_13956068","meta":{"index":"posts_1591205157","site":"arts","id":"13956068","score":null,"sort":[1713434440000]},"guestAuthors":[],"slug":"deep-sea-fishing-filipino-roots-and-belonging-where-we-are","title":"Deep Sea Fishing, Filipino Roots and Belonging ‘Where We Are’","publishDate":1713434440,"format":"audio","headTitle":"Deep Sea Fishing, Filipino Roots and Belonging ‘Where We Are’ | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp> \u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Like all good sailing stories, Adonis’ love for the ocean begins with a shipwreck followed by a face-to-face meeting with a huge eel. It involves the search for personal identity and the need to pad pockets with paper. Just like many other aspects of Adonis’ life, it centers community.\u003c/p>\n\u003cp>Adonis is a DJ who is immersed in downtown Oakland’s nightlife scene. They currently work with \u003ca href=\"https://www.instagram.com/clubablunt510/\" target=\"_blank\" rel=\"noopener\">Club A.B.L.U.N.T. \u003c/a>(Asian Black Latinx Uniting with Native Tribes) throwing parties that center queer folks at venues around Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13956076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956076 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.18.47%E2%80%AFPM-800x1191.png\" alt=\"Adonis stands behind a set of turntables while DJing at an event in Oakland. \" width=\"800\" height=\"1191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.18.47 PM-800x1191.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.18.47 PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.18.47 PM-768x1143.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.18.47 PM.png 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adonis stands behind a set of turntables while DJing at an event in Oakland. \u003ccite>(Courtesy of Adonis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they’re not on the turntables, Adonis spends significant portions of their summers doing deep-sea commercial fishing in Alaska. Adonis sees it as a way to pay bills, build community, and learn more about their Filipino roots.\u003c/p>\n\u003cp>Adopted from Cebu City as a child and raised in Maine, Adonis’ quest to learn more about their heritage has taken them across oceans and seas. They’ve taken trips to visit the Philippines, and have studied the Filipino martial art of \u003ca href=\"https://www.eskabodaan.net/\">Eskabo Daan\u003c/a>.\u003c/p>\n\u003cp>This week we discuss how it all intertwines — the search for self, love of community, deep sea fishing and appreciation of the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13956077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956077 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18%E2%80%AFPM-800x1023.png\" alt=\"A pile of fish appear in the foreground of a photo of two people in a boat on a body of water.\" width=\"800\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM-800x1023.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM-1020x1304.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM-768x982.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM-1201x1536.png 1201w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM.png 1234w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adonis and a friend bundled up on a cold but successful day of deep sea fishing in Alaska. \u003ccite>(Courtesy of Adonis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC1228855841\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Welcome to Rightnowish, it’s your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, we all know that one person who has a damn good life story to tell. You know, that one person who has seen some wild things and has had some extraordinary experiences, someone like today’s guest. Their name is Adonis.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Adonis is a deep sea diver, a nightclub DJ, a commercial fisherman, and a highly-trained martial artIst, plus they also have a day job. Still, through all of these experiences, they have the ability to find community anywhere, be it in a sea of people in a crowded club or literally in the middle of the ocean. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it comes to the Bay Area, Adonis has participated in collectives that have been influential in Oakland’s vibrant, queer nightlife. Each one brings much-needed representation and exposure for queer, BIPOC DJs and performers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Adonis told me some amazing stories about exploration, friendship, and getting connected to the roots of their Filipino identity. I invite you all to enjoy this ride, right after this message.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You have this wonderful story of your fascination with the ocean and the seafaring creatures of the world. Where does it all begin? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis, Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> I really think a big part of this story, for me, is being an adoptee. Uh, my parents were from Maine, or, and they live there now. And so I went to Maine, and I started to be a bit rebellious, they might say. And so there was a punk scene in Maine, it got me traveling around. I had lived in Guatemala in Quetzaltenango. I was going to this school called Proyecto Lingüístico de Quetzalteco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There had been a post online. It was called riseup.net, which is what all the anarchists use. It was encrypted, uh, encrypted email. And so there was a group that I had been in at the time, which was for women and trans women and non binary folks to connect around shared interests of travel, punk, whatever, music. And so, there was a call out that there was an anarchist sailing meetup in, uh, Rio Dulce, in Guatemala. I wasn’t on the internet like that, so I reached out on my little computer, actually probably I had a library computer, and tried to figure out who was going from our crews.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There were two spots and, or maybe three spots, and me and a couple friends, who also used to live here in Oakland, we all, we grabbed those spots out of many people ‘cause of our charisma and good looks, I imagine. And so we all got down to Guatemala, however we got down there, and, uh, jumped onto, into these workshops. People had brought their boats, there was people from Spain, people from Canada,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I really got to see the ocean in a very specific way through sailing. And we were going from Rio Dulce to the Las Islas de la Bahia in Honduras. I forget which one. I think it was Utila. And the boat just fell apart in the storm. Like, the tiller, which is how you control the rudder of the boat, just snapped off. Everything just fell apart and we had to limp back. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And they were like, “Oh, I’m so sorry. Like, this was supposed to be really cool for you.” And I was so seasick. This was the first, I was like throwing up everywhere. I couldn’t keep food down. It was four days of just trying to get to this place that was not far away. And I, we got back to land and like, “We understand if you want to get off,” and I just looked at them and I was like, ‘That was the most amazing thing I’ve ever done in my life.’ \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You said you had come in contact with an eel..\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis: \u003c/b>\u003cspan style=\"font-weight: 400\">Right, so eventually, we finally made it to Utila. We had to go back, because we were eventually going to go up to Cuba and I think this was 2012. And, um, from where, where I’m from, if you’re in Maine, if you are in the ocean, it’s probably because you fell in and you’ll maybe die there. You just don’t do that. There’s a lot of sailors there. They’re like, “No, no, no, we don’t go swimming here, that’s how you die.” And so I had that in my head, that’s what would happen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We get to the Bay Islands and they’re like, oh, we’re going scuba or not scuba diving, uh, “We’re going snorkeling.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Chuckles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> And I was like, ‘That sounds boring.’ And they’re like, “Oh no, we just crossed this really razor sharp reef over here in our flippers walking backwards. And then you jump in and it’s really beautiful.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[chuckles] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">And, uh, they finally convinced me. I put on these flippers and so I flopped in, and the reef is just this like, It felt iridescent. The sun was coming through the water. There was just colors everywhere, fish flying around my face. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Um, I looked down and there’s this emerald pile of something on the ground. I’m like, ‘What is that?’ I knew I could dive a little bit. And so, I dove down as deep as I could. And I got close enough and I was like, ‘Oh, that’s a moray eel.’ It was a, like, 15 to 20-foot long moray eel and it had a head that was maybe the size of my own head and it was opening its mouth up and down, up and down with these razor sharp teeth and I was so enamored with this beautiful thing in front of me. I just put my face into it and I stared at it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t even know how long I had been down there for. So we go back up, and they’re like, “What the hell are you doing down there?” And I was like, ‘Did you guys see that?’ They were like, “Yeah, and that thing could bite you. Like, you just don’t do that.” But I was so enthralled, and I was like, I can’t stop. And so for the days that we were there still repairing our boats, every day I went down there to just look at things. And from that day forward, um, my life became sailboats. And then after that, I would sail for about four years, having my own vessel, um, going up to Alaska and fishing up there, uh, going, taking other people’s boats to Cuba back in the day and helping people get down to Panama, going through Panama canal, all over. So that’s really how it all began. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It could almost seem conflicting to some, where it’s like, wait, you fell in love with the eel specifically, the fish, and then you in turn become a hunter and later become a fisherman. And what, what’s the connection between the two? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was on these boats with these really amazing women who were sailors, and they all sailed together. They would go to different parts of the world, meet back up, and these women were like, I was like, ‘what do you guys do for work?’ And they were like, “Oh, we are commercial fishermen in Alaska.” And I was like, ‘So I can just go up there and make thousands of dollars salmon fishing?’ And they were like, “This is the best kept secret. You should come up there and we’ll help you get a job.”\u003c/span> \u003cspan style=\"font-weight: 400\">So these women actually helped place me into these positions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know Native folks, and I know a couple of like, uh, Black folks, even that came up from Oakland in the 70s that fished up there. But people who were actually running boats or crew, it’s very rare to see people of color up there. And so there’s a whole lineage of Filipinos that were up there in this cannery, which I now fish for. There’s actually a little hut that’s called San Paquita and Caul and that’s where all the Filipinos would hang out at. Um, and it’s still there to this day, and there’s graffiti all over it in this old cannery. And it also has this very huge connection to my life and understanding my own identity. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was adopted from Cebu City.\u003c/span> \u003cspan style=\"font-weight: 400\">I didn’t feel like I had this connection, right? I was like, oh, I don’t know how to speak these languages. I don’t know what my people were doing. I don’t feel connected to my bloodline. And so to have that all tied back together with, I mean, our people were sailors, how did we get there?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can look at the Bajau people. Those people are spearfishing. They make their own goggles, they were making their own flippers out of whatever they had around, and they were diving down there for 5, 6, 7, 8, 10 minutes getting food. And they’re still more or less nomadic people that live on boats in the Philippines.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I was doing these things, I was like, ‘Oh, this is what my people did. Oh, I can sail. Oh, I know how to fish,’ like, these are skills and talents that live in my blood. And so I created that, like, art from that, just even, like, the art of sailing, knowing how to sail well, and knowing how to fish well, and knowing how to create lures, and knowing how to cast nets. That lives in my body and so I get to express it. Even though I’m not in the Philippines, it was beautiful to feel like I could integrate my mind and body into skills that I feel my people were amazing at. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That common thread of things that are, that have been present in your ancestors showing up through you through multiple ways, you have a wide array of talents and fishing is just one of them\u003c/span> \u003cspan style=\"font-weight: 400\">and you’re deeply involved in the community and a number of different groups. I wanted to bring the discussion to the work that you do in Oakland in the nightlife and, and your involvement in it. And so if we could get a little bit of background on yourself as a DJ, tell me about that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis: \u003c/b>\u003cspan style=\"font-weight: 400\">What was cool about that is that I met this person, and we decided to make art together. And so we created We Are The Ones We’ve Been Waiting For. And\u003c/span> \u003cspan style=\"font-weight: 400\">I started working here as a wardrobe stylist and set design, um, when I came to the Bay Area. And so, I would use those skills I was learning in the commercial world, in the commercial industries, and bring it to We Are the Ones, which was highlighting the narratives of, um, Black and brown trans folks in the bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the three to five years that We Are The Ones was organizing together, um, we just had some really beautiful parties, a lot of amazing people came through who are now, like, doing really well out here in nightlife. And so now I’m with Club ABlunt, which stands for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[chuckles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Asian, Black, Latinos, United with Native Tribes. And that was a collective that my very good friend, Melanique Robichaud, or Black, she started with these other women in the 90s, in the early 90s. And so once We Are The Ones went its direction and a few of us went another direction, and so it’s now me and, uh, Aura and DJ Brown Amy and Black who are working together to do a very similar, similar thing. it just feels like we’re now out of the underground and we’re, we’ve been at the Oakland museum at the, I’m going to be representing then at the SF library.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ve been able to pull much bigger, uh, artists as well. People want it. Like, we had Susie Analog at Counterpulse for Oakland Pride and so it’s been really beautiful to feel united on a, on a more global front.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So much about Oakland in general, specifically downtown Oakland, the nightlife scene-how would you describe what’s going on right now in Oakland’s queer nightlife scene for folks of color?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, so I feel like I took off a year and a half from going out, and I was like, okay, I’m gonna work on some other projects. It’s been really beautiful to reintegrate into nightlife because, and especially into queer and gay nightlife, which is something that I hadn’t really done. I was creating those events for people, and now I’m going to other people’s events at bars that I really had never spent time in. So, like, I mean, The Port’s about to close down, or like, going to the White Horse, or going to Fluid, which is a new place that’s doing really well. It’s really beautiful and seeing that just proliferate. Because a lot of the times I’m like, ‘SF actually doesn’t really care about us.’ SF feels really gatekeep-y and it’s just pulling all this talent from other parts of the world when there’s so much talent here in the Bay. It’s so nice to see this talent in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m noticing this common thread of community and it brings me to wonder, like, when you think of the concept of belonging, what comes to mind?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis: \u003c/b>\u003cspan style=\"font-weight: 400\">I guess, as an adoptee, again, I didn’t feel like I belonged. But I feel like I just had to kind of alter my mindset. And be like, I do belong, and I can be here with you, can you be here with me? And when we ask these questions, and I think we really have to look internally and accept ourselves and love ourselves, to know that if anything, we belong where we are.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And no one can take that away from you. They can try, and they will and it gets violent, but no- I think that’s why we even choose to fight back, is because we understand we belong. And that’s why I do the work that I do, or even just be kind to people because I’m like, ‘You belong and your life should also be filled with ease and grace.’\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">When I think about, you said like, it’s a way of fighting, you literally are trained in martial arts as well. And even through that further community, further sense of belonging, maybe we could start with, um, what led you to martial arts and then we could talk about belonging in that as well.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis: \u003c/b>\u003cspan style=\"font-weight: 400\">I mean I danced for a very long time in my life. I played instruments and I think all of those things are connected to the soul of just, you know, being Cebuano, being Visayan, and so I was like, ‘I’m gonna find another art,’ and so I chose-I was like, oh, I’ll try martial arts. So I went on the internet. There wasn’t many places I found, but one stood out, which was called Eskabodan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I first walked in, I knew it was a place I belonged to. The school was doing really well at the time on Polk Street and so I stayed. I still train with Grandmaster Kastor today, and he is also a legend. I mean, and now I’m training for my second degree black belt. And I also am assisting him in teaching when we travel to Europe.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s been really beautiful to feel another, another type of community here that is very Filipino and very rooted in a Filipino art and very rooted in martial arts. It’s like dancing and it’s a total meditation, which makes me feel really calm and it makes me feel confident.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so when I’m in a place that I think at one point that I would have felt nervous about being in, for my own safety of my body or emotional safety or whatever. I can remind myself that I can be calm and I can remember that I do belong here and that I don’t really have to be afraid.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Adonis:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was in Paris actually, coming back from a seminar that we were teaching and, uh, some young kid ripped, tried to rip my necklace off of my, off of my body. And I have never had to use any of my skills that way. And I just remember my knee jerk reaction was to grab them, twist, twist their wrists in a certain way, and then I saw, I saw it. I saw all the openings. I saw where I could have caused this person harm, or taken them out in a certain way. And all I did was I just like, put them on the ground.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">And I was like, ‘That’s mine. Please give it back,’ and he did. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, time felt like it slowed down, and I was like, oh, this is what I do this for. I do this so I can protect myself, and I can also protect my friends, and I can be confident in the world, which is what I feel like a lot of the work that I’ve done in general is about. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s beautiful, because I’m watching my daughter do martial arts now and I’m like, ‘I wonder will this actually sink in,’ you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis:\u003c/b>\u003cspan style=\"font-weight: 400\"> It really sinks in. And once it sinks in, it feels like, you can only learn, it’s, it’s like a lesson in life. There’s always more to learn, but the stuff that you learn is priceless and it will always be with you.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The folks who raised you, your parents, what do they think of your journey, of all the skills that you’ve acquired, all the places that you’ve been, this person that you’ve become? Do they appreciate all of that?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis:\u003c/b>\u003cspan style=\"font-weight: 400\"> They do. They’ve always loved me and told me that I was doing a great job. You know, so I was raised by white people, and so I feel like they have this thing where they’re like, “You can do whatever you want in the world.” And so I was told that and, you know, I actually really appreciate that from them.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I mean a lot of my friends, they were told that they were basically demons and-for being queer or gay or being trans or whatever and just demonized for their beliefs or kicked out of their house. My parents would never have done that to me. I didn’t even know parents were like that ‘cause my parents weren’t like that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now just through the traditions that I practice and the ways that I view the world. I understand, even though they’re not my birth parents, but both my birth parents and my adoptive parents are the most important things-that they, one my birth parents brought me into the world and then these people raised me. Now I appreciate them, and they have, and what I realize is that they have always loved and appreciated me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> All of the things that you do from the martial arts to the fishing, DJing, community building, if there were a way to succinctly tie them all together, how would you explain what the common thread is?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis:\u003c/b>\u003cspan style=\"font-weight: 400\"> I believe as an artist I have this very specific desire to live in a very specific way. And at first it was the thrill of traveling and then the thrill of creating art, and then the thrill of learning, and then the, uh, and just having this lust for experience.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I want other people to be able to experience life this way if they want to. I have allowed myself to do that, and I also believe that you should do that. And so, when we get together, what does that look like? Or, like, let’s talk about it, let’s sing about it, let’s write about it, let’s draw about it, let’s what, how do we feel alive? There’s something there that is, like, about living to me. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It seems to be the thread of my life right now is that, you know, you have one life, but there are many lives to be lived within it and you are another example of that. And so, yeah, thank you. Thank you for that reminder.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> Seriously, thank you.Thank you, thank you, thank you. Big shoutout to Adonis, I appreciate your wisdom and it’s extremely clear that your many experiences have shaped your ability to find and build community wherever you go.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For more info on queer nightlife in Oakland, Club ABLUNT’s instagram account is clubablunt510. That’s spelled like club A-B-L-U-N-T, and that’s 510 as in the area code.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Adonis can be found on Instagram at bodegavendetta It’s spelled B-O-D-E-G-A V-E-N-D-E-T-T-A.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. It was produced by Sheree Bishop and Marisol Medina-Cadena. Chris Hambrick is our editor. Brendan Willard is our engineer\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production. Until next time, peace!\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Adonis is a DJ who blends together a search for self, deep sea fishing and the love of community.","status":"publish","parent":0,"modified":1713483138,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":69,"wordCount":4189},"headData":{"title":"Deep Sea Fishing, Filipino Roots and Belonging ‘Where We Are’ | KQED","description":"Like all good sailing stories, Adonis' love for the ocean begins with a shipwreck followed by a face-to-face meeting with a huge eel. It involves the search for personal identity and the need to pad pockets with paper. Just like many other aspects of Adonis' life, it centers community.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"Like all good sailing stories, Adonis' love for the ocean begins with a shipwreck followed by a face-to-face meeting with a huge eel. It involves the search for personal identity and the need to pad pockets with paper. Just like many other aspects of Adonis' life, it centers community."},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC1228855841.mp3?updated=1713389171","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956068/deep-sea-fishing-filipino-roots-and-belonging-where-we-are","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Like all good sailing stories, Adonis’ love for the ocean begins with a shipwreck followed by a face-to-face meeting with a huge eel. It involves the search for personal identity and the need to pad pockets with paper. Just like many other aspects of Adonis’ life, it centers community.\u003c/p>\n\u003cp>Adonis is a DJ who is immersed in downtown Oakland’s nightlife scene. They currently work with \u003ca href=\"https://www.instagram.com/clubablunt510/\" target=\"_blank\" rel=\"noopener\">Club A.B.L.U.N.T. \u003c/a>(Asian Black Latinx Uniting with Native Tribes) throwing parties that center queer folks at venues around Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13956076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956076 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.18.47%E2%80%AFPM-800x1191.png\" alt=\"Adonis stands behind a set of turntables while DJing at an event in Oakland. \" width=\"800\" height=\"1191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.18.47 PM-800x1191.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.18.47 PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.18.47 PM-768x1143.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.18.47 PM.png 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adonis stands behind a set of turntables while DJing at an event in Oakland. \u003ccite>(Courtesy of Adonis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they’re not on the turntables, Adonis spends significant portions of their summers doing deep-sea commercial fishing in Alaska. Adonis sees it as a way to pay bills, build community, and learn more about their Filipino roots.\u003c/p>\n\u003cp>Adopted from Cebu City as a child and raised in Maine, Adonis’ quest to learn more about their heritage has taken them across oceans and seas. They’ve taken trips to visit the Philippines, and have studied the Filipino martial art of \u003ca href=\"https://www.eskabodaan.net/\">Eskabo Daan\u003c/a>.\u003c/p>\n\u003cp>This week we discuss how it all intertwines — the search for self, love of community, deep sea fishing and appreciation of the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13956077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956077 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18%E2%80%AFPM-800x1023.png\" alt=\"A pile of fish appear in the foreground of a photo of two people in a boat on a body of water.\" width=\"800\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM-800x1023.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM-1020x1304.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM-768x982.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM-1201x1536.png 1201w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screenshot-2024-04-16-at-12.19.18 PM.png 1234w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adonis and a friend bundled up on a cold but successful day of deep sea fishing in Alaska. \u003ccite>(Courtesy of Adonis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC1228855841\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Welcome to Rightnowish, it’s your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, we all know that one person who has a damn good life story to tell. You know, that one person who has seen some wild things and has had some extraordinary experiences, someone like today’s guest. Their name is Adonis.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Adonis is a deep sea diver, a nightclub DJ, a commercial fisherman, and a highly-trained martial artIst, plus they also have a day job. Still, through all of these experiences, they have the ability to find community anywhere, be it in a sea of people in a crowded club or literally in the middle of the ocean. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it comes to the Bay Area, Adonis has participated in collectives that have been influential in Oakland’s vibrant, queer nightlife. Each one brings much-needed representation and exposure for queer, BIPOC DJs and performers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Adonis told me some amazing stories about exploration, friendship, and getting connected to the roots of their Filipino identity. I invite you all to enjoy this ride, right after this message.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You have this wonderful story of your fascination with the ocean and the seafaring creatures of the world. Where does it all begin? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis, Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> I really think a big part of this story, for me, is being an adoptee. Uh, my parents were from Maine, or, and they live there now. And so I went to Maine, and I started to be a bit rebellious, they might say. And so there was a punk scene in Maine, it got me traveling around. I had lived in Guatemala in Quetzaltenango. I was going to this school called Proyecto Lingüístico de Quetzalteco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There had been a post online. It was called riseup.net, which is what all the anarchists use. It was encrypted, uh, encrypted email. And so there was a group that I had been in at the time, which was for women and trans women and non binary folks to connect around shared interests of travel, punk, whatever, music. And so, there was a call out that there was an anarchist sailing meetup in, uh, Rio Dulce, in Guatemala. I wasn’t on the internet like that, so I reached out on my little computer, actually probably I had a library computer, and tried to figure out who was going from our crews.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There were two spots and, or maybe three spots, and me and a couple friends, who also used to live here in Oakland, we all, we grabbed those spots out of many people ‘cause of our charisma and good looks, I imagine. And so we all got down to Guatemala, however we got down there, and, uh, jumped onto, into these workshops. People had brought their boats, there was people from Spain, people from Canada,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I really got to see the ocean in a very specific way through sailing. And we were going from Rio Dulce to the Las Islas de la Bahia in Honduras. I forget which one. I think it was Utila. And the boat just fell apart in the storm. Like, the tiller, which is how you control the rudder of the boat, just snapped off. Everything just fell apart and we had to limp back. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And they were like, “Oh, I’m so sorry. Like, this was supposed to be really cool for you.” And I was so seasick. This was the first, I was like throwing up everywhere. I couldn’t keep food down. It was four days of just trying to get to this place that was not far away. And I, we got back to land and like, “We understand if you want to get off,” and I just looked at them and I was like, ‘That was the most amazing thing I’ve ever done in my life.’ \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You said you had come in contact with an eel..\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis: \u003c/b>\u003cspan style=\"font-weight: 400\">Right, so eventually, we finally made it to Utila. We had to go back, because we were eventually going to go up to Cuba and I think this was 2012. And, um, from where, where I’m from, if you’re in Maine, if you are in the ocean, it’s probably because you fell in and you’ll maybe die there. You just don’t do that. There’s a lot of sailors there. They’re like, “No, no, no, we don’t go swimming here, that’s how you die.” And so I had that in my head, that’s what would happen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We get to the Bay Islands and they’re like, oh, we’re going scuba or not scuba diving, uh, “We’re going snorkeling.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Chuckles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> And I was like, ‘That sounds boring.’ And they’re like, “Oh no, we just crossed this really razor sharp reef over here in our flippers walking backwards. And then you jump in and it’s really beautiful.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[chuckles] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">And, uh, they finally convinced me. I put on these flippers and so I flopped in, and the reef is just this like, It felt iridescent. The sun was coming through the water. There was just colors everywhere, fish flying around my face. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Um, I looked down and there’s this emerald pile of something on the ground. I’m like, ‘What is that?’ I knew I could dive a little bit. And so, I dove down as deep as I could. And I got close enough and I was like, ‘Oh, that’s a moray eel.’ It was a, like, 15 to 20-foot long moray eel and it had a head that was maybe the size of my own head and it was opening its mouth up and down, up and down with these razor sharp teeth and I was so enamored with this beautiful thing in front of me. I just put my face into it and I stared at it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t even know how long I had been down there for. So we go back up, and they’re like, “What the hell are you doing down there?” And I was like, ‘Did you guys see that?’ They were like, “Yeah, and that thing could bite you. Like, you just don’t do that.” But I was so enthralled, and I was like, I can’t stop. And so for the days that we were there still repairing our boats, every day I went down there to just look at things. And from that day forward, um, my life became sailboats. And then after that, I would sail for about four years, having my own vessel, um, going up to Alaska and fishing up there, uh, going, taking other people’s boats to Cuba back in the day and helping people get down to Panama, going through Panama canal, all over. So that’s really how it all began. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It could almost seem conflicting to some, where it’s like, wait, you fell in love with the eel specifically, the fish, and then you in turn become a hunter and later become a fisherman. And what, what’s the connection between the two? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was on these boats with these really amazing women who were sailors, and they all sailed together. They would go to different parts of the world, meet back up, and these women were like, I was like, ‘what do you guys do for work?’ And they were like, “Oh, we are commercial fishermen in Alaska.” And I was like, ‘So I can just go up there and make thousands of dollars salmon fishing?’ And they were like, “This is the best kept secret. You should come up there and we’ll help you get a job.”\u003c/span> \u003cspan style=\"font-weight: 400\">So these women actually helped place me into these positions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know Native folks, and I know a couple of like, uh, Black folks, even that came up from Oakland in the 70s that fished up there. But people who were actually running boats or crew, it’s very rare to see people of color up there. And so there’s a whole lineage of Filipinos that were up there in this cannery, which I now fish for. There’s actually a little hut that’s called San Paquita and Caul and that’s where all the Filipinos would hang out at. Um, and it’s still there to this day, and there’s graffiti all over it in this old cannery. And it also has this very huge connection to my life and understanding my own identity. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was adopted from Cebu City.\u003c/span> \u003cspan style=\"font-weight: 400\">I didn’t feel like I had this connection, right? I was like, oh, I don’t know how to speak these languages. I don’t know what my people were doing. I don’t feel connected to my bloodline. And so to have that all tied back together with, I mean, our people were sailors, how did we get there?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can look at the Bajau people. Those people are spearfishing. They make their own goggles, they were making their own flippers out of whatever they had around, and they were diving down there for 5, 6, 7, 8, 10 minutes getting food. And they’re still more or less nomadic people that live on boats in the Philippines.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I was doing these things, I was like, ‘Oh, this is what my people did. Oh, I can sail. Oh, I know how to fish,’ like, these are skills and talents that live in my blood. And so I created that, like, art from that, just even, like, the art of sailing, knowing how to sail well, and knowing how to fish well, and knowing how to create lures, and knowing how to cast nets. That lives in my body and so I get to express it. Even though I’m not in the Philippines, it was beautiful to feel like I could integrate my mind and body into skills that I feel my people were amazing at. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That common thread of things that are, that have been present in your ancestors showing up through you through multiple ways, you have a wide array of talents and fishing is just one of them\u003c/span> \u003cspan style=\"font-weight: 400\">and you’re deeply involved in the community and a number of different groups. I wanted to bring the discussion to the work that you do in Oakland in the nightlife and, and your involvement in it. And so if we could get a little bit of background on yourself as a DJ, tell me about that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis: \u003c/b>\u003cspan style=\"font-weight: 400\">What was cool about that is that I met this person, and we decided to make art together. And so we created We Are The Ones We’ve Been Waiting For. And\u003c/span> \u003cspan style=\"font-weight: 400\">I started working here as a wardrobe stylist and set design, um, when I came to the Bay Area. And so, I would use those skills I was learning in the commercial world, in the commercial industries, and bring it to We Are the Ones, which was highlighting the narratives of, um, Black and brown trans folks in the bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the three to five years that We Are The Ones was organizing together, um, we just had some really beautiful parties, a lot of amazing people came through who are now, like, doing really well out here in nightlife. And so now I’m with Club ABlunt, which stands for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[chuckles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Asian, Black, Latinos, United with Native Tribes. And that was a collective that my very good friend, Melanique Robichaud, or Black, she started with these other women in the 90s, in the early 90s. And so once We Are The Ones went its direction and a few of us went another direction, and so it’s now me and, uh, Aura and DJ Brown Amy and Black who are working together to do a very similar, similar thing. it just feels like we’re now out of the underground and we’re, we’ve been at the Oakland museum at the, I’m going to be representing then at the SF library.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ve been able to pull much bigger, uh, artists as well. People want it. Like, we had Susie Analog at Counterpulse for Oakland Pride and so it’s been really beautiful to feel united on a, on a more global front.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So much about Oakland in general, specifically downtown Oakland, the nightlife scene-how would you describe what’s going on right now in Oakland’s queer nightlife scene for folks of color?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, so I feel like I took off a year and a half from going out, and I was like, okay, I’m gonna work on some other projects. It’s been really beautiful to reintegrate into nightlife because, and especially into queer and gay nightlife, which is something that I hadn’t really done. I was creating those events for people, and now I’m going to other people’s events at bars that I really had never spent time in. So, like, I mean, The Port’s about to close down, or like, going to the White Horse, or going to Fluid, which is a new place that’s doing really well. It’s really beautiful and seeing that just proliferate. Because a lot of the times I’m like, ‘SF actually doesn’t really care about us.’ SF feels really gatekeep-y and it’s just pulling all this talent from other parts of the world when there’s so much talent here in the Bay. It’s so nice to see this talent in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m noticing this common thread of community and it brings me to wonder, like, when you think of the concept of belonging, what comes to mind?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis: \u003c/b>\u003cspan style=\"font-weight: 400\">I guess, as an adoptee, again, I didn’t feel like I belonged. But I feel like I just had to kind of alter my mindset. And be like, I do belong, and I can be here with you, can you be here with me? And when we ask these questions, and I think we really have to look internally and accept ourselves and love ourselves, to know that if anything, we belong where we are.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And no one can take that away from you. They can try, and they will and it gets violent, but no- I think that’s why we even choose to fight back, is because we understand we belong. And that’s why I do the work that I do, or even just be kind to people because I’m like, ‘You belong and your life should also be filled with ease and grace.’\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">When I think about, you said like, it’s a way of fighting, you literally are trained in martial arts as well. And even through that further community, further sense of belonging, maybe we could start with, um, what led you to martial arts and then we could talk about belonging in that as well.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis: \u003c/b>\u003cspan style=\"font-weight: 400\">I mean I danced for a very long time in my life. I played instruments and I think all of those things are connected to the soul of just, you know, being Cebuano, being Visayan, and so I was like, ‘I’m gonna find another art,’ and so I chose-I was like, oh, I’ll try martial arts. So I went on the internet. There wasn’t many places I found, but one stood out, which was called Eskabodan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I first walked in, I knew it was a place I belonged to. The school was doing really well at the time on Polk Street and so I stayed. I still train with Grandmaster Kastor today, and he is also a legend. I mean, and now I’m training for my second degree black belt. And I also am assisting him in teaching when we travel to Europe.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s been really beautiful to feel another, another type of community here that is very Filipino and very rooted in a Filipino art and very rooted in martial arts. It’s like dancing and it’s a total meditation, which makes me feel really calm and it makes me feel confident.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so when I’m in a place that I think at one point that I would have felt nervous about being in, for my own safety of my body or emotional safety or whatever. I can remind myself that I can be calm and I can remember that I do belong here and that I don’t really have to be afraid.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Adonis:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was in Paris actually, coming back from a seminar that we were teaching and, uh, some young kid ripped, tried to rip my necklace off of my, off of my body. And I have never had to use any of my skills that way. And I just remember my knee jerk reaction was to grab them, twist, twist their wrists in a certain way, and then I saw, I saw it. I saw all the openings. I saw where I could have caused this person harm, or taken them out in a certain way. And all I did was I just like, put them on the ground.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">And I was like, ‘That’s mine. Please give it back,’ and he did. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, time felt like it slowed down, and I was like, oh, this is what I do this for. I do this so I can protect myself, and I can also protect my friends, and I can be confident in the world, which is what I feel like a lot of the work that I’ve done in general is about. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s beautiful, because I’m watching my daughter do martial arts now and I’m like, ‘I wonder will this actually sink in,’ you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis:\u003c/b>\u003cspan style=\"font-weight: 400\"> It really sinks in. And once it sinks in, it feels like, you can only learn, it’s, it’s like a lesson in life. There’s always more to learn, but the stuff that you learn is priceless and it will always be with you.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The folks who raised you, your parents, what do they think of your journey, of all the skills that you’ve acquired, all the places that you’ve been, this person that you’ve become? Do they appreciate all of that?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis:\u003c/b>\u003cspan style=\"font-weight: 400\"> They do. They’ve always loved me and told me that I was doing a great job. You know, so I was raised by white people, and so I feel like they have this thing where they’re like, “You can do whatever you want in the world.” And so I was told that and, you know, I actually really appreciate that from them.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I mean a lot of my friends, they were told that they were basically demons and-for being queer or gay or being trans or whatever and just demonized for their beliefs or kicked out of their house. My parents would never have done that to me. I didn’t even know parents were like that ‘cause my parents weren’t like that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now just through the traditions that I practice and the ways that I view the world. I understand, even though they’re not my birth parents, but both my birth parents and my adoptive parents are the most important things-that they, one my birth parents brought me into the world and then these people raised me. Now I appreciate them, and they have, and what I realize is that they have always loved and appreciated me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> All of the things that you do from the martial arts to the fishing, DJing, community building, if there were a way to succinctly tie them all together, how would you explain what the common thread is?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Adonis:\u003c/b>\u003cspan style=\"font-weight: 400\"> I believe as an artist I have this very specific desire to live in a very specific way. And at first it was the thrill of traveling and then the thrill of creating art, and then the thrill of learning, and then the, uh, and just having this lust for experience.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I want other people to be able to experience life this way if they want to. I have allowed myself to do that, and I also believe that you should do that. And so, when we get together, what does that look like? Or, like, let’s talk about it, let’s sing about it, let’s write about it, let’s draw about it, let’s what, how do we feel alive? There’s something there that is, like, about living to me. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It seems to be the thread of my life right now is that, you know, you have one life, but there are many lives to be lived within it and you are another example of that. And so, yeah, thank you. Thank you for that reminder.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> Seriously, thank you.Thank you, thank you, thank you. Big shoutout to Adonis, I appreciate your wisdom and it’s extremely clear that your many experiences have shaped your ability to find and build community wherever you go.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For more info on queer nightlife in Oakland, Club ABLUNT’s instagram account is clubablunt510. That’s spelled like club A-B-L-U-N-T, and that’s 510 as in the area code.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Adonis can be found on Instagram at bodegavendetta It’s spelled B-O-D-E-G-A V-E-N-D-E-T-T-A.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. It was produced by Sheree Bishop and Marisol Medina-Cadena. Chris Hambrick is our editor. Brendan Willard is our engineer\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production. Until next time, peace!\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956068/deep-sea-fishing-filipino-roots-and-belonging-where-we-are","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_2852","arts_10278","arts_3226","arts_1143","arts_12080"],"featImg":"arts_13956173","label":"arts_8720"},"arts_13955802":{"type":"posts","id":"arts_13955802","meta":{"index":"posts_1591205157","site":"arts","id":"13955802","score":null,"sort":[1713390752000]},"guestAuthors":[],"slug":"bay-area-rappers-food-lyrics-illustrations-e-40-larry-june","title":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","publishDate":1713390752,"format":"standard","headTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics) | KQED","labelTerm":{},"content":"\u003cp>[dropcap]W[/dropcap]hen conveying what it means to really be from the Bay Area, I often return to this simple yet revelatory \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a> lyric: “In the Bay Area, we dance a little different.”\u003c/p>\n\u003cp>Whether it’s in our music, political activism or technological contributions, there’s a certain out-of-box forwardness that tends to manifest from Bay Area minds — and a pride in how we approach everything with a savvy sprinkling of game, hustlership and top-tier ideation.\u003c/p>\n\u003cp>The same can be said for the Bay Area’s food scene, which ranks among the nation’s best and most imaginative. From sourdough bread to the eternal Mission-style burrito, the Bay’s foodmakers have often been ahead of the curve, helping to revolutionize menus nationwide with their fresh farm-to-table approach. To borrow from the great Mac, one could say that in the Bay Area, we \u003ci>eat\u003c/i> a little different.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13907726,arts_13934248']\u003c/span>It’s no surprise, then, that in the history of local rap, food has always been a strong reference point — a metaphorical kitchen for creative exchange. An endless platter of well-seasoned slang. For decades, our rappers have delivered punchlines involving sauce, lasagna and \u003ca href=\"https://www.youtube.com/watch?v=XMah0rX6pGU\">lumpia\u003c/a>; dropped verses that generously reference \u003ca href=\"https://www.youtube.com/watch?v=lkBJR5L2nas\">desserts and bakeries\u003c/a>; and supplied entire songs about stacking bread, cheese and lettuce as lucrative sandwiches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/bay-area-rap-shrimp-crab-17915372.php\">Food-loving Bay Area rappers\u003c/a> have always been bold when it comes to transmorphing culinary items and kitchen utensils into slang that others then appropriate and even misuse (see: “\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">food doesn’t slap\u003c/a>”). Shock G once talked about getting busy in a Burger King bathroom and declared, “I like my oatmeal lumpy.” On “Dreganomics,” Mac Dre himself asked, “What’s spaghetti without the sauce?” We’ve got Suga T (sweet) and Spice 1 (hot). Berner founded \u003ca href=\"https://www.instagram.com/cookiessf/?hl=en\">Cookies\u003c/a>. And just a few weeks ago, \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> dropped a whole series of viral videos centered on his latest single. His focus? \u003ca href=\"https://www.tiktok.com/@jayworrld/video/7340701934355254574\">Eating a salad\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a unifying ethos in Bay Area food and rap: \u003ca href=\"https://www.youtube.com/watch?v=E6GU3PmttyI\">Everybody eats\u003c/a>. So here’s a brief ode to some of our region’s most skilled vocabulary chefs and the tasteful ways they’ve reimagined the ingredients of language that are possible in a kitchen — and the recording studio.\u003c/p>\n\u003cfigure id=\"attachment_13956090\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg\" alt=\"Illustration of the rapper E-40 in sunglasses and a beige apron, holding a glass of red wine. In front of him are a burrito and a grilled cheese sandwich.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 might be the most prolific inventor of food-related slang words in the English language. He’s a head chef in the Bay Area’s rap kingdom. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>E-40: Green eggs, hams, candy yams, Spam, cheese, peanut butter and jam on “\u003ca href=\"https://www.youtube.com/watch?v=etIBcRriUJY\">The Slap\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Digital scale, green eggs and hams / Yams, candy yams, Spam, damn! / Loaded, my cheese, peanut butter and jam / Sammich, mannish, me and my Hispanics / Vanish, talkin’ in codes like we from different planets.”\u003c/em>\u003c/p>\n\u003cp>Though it may sound like gibberish to the uninitiated, rest assured that \u003ca href=\"https://firstwefeast.com/eat/2013/12/food-rap-decoded-with-e-40-video\">99.99% of anything 40 Water vocalizes has a cleverly associative meaning\u003c/a>. For anyone who has listened to one of the more than 25 studio albums from Vallejo’s kingpin, you’ve surely heard him mention food — perhaps in a variety of languages (some real, some ingeniously invented). In addition to the smorgasbord he notes above in “The Slap,” he has pioneered rhymes across generations that give new meanings to Gouda, feta, mozzarella, lettuce, bread, sausage, salami, paninis, spaghetti, tacos and enchiladas — ad infinitum. Unsurprisingly, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Mr. Fonzarelli is an actual purveyor of foods and beverages\u003c/a>, with a line of products that includes malt liquor, ice cream and burritos; he even co-owns \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">The Lumpia Company\u003c/a>. There’s no one with a bigger million-dollar mouthpiece who can distribute as much word candy (“S-L-A-N-G”) quite as flavorfully as the Goon With The Spoon himself.\u003c/p>\n\u003ch2>Andre Nickatina: TOGO’s #41 sandwich with the hot peppers on “\u003ca href=\"https://www.youtube.com/watch?v=_FU1XdPE6lM\">Fa Show\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Baby don’t act dumb, I’m number 41, high stepper / TOGO’s sandwich with the hot peppers / At 90 degrees I might freeze, so when it’s hot I sport leather.”\u003c/em>\u003c/p>\n\u003cp>Fillmore’s finest, and among \u003ca href=\"https://www.passionweiss.com/2016/11/17/andre-nickatina/\">the most criminally underrated San Francisco rappers in history\u003c/a>, Andre Nickatina has always had a penchant for the spicy, the flavorful, the extemporaneously saucy. From rapping about eating Cap’n Crunch around drug dealers to sarcastically handing out Baskin Robbins dollars to his enemies, Nicky Nicotine (formerly known as Dre Dog) raps about food as casually as any rapper would ever dare. Unlike many of today’s international rap personalities, who seem to only eat at \u003ca href=\"https://www.reddit.com/r/OutOfTheLoop/comments/6frbt9/why_are_rappers_obsessed_with_nobu_sushi/\">high-priced sushi conglomerates\u003c/a>, Nickatina is a Bay Area real one, electing to stay fed at a regional sandwich chain from San Jose. The enigmatic “number 41” on the \u003ca href=\"https://www.togos.com/menu/?gad_source=1&gclid=CjwKCAjwoPOwBhAeEiwAJuXRh69gJ2fS8J9qmnAKJEnCmI5720psTxEmhEmkgFAemWoe3auyNuuxExoCTm0QAvD_BwE\">Togo’s menu\u003c/a> has since been discontinued, but a spokesperson for the restaurant IDed it as a sirloin steak and mushroom sandwich that was introduced as a seasonal special back in 2002 — the same year “Fa Show” was released. There is no doubt it must’ve been fire, given its endorsement by a legend who knows how to professionally “\u003ca href=\"https://www.youtube.com/watch?v=o8TXpoi-goE\">Break Bread\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13956088\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956088\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg\" alt=\"Illustration of the rapper Kamaiyah eating from a plate of chicken alfredo tucked under her arm. Next to her is a bottle of champagne.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah’s album covers often feature food, Hennessey and champagne — a reflection of the rapper’s saucy, bossy lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kamaiyah: Champagne and chicken on “\u003ca href=\"https://www.youtube.com/watch?v=Yls2dMJ63tM\">Whatever Whenever\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Just drink champagne with all my chicken meals.”\u003c/em>\u003c/p>\n\u003cp>It’s fitting that East Oakland’s Kamaiyah — who cooked up the searingly hot single “How Does It Feel” on her transcendent debut, \u003ci>A Good Night in the Ghetto\u003c/i> — continued to double down on aspirational living and good eating with her sophomore release, \u003ci>Got It Made\u003c/i>. As always, the bodacious trapper rhymes over a synth-laced, floaty-spaceship soundscape while bragging about her California riches — and cuisine. The music video for “Whatever Whenever” features Kamaiyah roaming the untainted grounds of a Napa Valley-esque chateau. Her album covers over the years have also featured bags of potato chips, Hennessy and double-fisted bottles of champagne. It’s always bottoms up when Kamaiyah is on the track.\u003c/p>\n\u003ch2>Too $hort: Macaroni, steak and collard greens on “\u003ca href=\"https://www.youtube.com/watch?v=Ru5B8cFskaw\">All My B*tches Are Gone\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Eat some shit up / macaroni, steak, collard greens, or whatever the fuck.”\u003c/em>\u003c/p>\n\u003cp>With over 35 years of classic albums like \u003ci>Cocktails\u003c/i> and \u003ci>Gettin’ It\u003c/i>, there’s no doubt that Short Dogg knows how to feed his multi-generational fanbase. He doesn’t shy away from straightforward lyrics — or having a large appetite for nefarious activities — and he has continued to make seasoned slaps for precisely 225,000 hours and counting (“get a calculator, do the math”). This OG’s plate of choice includes classic soul food staples served with a slab of steak. As the veteran unmistakably outlines on “This How We Eat”: “We make money, we eat, we feed.”\u003c/p>\n\u003cfigure id=\"attachment_13956087\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg\" alt=\"Illustration of the rapper Larry June in an SF Giants cap, holding a crab cracker in one hand and a fork in the other. In front of him is a whole lobster on a plate.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Besides establishing himself as the healthiest rapper in Bay Area lore, Larry June is also known for sporting vintage muscle cars and cracking lobsters in Sausalito as part of his luxurious lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Larry June: Crab legs on “\u003ca href=\"https://www.youtube.com/watch?v=luIhlZBrJos\">Lifetime Income\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“This not my girlfriend, we just eatin’ crab legs.”\u003c/em>\u003c/p>\n\u003cp>If you know Larry June, then you know he’s all about smoothies, green teas, organic juices and oranges (yee hee!). But just as buttery are his numerously silky references to luxury meals and late-night outings with a seemingly endless rotation of women friends. Without question, the Hunters Point rapper has one of the healthiest appetites of anyone around a microphone, regularly dropping rhymes about his organic sustenance. Since Uncle Larry makes a living off his out-of-pocket food references, he merits an honorable mention for dropping other absolute bangers like “I might write a motherfuckin’ smoothie book or somethin’ … Sell this shit for thirty dollars” and “Watermelon juice riding bikes with my latest chick / I don’t do the clubs that often, I got a check to get.” It’s fitting that \u003ca href=\"https://uproxx.com/music/larry-june-interview-san-francisco/\">he also co-owns Honeybear Boba in the Dogpatch\u003c/a>.\u003c/p>\n\u003ch2>Iamsu!: Chicken strips and Moscato on “\u003ca href=\"https://www.youtube.com/watch?v=lQcxMU3uvLg\">Don’t Stop\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Keep it real I don’t brag though… / Chicken strips, no escargot / [sippin’] on the Moscato.”\u003c/em>\u003c/p>\n\u003cp>To be fair, this lyric is from a young, mixtape-era Iamsu! and might not reflect the current palate of the multi-platinum rapper and producer from Richmond. (In fact, that’s probably true of every rapper on this list, so take these lyrics with a grain of salt.) But when I first heard this song in my 20s, it’s a line that did — and still does — resonate for its unglamorized celebration of living on a low-budget microwaveable diet while maintaining a glimmer of high-life ambition. Personally, I’d take chicken strips over escargot nine out of ten times. And, from the sound of it, so would Suzy 6 Speed.\u003c/p>\n\u003cfigure id=\"attachment_13956086\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg\" alt=\"The rapper P-Lo wiggles his fingers in delight over a plate of chicken wings sitting on a bed of dollar bills.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo often raps about his love of chicken (chicken adobo, fried chicken, chicken wings), and his favorite food-related slang word is also “chicken” (as a stand in for “money”). \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo: Chicken wings in the strip club on “\u003ca href=\"https://www.youtube.com/watch?v=h-ajtPhAQ1U\">Going To Work\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“In the strip club eating chicken wings.”\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13938479']\u003c/span>There may not be another rapper on this list with as much love for chicken wings as Pinole’s P-Lo. For starters, the lyricist and producer launched a transnational food tour, teaming up with Filipino restaurants around the U.S. and Canada to deliver collaborative one-off dishes, including \u003ca href=\"https://www.kqed.org/arts/13935891/p-lo-senor-sisig-filipino-food-tour-oakland\">his own spicy sinigang wings at Señor Sisig in Oakland\u003c/a>. If that’s not enough, he has popped up on popular social media channels like \u003ca href=\"https://www.instagram.com/bayareafoodz/?hl=en\">Bay Area Foodz\u003c/a> as \u003ca href=\"https://www.youtube.com/watch?v=lJYkVcpM6E0\">he searches for the best wings around the Yay\u003c/a>. His songs are even featured on \u003ca href=\"https://www.instagram.com/reel/CwyzdhfrNCE/\">national commercials for Wingstop\u003c/a>. For P-Lo, it’s always time to bring back the bass — and taste.\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003ch2>Guap (formerly Guapdad 4000): Chicken adobo on “\u003ca href=\"https://www.youtube.com/watch?v=1DaovaJgytE\">Chicken Adobo\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“How I fell in love with you it was beautiful / Like chicken adobo how you fill me up.”\u003c/em>\u003c/p>\n\u003cp>For the Black Filipino American rapper from West Oakland, \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">food has always played a central role in his upbringing\u003c/a>. The anime-loving, Marvel comics fan grew up in a Filipino household eating champorado, and his songs have never shied away from references to his dual cultures. In what might be his most well-known song, Guap equates romantic satiation to filling up on a bowl of chicken adobo. His love of food goes beyond the booth — he recently spoke out on \u003ca href=\"https://www.kqed.org/arts/13950363/keith-lee-tiktok-oakland-sf-bay-area-struggles\">the recent Keith Lee fiasco\u003c/a>, and he also put together\u003ca href=\"https://trippin.world/guide/oaklands-top-food-joints-with-rapper-guapdad-4000\"> a map of his favorite places to eat around The Town\u003c/a>.\u003c/p>\n\u003ch2>Cellski: Canadian bacon, hash browns and cheddar cheese on “\u003ca href=\"https://www.youtube.com/watch?v=o6wFRZOd7n8\">Chedda\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Gotta get the cheddar, fuck the [federals].”\u003c/em>\u003c/p>\n\u003cp>As most food mentions in Bay Area rap goes, Cellski’s mention of this quintessentially North American breakfast combo isn’t exactly a homage to the real ingredients, as much as it is a reference to his hustling. His 1998 \u003ca href=\"https://www.discogs.com/release/841568-Cellski-Canadian-Bacon-Hash-Browns/image/SW1hZ2U6NDg3ODMxNzk=\">album cover\u003c/a> for \u003ci>Canadian Bacon & Hash Browns \u003c/i>features a cartoon depiction of the rapper getting pulled over and arrested by a Canadian mountie, with an open trunk revealing pounds of medicinal herbs. Nonetheless, there’s a good chance that the veteran San Francisco spitter actually does like to carry Canadian bacon, hash browns and cheddar around — \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\">he’s a part-time foodie who runs his own burger pop-up, after all\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg\" alt=\"Illustration of the rapper Dru Down in gold sunglasses and a black trench coat, holding an ice cream cone in one hand and an ice cream sundae on the table in front of him.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In a famous 1996 beef, Dru Down and the Luniz accused New Orleans rapper Master P (who started his musical career in the Bay Area) for stealing their concept of the “Ice Cream Man” — slang for a narcotics dealer. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dru Down: Ice cream on “\u003ca href=\"https://www.youtube.com/watch?v=3uNv2qAje-Q\">Ice Cream Man\u003c/a>” (with the Luniz)\u003c/h2>\n\u003cp>\u003cem>“Get your ice cream, ice cream / Not Ice-T, not Ice Cube, ice cream.”\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not intended for children, the classic 1993 anthem off Dru Down’s \u003ci>Fools From The Street \u003c/i>paints a startling picture of addiction and illicit drug distribution around Oakland in the wake of Richard Nixon and Ronald Reagan’s War on Drugs. Despite its unapologetic content, “Ice Cream Man” went on to establish an indisputably popular food motif in national rap music: ice cream as a stand-in for drug dealing. Since the production includes an audio sampling of an ice cream truck’s inimitable tune, listening to it evokes a sense of nostalgia for the frozen treat — and for \u003ca href=\"https://www.kqed.org/bayareahiphop\">golden-era Bay Area hip-hop\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.","status":"publish","parent":0,"modified":1713412777,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":2211},"headData":{"title":"Bay Area Rappers and Food Lyrics | KQED","description":"A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.","ogTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","ogDescription":"","ogImgId":"","twTitle":"Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)","twDescription":"","twImgId":"","socialTitle":"Bay Area Rappers and Food Lyrics %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen conveying what it means to really be from the Bay Area, I often return to this simple yet revelatory \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a> lyric: “In the Bay Area, we dance a little different.”\u003c/p>\n\u003cp>Whether it’s in our music, political activism or technological contributions, there’s a certain out-of-box forwardness that tends to manifest from Bay Area minds — and a pride in how we approach everything with a savvy sprinkling of game, hustlership and top-tier ideation.\u003c/p>\n\u003cp>The same can be said for the Bay Area’s food scene, which ranks among the nation’s best and most imaginative. From sourdough bread to the eternal Mission-style burrito, the Bay’s foodmakers have often been ahead of the curve, helping to revolutionize menus nationwide with their fresh farm-to-table approach. To borrow from the great Mac, one could say that in the Bay Area, we \u003ci>eat\u003c/i> a little different.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13907726,arts_13934248","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>It’s no surprise, then, that in the history of local rap, food has always been a strong reference point — a metaphorical kitchen for creative exchange. An endless platter of well-seasoned slang. For decades, our rappers have delivered punchlines involving sauce, lasagna and \u003ca href=\"https://www.youtube.com/watch?v=XMah0rX6pGU\">lumpia\u003c/a>; dropped verses that generously reference \u003ca href=\"https://www.youtube.com/watch?v=lkBJR5L2nas\">desserts and bakeries\u003c/a>; and supplied entire songs about stacking bread, cheese and lettuce as lucrative sandwiches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/bay-area-rap-shrimp-crab-17915372.php\">Food-loving Bay Area rappers\u003c/a> have always been bold when it comes to transmorphing culinary items and kitchen utensils into slang that others then appropriate and even misuse (see: “\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">food doesn’t slap\u003c/a>”). Shock G once talked about getting busy in a Burger King bathroom and declared, “I like my oatmeal lumpy.” On “Dreganomics,” Mac Dre himself asked, “What’s spaghetti without the sauce?” We’ve got Suga T (sweet) and Spice 1 (hot). Berner founded \u003ca href=\"https://www.instagram.com/cookiessf/?hl=en\">Cookies\u003c/a>. And just a few weeks ago, \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> dropped a whole series of viral videos centered on his latest single. His focus? \u003ca href=\"https://www.tiktok.com/@jayworrld/video/7340701934355254574\">Eating a salad\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>\n\u003cp>There’s a unifying ethos in Bay Area food and rap: \u003ca href=\"https://www.youtube.com/watch?v=E6GU3PmttyI\">Everybody eats\u003c/a>. So here’s a brief ode to some of our region’s most skilled vocabulary chefs and the tasteful ways they’ve reimagined the ingredients of language that are possible in a kitchen — and the recording studio.\u003c/p>\n\u003cfigure id=\"attachment_13956090\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg\" alt=\"Illustration of the rapper E-40 in sunglasses and a beige apron, holding a glass of red wine. In front of him are a burrito and a grilled cheese sandwich.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 might be the most prolific inventor of food-related slang words in the English language. He’s a head chef in the Bay Area’s rap kingdom. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>E-40: Green eggs, hams, candy yams, Spam, cheese, peanut butter and jam on “\u003ca href=\"https://www.youtube.com/watch?v=etIBcRriUJY\">The Slap\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Digital scale, green eggs and hams / Yams, candy yams, Spam, damn! / Loaded, my cheese, peanut butter and jam / Sammich, mannish, me and my Hispanics / Vanish, talkin’ in codes like we from different planets.”\u003c/em>\u003c/p>\n\u003cp>Though it may sound like gibberish to the uninitiated, rest assured that \u003ca href=\"https://firstwefeast.com/eat/2013/12/food-rap-decoded-with-e-40-video\">99.99% of anything 40 Water vocalizes has a cleverly associative meaning\u003c/a>. For anyone who has listened to one of the more than 25 studio albums from Vallejo’s kingpin, you’ve surely heard him mention food — perhaps in a variety of languages (some real, some ingeniously invented). In addition to the smorgasbord he notes above in “The Slap,” he has pioneered rhymes across generations that give new meanings to Gouda, feta, mozzarella, lettuce, bread, sausage, salami, paninis, spaghetti, tacos and enchiladas — ad infinitum. Unsurprisingly, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Mr. Fonzarelli is an actual purveyor of foods and beverages\u003c/a>, with a line of products that includes malt liquor, ice cream and burritos; he even co-owns \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">The Lumpia Company\u003c/a>. There’s no one with a bigger million-dollar mouthpiece who can distribute as much word candy (“S-L-A-N-G”) quite as flavorfully as the Goon With The Spoon himself.\u003c/p>\n\u003ch2>Andre Nickatina: TOGO’s #41 sandwich with the hot peppers on “\u003ca href=\"https://www.youtube.com/watch?v=_FU1XdPE6lM\">Fa Show\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Baby don’t act dumb, I’m number 41, high stepper / TOGO’s sandwich with the hot peppers / At 90 degrees I might freeze, so when it’s hot I sport leather.”\u003c/em>\u003c/p>\n\u003cp>Fillmore’s finest, and among \u003ca href=\"https://www.passionweiss.com/2016/11/17/andre-nickatina/\">the most criminally underrated San Francisco rappers in history\u003c/a>, Andre Nickatina has always had a penchant for the spicy, the flavorful, the extemporaneously saucy. From rapping about eating Cap’n Crunch around drug dealers to sarcastically handing out Baskin Robbins dollars to his enemies, Nicky Nicotine (formerly known as Dre Dog) raps about food as casually as any rapper would ever dare. Unlike many of today’s international rap personalities, who seem to only eat at \u003ca href=\"https://www.reddit.com/r/OutOfTheLoop/comments/6frbt9/why_are_rappers_obsessed_with_nobu_sushi/\">high-priced sushi conglomerates\u003c/a>, Nickatina is a Bay Area real one, electing to stay fed at a regional sandwich chain from San Jose. The enigmatic “number 41” on the \u003ca href=\"https://www.togos.com/menu/?gad_source=1&gclid=CjwKCAjwoPOwBhAeEiwAJuXRh69gJ2fS8J9qmnAKJEnCmI5720psTxEmhEmkgFAemWoe3auyNuuxExoCTm0QAvD_BwE\">Togo’s menu\u003c/a> has since been discontinued, but a spokesperson for the restaurant IDed it as a sirloin steak and mushroom sandwich that was introduced as a seasonal special back in 2002 — the same year “Fa Show” was released. There is no doubt it must’ve been fire, given its endorsement by a legend who knows how to professionally “\u003ca href=\"https://www.youtube.com/watch?v=o8TXpoi-goE\">Break Bread\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13956088\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956088\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg\" alt=\"Illustration of the rapper Kamaiyah eating from a plate of chicken alfredo tucked under her arm. Next to her is a bottle of champagne.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah’s album covers often feature food, Hennessey and champagne — a reflection of the rapper’s saucy, bossy lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kamaiyah: Champagne and chicken on “\u003ca href=\"https://www.youtube.com/watch?v=Yls2dMJ63tM\">Whatever Whenever\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Just drink champagne with all my chicken meals.”\u003c/em>\u003c/p>\n\u003cp>It’s fitting that East Oakland’s Kamaiyah — who cooked up the searingly hot single “How Does It Feel” on her transcendent debut, \u003ci>A Good Night in the Ghetto\u003c/i> — continued to double down on aspirational living and good eating with her sophomore release, \u003ci>Got It Made\u003c/i>. As always, the bodacious trapper rhymes over a synth-laced, floaty-spaceship soundscape while bragging about her California riches — and cuisine. The music video for “Whatever Whenever” features Kamaiyah roaming the untainted grounds of a Napa Valley-esque chateau. Her album covers over the years have also featured bags of potato chips, Hennessy and double-fisted bottles of champagne. It’s always bottoms up when Kamaiyah is on the track.\u003c/p>\n\u003ch2>Too $hort: Macaroni, steak and collard greens on “\u003ca href=\"https://www.youtube.com/watch?v=Ru5B8cFskaw\">All My B*tches Are Gone\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Eat some shit up / macaroni, steak, collard greens, or whatever the fuck.”\u003c/em>\u003c/p>\n\u003cp>With over 35 years of classic albums like \u003ci>Cocktails\u003c/i> and \u003ci>Gettin’ It\u003c/i>, there’s no doubt that Short Dogg knows how to feed his multi-generational fanbase. He doesn’t shy away from straightforward lyrics — or having a large appetite for nefarious activities — and he has continued to make seasoned slaps for precisely 225,000 hours and counting (“get a calculator, do the math”). This OG’s plate of choice includes classic soul food staples served with a slab of steak. As the veteran unmistakably outlines on “This How We Eat”: “We make money, we eat, we feed.”\u003c/p>\n\u003cfigure id=\"attachment_13956087\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg\" alt=\"Illustration of the rapper Larry June in an SF Giants cap, holding a crab cracker in one hand and a fork in the other. In front of him is a whole lobster on a plate.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Besides establishing himself as the healthiest rapper in Bay Area lore, Larry June is also known for sporting vintage muscle cars and cracking lobsters in Sausalito as part of his luxurious lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Larry June: Crab legs on “\u003ca href=\"https://www.youtube.com/watch?v=luIhlZBrJos\">Lifetime Income\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“This not my girlfriend, we just eatin’ crab legs.”\u003c/em>\u003c/p>\n\u003cp>If you know Larry June, then you know he’s all about smoothies, green teas, organic juices and oranges (yee hee!). But just as buttery are his numerously silky references to luxury meals and late-night outings with a seemingly endless rotation of women friends. Without question, the Hunters Point rapper has one of the healthiest appetites of anyone around a microphone, regularly dropping rhymes about his organic sustenance. Since Uncle Larry makes a living off his out-of-pocket food references, he merits an honorable mention for dropping other absolute bangers like “I might write a motherfuckin’ smoothie book or somethin’ … Sell this shit for thirty dollars” and “Watermelon juice riding bikes with my latest chick / I don’t do the clubs that often, I got a check to get.” It’s fitting that \u003ca href=\"https://uproxx.com/music/larry-june-interview-san-francisco/\">he also co-owns Honeybear Boba in the Dogpatch\u003c/a>.\u003c/p>\n\u003ch2>Iamsu!: Chicken strips and Moscato on “\u003ca href=\"https://www.youtube.com/watch?v=lQcxMU3uvLg\">Don’t Stop\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Keep it real I don’t brag though… / Chicken strips, no escargot / [sippin’] on the Moscato.”\u003c/em>\u003c/p>\n\u003cp>To be fair, this lyric is from a young, mixtape-era Iamsu! and might not reflect the current palate of the multi-platinum rapper and producer from Richmond. (In fact, that’s probably true of every rapper on this list, so take these lyrics with a grain of salt.) But when I first heard this song in my 20s, it’s a line that did — and still does — resonate for its unglamorized celebration of living on a low-budget microwaveable diet while maintaining a glimmer of high-life ambition. Personally, I’d take chicken strips over escargot nine out of ten times. And, from the sound of it, so would Suzy 6 Speed.\u003c/p>\n\u003cfigure id=\"attachment_13956086\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg\" alt=\"The rapper P-Lo wiggles his fingers in delight over a plate of chicken wings sitting on a bed of dollar bills.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo often raps about his love of chicken (chicken adobo, fried chicken, chicken wings), and his favorite food-related slang word is also “chicken” (as a stand in for “money”). \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo: Chicken wings in the strip club on “\u003ca href=\"https://www.youtube.com/watch?v=h-ajtPhAQ1U\">Going To Work\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“In the strip club eating chicken wings.”\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938479","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>There may not be another rapper on this list with as much love for chicken wings as Pinole’s P-Lo. For starters, the lyricist and producer launched a transnational food tour, teaming up with Filipino restaurants around the U.S. and Canada to deliver collaborative one-off dishes, including \u003ca href=\"https://www.kqed.org/arts/13935891/p-lo-senor-sisig-filipino-food-tour-oakland\">his own spicy sinigang wings at Señor Sisig in Oakland\u003c/a>. If that’s not enough, he has popped up on popular social media channels like \u003ca href=\"https://www.instagram.com/bayareafoodz/?hl=en\">Bay Area Foodz\u003c/a> as \u003ca href=\"https://www.youtube.com/watch?v=lJYkVcpM6E0\">he searches for the best wings around the Yay\u003c/a>. His songs are even featured on \u003ca href=\"https://www.instagram.com/reel/CwyzdhfrNCE/\">national commercials for Wingstop\u003c/a>. For P-Lo, it’s always time to bring back the bass — and taste.\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003ch2>Guap (formerly Guapdad 4000): Chicken adobo on “\u003ca href=\"https://www.youtube.com/watch?v=1DaovaJgytE\">Chicken Adobo\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“How I fell in love with you it was beautiful / Like chicken adobo how you fill me up.”\u003c/em>\u003c/p>\n\u003cp>For the Black Filipino American rapper from West Oakland, \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">food has always played a central role in his upbringing\u003c/a>. The anime-loving, Marvel comics fan grew up in a Filipino household eating champorado, and his songs have never shied away from references to his dual cultures. In what might be his most well-known song, Guap equates romantic satiation to filling up on a bowl of chicken adobo. His love of food goes beyond the booth — he recently spoke out on \u003ca href=\"https://www.kqed.org/arts/13950363/keith-lee-tiktok-oakland-sf-bay-area-struggles\">the recent Keith Lee fiasco\u003c/a>, and he also put together\u003ca href=\"https://trippin.world/guide/oaklands-top-food-joints-with-rapper-guapdad-4000\"> a map of his favorite places to eat around The Town\u003c/a>.\u003c/p>\n\u003ch2>Cellski: Canadian bacon, hash browns and cheddar cheese on “\u003ca href=\"https://www.youtube.com/watch?v=o6wFRZOd7n8\">Chedda\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Gotta get the cheddar, fuck the [federals].”\u003c/em>\u003c/p>\n\u003cp>As most food mentions in Bay Area rap goes, Cellski’s mention of this quintessentially North American breakfast combo isn’t exactly a homage to the real ingredients, as much as it is a reference to his hustling. His 1998 \u003ca href=\"https://www.discogs.com/release/841568-Cellski-Canadian-Bacon-Hash-Browns/image/SW1hZ2U6NDg3ODMxNzk=\">album cover\u003c/a> for \u003ci>Canadian Bacon & Hash Browns \u003c/i>features a cartoon depiction of the rapper getting pulled over and arrested by a Canadian mountie, with an open trunk revealing pounds of medicinal herbs. Nonetheless, there’s a good chance that the veteran San Francisco spitter actually does like to carry Canadian bacon, hash browns and cheddar around — \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\">he’s a part-time foodie who runs his own burger pop-up, after all\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg\" alt=\"Illustration of the rapper Dru Down in gold sunglasses and a black trench coat, holding an ice cream cone in one hand and an ice cream sundae on the table in front of him.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In a famous 1996 beef, Dru Down and the Luniz accused New Orleans rapper Master P (who started his musical career in the Bay Area) for stealing their concept of the “Ice Cream Man” — slang for a narcotics dealer. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dru Down: Ice cream on “\u003ca href=\"https://www.youtube.com/watch?v=3uNv2qAje-Q\">Ice Cream Man\u003c/a>” (with the Luniz)\u003c/h2>\n\u003cp>\u003cem>“Get your ice cream, ice cream / Not Ice-T, not Ice Cube, ice cream.”\u003c/em>\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>Not intended for children, the classic 1993 anthem off Dru Down’s \u003ci>Fools From The Street \u003c/i>paints a startling picture of addiction and illicit drug distribution around Oakland in the wake of Richard Nixon and Ronald Reagan’s War on Drugs. Despite its unapologetic content, “Ice Cream Man” went on to establish an indisputably popular food motif in national rap music: ice cream as a stand-in for drug dealing. Since the production includes an audio sampling of an ice cream truck’s inimitable tune, listening to it evokes a sense of nostalgia for the frozen treat — and for \u003ca href=\"https://www.kqed.org/bayareahiphop\">golden-era Bay Area hip-hop\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june","authors":["11748"],"categories":["arts_1","arts_12276","arts_69"],"tags":["arts_21883","arts_5397","arts_1601","arts_10278","arts_1297","arts_3771","arts_831","arts_21738","arts_1558","arts_9337","arts_1143","arts_1803","arts_1146","arts_19942","arts_19347","arts_3478","arts_3800"],"featImg":"arts_13956152","label":"source_arts_13955802"},"arts_13956133":{"type":"posts","id":"arts_13956133","meta":{"index":"posts_1591205157","site":"arts","id":"13956133","score":null,"sort":[1713374646000]},"guestAuthors":[],"slug":"tickets-presale-code-charli-xcx-and-troye-sivan-san-francsico","title":"Ticket Alert: Charli XCX and Troye Sivan Are Coming to San Francsico","publishDate":1713374646,"format":"standard","headTitle":"Ticket Alert: Charli XCX and Troye Sivan Are Coming to San Francsico | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Charli XCX and Troye Sivan have announced their \u003ca href=\"https://www.sweat-tour.com/\">2024 \u003cem>Sweat\u003c/em> tour\u003c/a>, including a co-headlining show at San Francisco’s Chase Center on Oct. 20, 2024.\u003c/p>\n\u003cp>Tickets for their San Francisco appearance can be bought early, at 10 a.m. on Thursday, April 25, by registering for a \u003ca href=\"https://go.seated.com/tour-events/c4cd0dff-613d-4f82-aa6d-823d1be5a2a4\">presale code\u003c/a> at the \u003ca href=\"https://www.sweat-tour.com/\">tour’s site\u003c/a>. Presale registration includes email and phone notifications. (Note that some presale codes are sent just a few minutes before the presale.)\u003c/p>\n\u003cp>Tickets go on sale to the general public the following day, on Friday, April 26, at 10 a.m.\u003c/p>\n\u003cp>Keeping with Charli XCX’s hard turn into club music for her upcoming album \u003cem>Brat\u003c/em>, due June 7, the \u003cem>Sweat\u003c/em> tour promises to “to turn iconic U.S. and Canadian venues into raves.”\u003c/p>\n\u003cp>Charli XCX last performed in the Bay Area at Oakland’s Fox Theater to kick off her \u003cem>Crash\u003c/em> tour in 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Presale code information and other details for Charli XCX and Troye Sivan's 'Sweat' tour.","status":"publish","parent":0,"modified":1713375526,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":157},"headData":{"title":"Charli XCX and Troye Sivan: Presale Code Info and Ticket Details | KQED","description":"How to get early tickets for Charli XCX and Troye Sivan's 'Sweat' tour, including their show at San Francisco's Chase Center.","ogTitle":"Ticket Alert: Charli XCX and Troye Sivan Are Coming to San Francsico","ogDescription":"Presale code information and other details for Charli XCX and Troye Sivan's 'Sweat' tour.","ogImgId":"","twTitle":"Ticket Alert: Charli XCX and Troye Sivan Are Coming to San Francsico","twDescription":"Presale code information and other details for Charli XCX and Troye Sivan's 'Sweat' tour.","twImgId":"","socialTitle":"Charli XCX and Troye Sivan: Presale Code Info and Ticket Details %%page%% %%sep%% KQED","socialDescription":"How to get early tickets for Charli XCX and Troye Sivan's 'Sweat' tour, including their show at San Francisco's Chase Center."},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956133/tickets-presale-code-charli-xcx-and-troye-sivan-san-francsico","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Charli XCX and Troye Sivan have announced their \u003ca href=\"https://www.sweat-tour.com/\">2024 \u003cem>Sweat\u003c/em> tour\u003c/a>, including a co-headlining show at San Francisco’s Chase Center on Oct. 20, 2024.\u003c/p>\n\u003cp>Tickets for their San Francisco appearance can be bought early, at 10 a.m. on Thursday, April 25, by registering for a \u003ca href=\"https://go.seated.com/tour-events/c4cd0dff-613d-4f82-aa6d-823d1be5a2a4\">presale code\u003c/a> at the \u003ca href=\"https://www.sweat-tour.com/\">tour’s site\u003c/a>. Presale registration includes email and phone notifications. (Note that some presale codes are sent just a few minutes before the presale.)\u003c/p>\n\u003cp>Tickets go on sale to the general public the following day, on Friday, April 26, at 10 a.m.\u003c/p>\n\u003cp>Keeping with Charli XCX’s hard turn into club music for her upcoming album \u003cem>Brat\u003c/em>, due June 7, the \u003cem>Sweat\u003c/em> tour promises to “to turn iconic U.S. and Canadian venues into raves.”\u003c/p>\n\u003cp>Charli XCX last performed in the Bay Area at Oakland’s Fox Theater to kick off her \u003cem>Crash\u003c/em> tour in 2022.\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/13956133/tickets-presale-code-charli-xcx-and-troye-sivan-san-francsico","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_6926","arts_1146","arts_585","arts_700","arts_4798"],"featImg":"arts_13956134","label":"arts_140"},"arts_13955977":{"type":"posts","id":"arts_13955977","meta":{"index":"posts_1591205157","site":"arts","id":"13955977","score":null,"sort":[1713215781000]},"guestAuthors":[],"slug":"calvin-keys-jazz-guitarist-dies-obit-oakland","title":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82","publishDate":1713215781,"format":"standard","headTitle":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Calvin Keys, the Oakland-based jazz guitarist who worked with giants like Ray Charles and Ahmad Jamal, and who possessed a unique style both on stage and records, died Sunday afternoon. He was 82. \u003c/p>\n\u003cp>Keys was surrounded at Berkeley’s Alta Bates Medical Center on Sunday by family and loved ones from the Bay Area music scene, said his close friend and musical collaborator, Art Maxwell. The cause of death was complications due to a stroke.\u003c/p>\n\u003cp>“The world has just lost a wonderful person and musician,” said the bassist Henry Franklin, who played and recorded with Keys. “He was very prolific on his instrument, very inventive, and I’m sure he’s got one of the first seats in the big orchestra in the sky.”\u003c/p>\n\u003cfigure id=\"attachment_13956010\" class=\"wp-caption aligncenter\" style=\"max-width: 1264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg\" alt=\"\" width=\"1264\" height=\"1920\" class=\"size-full wp-image-13956010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg 1264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1011x1536.jpg 1011w\" sizes=\"(max-width: 1264px) 100vw, 1264px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys performing in San Francisco, circa 1977. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Ray Charles and Ahmad Jamal, Keys played with the likes of Donald Byrd, Lou Donaldson, Bobby Hutcherson, Tony Bennett, Earl “Fatha” Hines, Joe Henderson, Carmen McRea, Pharoah Sanders, Freddie Hubbard, Woody Shaw, Eddie Henderson, Stanley Turrentine and many, many others.\u003c/p>\n\u003cp>Maxwell remembered first seeing Keys at Laney College in Oakland in 1978, and later joining his band for shows at 57th Street Gallery and Geoffrey’s Inner Circle. Eventually he would become Keys’ musical director, and played with him for the past decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Calvin was the real deal,” Maxwell said. “He was a very handsome man, very warm, and extremely nice to almost everybody.” \u003c/p>\n\u003cp>Maxwell recalled when Keys, a few years ago, successfully petitioned Spotify to pay him for royalties due. “He took me out to a restaurant,” Maxwell said, “and said ‘Go ahead, get the best steak! Get everything, dessert, whatever you want!’ That was Calvin.”\u003c/p>\n\u003cfigure id=\"attachment_13956008\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13956008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Keys was born Feb. 6, 1942 in Omaha, Nebraska. As a young boy, his father, a drummer, used to sneak him into local ballrooms to hear performers like Little Richard and James Brown. He would soon learn guitar, and join jam sessions in town with touring artists like George Benson and Brother Jack McDuff. At the age of 15, Keys moved to Kansas City and soon began touring as a young teenager.\u003c/p>\n\u003cp>Keys played in top trios with popular organists like Jimmy McGriff and Jimmy Smith, and worked with Ray Charles on and off for 15 years. A move to Los Angeles in the late 1960s connected him with the Black Jazz record label, for which he recorded two era-defining albums: 1971’s \u003cem>Shawn-Neeq\u003c/em> and 1974’s \u003cem>Proceed With Caution\u003c/em>. He moved to the Bay Area in 1975.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch\u003c/strong>: \u003ca href=\"https://www.youtube.com/live/pC0Qa1zJmrM?si=DF1HedoMKLdhiH5J&t=3907\">Calvin Keys on stage at KQED, interviewed by Bianca Taylor\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After joining pianist Ahmad Jamal’s group, Keys spent six years touring and recording with the jazz giant. He sometimes told the story of Miles Davis, an avowed Jamal fan, once asking Jamal after a show if he could audition Keys for his own group — an offer Keys declined. \u003c/p>\n\u003cfigure id=\"attachment_13956007\" class=\"wp-caption aligncenter\" style=\"max-width: 1535px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg\" alt=\"\" width=\"1535\" height=\"1920\" class=\"size-full wp-image-13956007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1228x1536.jpg 1228w\" sizes=\"(max-width: 1535px) 100vw, 1535px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys on stage with his hollow-body guitar on stage. Keys performed at small clubs and community events into his 80s. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gregory Howe, the Bay Area producer and musician who under his Wide Hive Records label released four albums by Keys starting in 2000, said that Keys “was just an authoritative voice on his instrument.” He recalled his first experience with Keys in the recording studio, when he nailed a guitar solo in one take. \u003c/p>\n\u003cp>“He arrived in this \u003cem>huge\u003c/em> ’70s Cadillac,” Howe said. “We had this little recording studio in North Beach, and we couldn’t find anywhere to park the car!”\u003c/p>\n\u003cp>[aside postID='arts_13935159']Howe also remembered Keys’ sharp personal style, and how he would show up to record in “really clean” outfits that matched his high-class talent. \u003c/p>\n\u003cp>“When he would play, you \u003cem>had\u003c/em> to listen,” Howe said. “The way he could weave a solo, I don’t know any other guitarist that had that caliber of soulfulness and musical strength.”\u003c/p>\n\u003cp>Keys enjoyed a small renaissance in the 2010s as his early albums garnered more attention, including in places as distant as Europe and Japan. In 2012, the Bay Area label Tompkins Square reissued \u003cem>Shawn-Neeq\u003c/em>; \u003cem>Proceed With Caution\u003c/em> and 1985’s \u003cem>Full Court Press\u003c/em> have also been reissued in recent years. \u003c/p>\n\u003cfigure id=\"attachment_13956009\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys’ first album as a leader, ‘Shawn-Neeq,’ has been reissued multiple times since its release in 1971. \u003ccite>(Black Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keys was a teacher at the Oakland Public Conservatory and frequently taught his skills to the younger generation at camps and in private lessons.\u003c/p>\n\u003cp>On stage, Keys continued to perform locally, including at clubs like Yoshi’s, up to the end. He refused suggestions to retire, even as he underwent quadruple bypass surgery in 1997 and back surgery in recent years, Maxwell said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Terrace Martin, the famed keyboardist and hip-hop producer, and Keys’ godson, \u003ca href=\"https://www.instagram.com/p/C5yGq43r6gh/?hl=en&img_index=1\">said on Instagram\u003c/a>: “A true master teacher has transitioned. Rest in power, love and peace to Calvin Keys. I love you.”\u003c/p>\n\n","blocks":[],"excerpt":"The stylish Oakland guitarist, remembered as innovative and generous, played with dozens of jazz greats.","status":"publish","parent":0,"modified":1713399419,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":881},"headData":{"title":"Calvin Keys, Jazz Guitarist With Endless Soul, Dies at 82 | KQED","description":"The stylish Oakland guitarist, remembered as innovative and generous, played with dozens of jazz greats.","ogTitle":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82","ogDescription":"","ogImgId":"","twTitle":"Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82","twDescription":"","twImgId":"","socialTitle":"Calvin Keys, Jazz Guitarist With Endless Soul, Dies at 82 %%page%% %%sep%% KQED"},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/f582ee74-90eb-466c-aa23-b15500fe9994/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955977/calvin-keys-jazz-guitarist-dies-obit-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Calvin Keys, the Oakland-based jazz guitarist who worked with giants like Ray Charles and Ahmad Jamal, and who possessed a unique style both on stage and records, died Sunday afternoon. He was 82. \u003c/p>\n\u003cp>Keys was surrounded at Berkeley’s Alta Bates Medical Center on Sunday by family and loved ones from the Bay Area music scene, said his close friend and musical collaborator, Art Maxwell. The cause of death was complications due to a stroke.\u003c/p>\n\u003cp>“The world has just lost a wonderful person and musician,” said the bassist Henry Franklin, who played and recorded with Keys. “He was very prolific on his instrument, very inventive, and I’m sure he’s got one of the first seats in the big orchestra in the sky.”\u003c/p>\n\u003cfigure id=\"attachment_13956010\" class=\"wp-caption aligncenter\" style=\"max-width: 1264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg\" alt=\"\" width=\"1264\" height=\"1920\" class=\"size-full wp-image-13956010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg 1264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1011x1536.jpg 1011w\" sizes=\"(max-width: 1264px) 100vw, 1264px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys performing in San Francisco, circa 1977. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Ray Charles and Ahmad Jamal, Keys played with the likes of Donald Byrd, Lou Donaldson, Bobby Hutcherson, Tony Bennett, Earl “Fatha” Hines, Joe Henderson, Carmen McRea, Pharoah Sanders, Freddie Hubbard, Woody Shaw, Eddie Henderson, Stanley Turrentine and many, many others.\u003c/p>\n\u003cp>Maxwell remembered first seeing Keys at Laney College in Oakland in 1978, and later joining his band for shows at 57th Street Gallery and Geoffrey’s Inner Circle. Eventually he would become Keys’ musical director, and played with him for the past decade.\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>“Calvin was the real deal,” Maxwell said. “He was a very handsome man, very warm, and extremely nice to almost everybody.” \u003c/p>\n\u003cp>Maxwell recalled when Keys, a few years ago, successfully petitioned Spotify to pay him for royalties due. “He took me out to a restaurant,” Maxwell said, “and said ‘Go ahead, get the best steak! Get everything, dessert, whatever you want!’ That was Calvin.”\u003c/p>\n\u003cfigure id=\"attachment_13956008\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13956008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Keys was born Feb. 6, 1942 in Omaha, Nebraska. As a young boy, his father, a drummer, used to sneak him into local ballrooms to hear performers like Little Richard and James Brown. He would soon learn guitar, and join jam sessions in town with touring artists like George Benson and Brother Jack McDuff. At the age of 15, Keys moved to Kansas City and soon began touring as a young teenager.\u003c/p>\n\u003cp>Keys played in top trios with popular organists like Jimmy McGriff and Jimmy Smith, and worked with Ray Charles on and off for 15 years. A move to Los Angeles in the late 1960s connected him with the Black Jazz record label, for which he recorded two era-defining albums: 1971’s \u003cem>Shawn-Neeq\u003c/em> and 1974’s \u003cem>Proceed With Caution\u003c/em>. He moved to the Bay Area in 1975.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch\u003c/strong>: \u003ca href=\"https://www.youtube.com/live/pC0Qa1zJmrM?si=DF1HedoMKLdhiH5J&t=3907\">Calvin Keys on stage at KQED, interviewed by Bianca Taylor\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After joining pianist Ahmad Jamal’s group, Keys spent six years touring and recording with the jazz giant. He sometimes told the story of Miles Davis, an avowed Jamal fan, once asking Jamal after a show if he could audition Keys for his own group — an offer Keys declined. \u003c/p>\n\u003cfigure id=\"attachment_13956007\" class=\"wp-caption aligncenter\" style=\"max-width: 1535px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg\" alt=\"\" width=\"1535\" height=\"1920\" class=\"size-full wp-image-13956007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1228x1536.jpg 1228w\" sizes=\"(max-width: 1535px) 100vw, 1535px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys on stage with his hollow-body guitar on stage. Keys performed at small clubs and community events into his 80s. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gregory Howe, the Bay Area producer and musician who under his Wide Hive Records label released four albums by Keys starting in 2000, said that Keys “was just an authoritative voice on his instrument.” He recalled his first experience with Keys in the recording studio, when he nailed a guitar solo in one take. \u003c/p>\n\u003cp>“He arrived in this \u003cem>huge\u003c/em> ’70s Cadillac,” Howe said. “We had this little recording studio in North Beach, and we couldn’t find anywhere to park the car!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935159","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Howe also remembered Keys’ sharp personal style, and how he would show up to record in “really clean” outfits that matched his high-class talent. \u003c/p>\n\u003cp>“When he would play, you \u003cem>had\u003c/em> to listen,” Howe said. “The way he could weave a solo, I don’t know any other guitarist that had that caliber of soulfulness and musical strength.”\u003c/p>\n\u003cp>Keys enjoyed a small renaissance in the 2010s as his early albums garnered more attention, including in places as distant as Europe and Japan. In 2012, the Bay Area label Tompkins Square reissued \u003cem>Shawn-Neeq\u003c/em>; \u003cem>Proceed With Caution\u003c/em> and 1985’s \u003cem>Full Court Press\u003c/em> have also been reissued in recent years. \u003c/p>\n\u003cfigure id=\"attachment_13956009\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys’ first album as a leader, ‘Shawn-Neeq,’ has been reissued multiple times since its release in 1971. \u003ccite>(Black Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keys was a teacher at the Oakland Public Conservatory and frequently taught his skills to the younger generation at camps and in private lessons.\u003c/p>\n\u003cp>On stage, Keys continued to perform locally, including at clubs like Yoshi’s, up to the end. He refused suggestions to retire, even as he underwent quadruple bypass surgery in 1997 and back surgery in recent years, Maxwell said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Terrace Martin, the famed keyboardist and hip-hop producer, and Keys’ godson, \u003ca href=\"https://www.instagram.com/p/C5yGq43r6gh/?hl=en&img_index=1\">said on Instagram\u003c/a>: “A true master teacher has transitioned. Rest in power, love and peace to Calvin Keys. I love you.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955977/calvin-keys-jazz-guitarist-dies-obit-oakland","authors":["185"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_10278","arts_22080","arts_1420","arts_21789"],"featImg":"arts_13956006","label":"arts"},"arts_13955839":{"type":"posts","id":"arts_13955839","meta":{"index":"posts_1591205157","site":"arts","id":"13955839","score":null,"sort":[1712872162000]},"guestAuthors":[],"slug":"maggie-rogers-in-person-tickets-sale-chase-center","title":"Maggie Rogers’ In-Person Ticket Policy: What’s Not to Love?","publishDate":1712872162,"format":"standard","headTitle":"Maggie Rogers’ In-Person Ticket Policy: What’s Not to Love? | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Maggie Rogers has \u003ca href=\"https://shop.maggierogers.com/pages/tour\">announced a tour\u003c/a> for her new album \u003cem>Don’t Forget Me\u003c/em>, and she’s letting fans have their first crack at tickets the old-fashioned way: by waiting in line, in person. \u003c/p>\n\u003cp>Here in San Francisco, that means \u003ca href=\"https://shop.maggierogers.com/pages/tour-box-office\">tickets ($39.50–$139.50) to Rogers’ Nov. 1, 2024 show at Chase Center will go on sale at the Chase Center box office\u003c/a> on Saturday, April 20, at 10 a.m., before becoming available online the following week.\u003c/p>\n\u003cp>This is a beautiful thing, and not just for old-school nostalgists who romanticize the fun of waiting in line with other fans for tickets.\u003c/p>\n\u003cp>[aside postID='forum_2010101892062'] As you’ve probably noticed, online ticketing for major concerts is completely broken and exploited by opportunists. So much so that any artist who cares about their fans should follow Rogers’ lead and offer early in-person ticket sales.\u003c/p>\n\u003cp>How many times have you gone online and selected tickets, only to have them removed from your cart and then re-offered at a much higher price due to “dynamic pricing”? How many times have you gotten your “verified fan” code and tried to buy tickets right at 10 a.m., and bots and scalpers have already bought 90% of the available seats to re-sell them at three or four times face value? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I could go on and on. Captchas, pull-down menus, “convenience” fees and “facility” fees that add up to 50% or more onto the face value ticket price, the phasing out of printed tickets, the \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">Department of Justice’s refusal to break up the Ticketmaster-Live Nation monopoly\u003c/a>, the persistent stories of ticket agencies, venues and artists themselves all \u003ca href=\"https://www.kqed.org/arts/13841293/ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report\">scalping their own tickets\u003c/a>.\u003c/p>\n\u003cp>Maggie Rogers, heroine of the people, said \u003cem>the hell with that — there’s gotta be a better way\u003c/em>. She began selling tickets in person “to combat bots and reduce fees,” as she said in \u003ca href=\"https://www.instagram.com/p/C5oQRo8LY7F/\">an Instagram announcement\u003c/a> today, and “it was so successful and so fun that I decided to do it again.”\u003c/p>\n\u003cp>[aside postID='arts_13831858']Other artists have gone the in-person ticketing route in San Francisco before. \u003ca href=\"https://www.kqed.org/arts/13831858/nine-inch-nails-in-person-ticket-policy-is-beautiful\">Nine Inch Nails did it for their show at the Bill Graham Civic Auditorium\u003c/a> in 2018, and \u003ca href=\"https://www.marketplace.org/2010/08/25/bob-dylan-concert-tickets-cash-only/\">Bob Dylan charged $60 at the door\u003c/a>, cash only, for his show at the Warfield in 2010. \u003c/p>\n\u003cp>Both Pearl Jam and the Cure have famously tried to change the system from within, with \u003ca href=\"https://www.kqed.org/arts/13926475/robert-smith-the-cure-ticketmaster-partial-refunds-lower-fees\">varying success\u003c/a>. Rogers, meanwhile, is showing up to sell tickets in person in New York, Philadelphia, Boston and Chicago — and playing special shows in those cities for what she’s calling “Box Office Week.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows what kind of deal Rogers had to make with Ticketmaster to pull this off — and for an arena tour, no less — but her commitment here constitutes hall-of-fame public service. \u003c/p>\n\n","blocks":[],"excerpt":"Fans will have first crack at tickets the old-fashioned way: by waiting in line, in person. ","status":"publish","parent":0,"modified":1712872162,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":499},"headData":{"title":"Maggie Rogers’ In-Person Ticket Policy: What’s Not to Love? | KQED","description":"Fans will have first crack at tickets the old-fashioned way: by waiting in line, in person. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955839/maggie-rogers-in-person-tickets-sale-chase-center","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maggie Rogers has \u003ca href=\"https://shop.maggierogers.com/pages/tour\">announced a tour\u003c/a> for her new album \u003cem>Don’t Forget Me\u003c/em>, and she’s letting fans have their first crack at tickets the old-fashioned way: by waiting in line, in person. \u003c/p>\n\u003cp>Here in San Francisco, that means \u003ca href=\"https://shop.maggierogers.com/pages/tour-box-office\">tickets ($39.50–$139.50) to Rogers’ Nov. 1, 2024 show at Chase Center will go on sale at the Chase Center box office\u003c/a> on Saturday, April 20, at 10 a.m., before becoming available online the following week.\u003c/p>\n\u003cp>This is a beautiful thing, and not just for old-school nostalgists who romanticize the fun of waiting in line with other fans for tickets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101892062","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> As you’ve probably noticed, online ticketing for major concerts is completely broken and exploited by opportunists. So much so that any artist who cares about their fans should follow Rogers’ lead and offer early in-person ticket sales.\u003c/p>\n\u003cp>How many times have you gone online and selected tickets, only to have them removed from your cart and then re-offered at a much higher price due to “dynamic pricing”? How many times have you gotten your “verified fan” code and tried to buy tickets right at 10 a.m., and bots and scalpers have already bought 90% of the available seats to re-sell them at three or four times face value? \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>I could go on and on. Captchas, pull-down menus, “convenience” fees and “facility” fees that add up to 50% or more onto the face value ticket price, the phasing out of printed tickets, the \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">Department of Justice’s refusal to break up the Ticketmaster-Live Nation monopoly\u003c/a>, the persistent stories of ticket agencies, venues and artists themselves all \u003ca href=\"https://www.kqed.org/arts/13841293/ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report\">scalping their own tickets\u003c/a>.\u003c/p>\n\u003cp>Maggie Rogers, heroine of the people, said \u003cem>the hell with that — there’s gotta be a better way\u003c/em>. She began selling tickets in person “to combat bots and reduce fees,” as she said in \u003ca href=\"https://www.instagram.com/p/C5oQRo8LY7F/\">an Instagram announcement\u003c/a> today, and “it was so successful and so fun that I decided to do it again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13831858","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Other artists have gone the in-person ticketing route in San Francisco before. \u003ca href=\"https://www.kqed.org/arts/13831858/nine-inch-nails-in-person-ticket-policy-is-beautiful\">Nine Inch Nails did it for their show at the Bill Graham Civic Auditorium\u003c/a> in 2018, and \u003ca href=\"https://www.marketplace.org/2010/08/25/bob-dylan-concert-tickets-cash-only/\">Bob Dylan charged $60 at the door\u003c/a>, cash only, for his show at the Warfield in 2010. \u003c/p>\n\u003cp>Both Pearl Jam and the Cure have famously tried to change the system from within, with \u003ca href=\"https://www.kqed.org/arts/13926475/robert-smith-the-cure-ticketmaster-partial-refunds-lower-fees\">varying success\u003c/a>. Rogers, meanwhile, is showing up to sell tickets in person in New York, Philadelphia, Boston and Chicago — and playing special shows in those cities for what she’s calling “Box Office Week.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows what kind of deal Rogers had to make with Ticketmaster to pull this off — and for an arena tour, no less — but her commitment here constitutes hall-of-fame public service. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955839/maggie-rogers-in-person-tickets-sale-chase-center","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_6926","arts_10278","arts_585","arts_700","arts_4802"],"featImg":"arts_13955842","label":"arts_140"},"arts_13955781":{"type":"posts","id":"arts_13955781","meta":{"index":"posts_1591205157","site":"arts","id":"13955781","score":null,"sort":[1712859198000]},"guestAuthors":[],"slug":"judee-sill-genius-lost-angel-documentary-review","title":"A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten","publishDate":1712859198,"format":"standard","headTitle":"A Judee Sill Documentary Ensures Her Musical Genius Won’t Be Forgotten | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Unlike many of the famous people interviewed in the documentary \u003ci>Lost Angel: The Genius of Judee Sill\u003c/i>, I can’t remember exactly when I first heard Sill’s music.\u003c/p>\n\u003cp>I know it was decades after the 1971 release of her self-titled debut album, released by David Geffen’s brand-new Asylum Records. It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\u003c/i>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FSYc-cLZUEs\u003c/p>\n\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The short life and career of the ’70s singer-songwriter are carefully stitched together in ‘Lost Angel.’","status":"publish","parent":0,"modified":1713462800,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":928},"headData":{"title":"A Judee Sill Documentary Ensures Her Musical Genius Won't Be Forgotten | KQED","description":"The short life and career of the ’70s singer-songwriter are carefully stitched together in ‘Lost Angel.’","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955781/judee-sill-genius-lost-angel-documentary-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Unlike many of the famous people interviewed in the documentary \u003ci>Lost Angel: The Genius of Judee Sill\u003c/i>, I can’t remember exactly when I first heard Sill’s music.\u003c/p>\n\u003cp>I know it was decades after the 1971 release of her self-titled debut album, released by David Geffen’s brand-new Asylum Records. It was definitely long after her death, in 1979, by overdose. As someone who wasn’t alive in the ’60s and ’70s, I placed Sill’s music into my mental filing cabinet alongside contemporaries and label-mates like Joni Mitchell, Linda Ronstadt and Jackson Browne, as if it had always been there. \u003c/p>\n\u003cp>In fact, she took up far more of my mental space than that crowd. Sill’s “\u003ca href=\"https://youtu.be/kTAesI73E1U?feature=shared\">Jesus Was a Cross Maker\u003c/a>” became my go-to example of a baffling yet perfect breakup song. At low points, I listened to “\u003ca href=\"https://youtu.be/kyPhvHEtRuw?feature=shared\">The Kiss\u003c/a>,” from her 1973 sophomore album, on repeat. Her haunting voice, sliding through strange tempo shifts and baroque-inspired compositions, still sends shivers down my spine.\u003c/p>\n\u003cfigure id=\"attachment_13955794\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg\" alt=\"Person with eyes closed singing into mic with rose-colored glasses\" width=\"2000\" height=\"1366\" class=\"size-full wp-image-13955794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Judee-Singing-Credit-Greenwich-Entertainment_2000-1920x1311.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Judee Sill singing. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I didn’t understand then, and what \u003ci>Lost Angel\u003c/i> explains patiently, admirably, is just how short-lived Sill’s career was, and how far she had fallen from the heights she hoped to achieve as “the world’s greatest living songwriter” before her death at age 35. \u003c/p>\n\u003cp>In the strange landscape of endlessly available streaming music, songs are now often loosed from albums, free-floating from any connection to era or location. This can lead to a transcendent form of time travel, like when \u003ca href=\"https://www.youtube.com/watch?v=UM18Wuw3Tns\">modern artists cover Sill’s work\u003c/a> in front of massive cheering crowds. But it can also obscure significant biographical facts and musical context.\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>\u003ci>Lost Angel\u003c/i>, directed by Andy Brown and Brian Lindstrom, carefully stitches Judee Sill’s life and music back together. It’s a story that follows a familiar music industry arc, but still holds surprises. We learn that it was in reform school, for instance, that Sill gained her “gospel licks” as the church organist. And that she arrived in reform school after she was arrested, at age 18, as a “teen-age housewife who joined three friends in staging over a dozen robberies ‘just for kicks’” (according to the San Fernando \u003ci>Valley Times\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/FSYc-cLZUEs'\n title='//www.youtube.com/embed/FSYc-cLZUEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sill showed early musical aptitude, learning to harmonize with herself on a piano as a young girl at her father’s Oakland bar. After his death, Sill’s mother married a Disney animator and moved the family to Los Angeles. By Sill’s accounts, it was a chaotic and abusive household she couldn’t wait to escape.\u003c/p>\n\u003cp>We hear from family, friends, lovers and musicians who came up with Sill in Los Angeles piano bars and folk music haunts. (Many of those musicians found extraordinary success.) We see bits of her songwriting, her drawings and diaries. Animations illustrate some of her more occult and religious themes — she credited divine inspiration for her songs. \u003c/p>\n\u003cp>But the most excellent parts of \u003ci>Lost Angel\u003c/i> arrive in Sill’s own voice. It’s a relief when various star-studded covers melt into Sill’s original versions. Her singing is so crystalline it’s utterly heartbreaking: pure beauty coming out of all that pain, loss and addiction. In the final years of her life she went through numerous surgeries after a car accident; she fell back into hard drugs after doctors wouldn’t prescribe her painkillers.\u003c/p>\n\u003cfigure id=\"attachment_13955795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg\" alt=\"Billboard with album cover and information set against blue sky\" width=\"900\" height=\"611\" class=\"size-full wp-image-13955795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Photo-4-Asylum-Billboard-November-1971-Credit-Greenwich-Entertainment-768x521.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">The billboard Asylum Records rented in November 1971 for the release of Judee Sill’s debut album. In the documentary, Sill says she rented a car to sit across the street and just look at it. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the songs, we also hear her tell parts of her own story. At one point, a recorded interview shows her striving, thankful for what she has, but restless. Also a treat: her deadpan on-stage banter (when her audience was receptive), in which Sill frames her songs with tidbits of biography I’m sure listeners believed were wildly embellished.\u003c/p>\n\u003cp>\u003ci>Lost Angel\u003c/i> doesn’t bother with the precise dates of performances or arrive at a definitive answer to why Asylum dropped Sill after just two albums. Linda Ronstadt offers perhaps the final word on that matter. “There wasn’t anybody out to get her,” Ronstadt says. “She just didn’t deliver the goods that would have resonated in that culture in that time.” \u003c/p>\n\u003cp>Total precision is not the goal of \u003ci>Lost Angel\u003c/i>, which relies much on 50-year-old memories. But this film does achieve what it ardently sets out to do: introduce Sill to those who are ready to experience the resonance of her music in the present moment. Footage of countless YouTube covers of “The Kiss” scrolls past, and the talking heads offer up an idea of valiantly living on through one’s art. \u003c/p>\n\u003cp>I’m sure Judee Sill would agree. I just wish she was here to tell us so.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Lost Angel: The Genius of Judee Sill’ begins streaming on Amazon and Apple TV on April 12, 2024. It comes to the \u003ca href=\"https://www.4-star-movies.com/\">4 Star\u003c/a> (2200 Clement St., San Francisco) April 16—17 with live pre-show music from \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm-62pdl\">Silverware\u003c/a> and \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/lost-angel-the-genius-of-judee-sill-730-pm\">Free Key Choir\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955781/judee-sill-genius-lost-angel-documentary-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69"],"tags":["arts_21958","arts_10342","arts_10278","arts_977","arts_769"],"featImg":"arts_13955793","label":"arts_140"},"arts_13955656":{"type":"posts","id":"arts_13955656","meta":{"index":"posts_1591205157","site":"arts","id":"13955656","score":null,"sort":[1712691900000]},"guestAuthors":[],"slug":"deftones-system-of-a-down-tickets-presale-code-san-francisco-golden-gate-outside-lands","title":"System of a Down, Deftones to Headline San Francisco Concert After Outside Lands","publishDate":1712691900,"format":"standard","headTitle":"System of a Down, Deftones to Headline San Francisco Concert After Outside Lands | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Deftones, System of a Down and The Mars Volta will play in San Francisco’s Golden Gate Park this August, inaugurating a new annual event on the same site as the Outside Lands music festival.\u003c/p>\n\u003cp>The one-day concert will take place in Golden Gate Park’s Polo Fields on Aug. 17, 2024 for an audience of up to 65,000 people. The lineup also includes Swedish punks \u003ca href=\"https://www.vboysstockholm.com/\">Viagra Boys\u003c/a> and Australian industrial rockers \u003ca href=\"https://www.vowwsband.com/\">VOWWS\u003c/a>. The concert is expected to be the only West Coast date for System of a Down in 2024 outside of this month’s \u003ca href=\"https://www.sicknewworldfest.com/\">Sick New World\u003c/a> festival in Las Vegas.\u003c/p>\n\u003cp>Presented by Another Planet Entertainment, which also produces Outside Lands, the single-stage concert will take place on the weekend following Outside Lands. The concert’s proximity to Outside Lands means it will utilize much of the infrastructure from the weekend before, not unlike the country music-oriented Stagecoach festival, which takes place in Indio on the weekend following Coachella, or Napa’s Latin-music themed Festival La Onda, which this year follows the BottleRock music festival.\u003c/p>\n\u003cp>\u003ca href=\"https://goldengateparkconcerts.com/\">Tickets for the festival\u003c/a> are priced at $169 for general admission and $399 for VIP tickets plus fees. VIP guests will get expedited entry and have access to a closer views of the stage, lounges and upgraded bathrooms. Tickets officially go on sale on April 12, but \u003ca href=\"https://www.ticketmaster.com/event/1C006084BF4C4CF8?camefrom=CFC_ANOTHERPLANET_GGPCWEB&brand=anotherplanet\">Another Planet’s presale\u003c/a> starts on April 11 at 10 a.m. using the presale code \u003cstrong>golden\u003c/strong>.\u003c/p>\n\u003cp>[aside postID='news_11960570']Deftones and VOWWS last appeared in San Francisco together at a sold-out show at Bill Graham Civic Auditorium in April 2022 — a concert that was twice delayed by the COVID pandemic. Though Sacramento heroes Deftones are well-versed in playing for huge crowds at European festivals like Rock Am Ring and Reading/Leeds, this will be their biggest Bay Area concert to date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert is the first to be produced under Another Planet’s newly formed Golden Gate Park Concerts banner. In September of 2023, \u003ca href=\"https://www.kqed.org/news/11960570/sfs-golden-gate-park-may-soon-host-new-concert-series-from-producers-of-outside-lands\">San Francisco’s Board of Supervisors approved additional concerts in Golden Gate Park\u003c/a>, with the stipulation that Another Planet produce three free concerts at the Civic Center, Union Square and the Embarcadero. The city also granted Another Planet exclusive rights to producing ticketed concerts in Golden Gate Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are excited to be bringing such an iconic lineup to the city,” Allen Scott, Another Planet’s president of concerts and festivals, said in a statement. “We are expecting fans from not just the Bay Area but from across the US and internationally.”\u003c/p>\n\n","blocks":[],"excerpt":"The one-day concert gets underway in Golden Gate Park's Polo Fields on Aug. 17, 2024.","status":"publish","parent":0,"modified":1712692603,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":444},"headData":{"title":"Ticket Alert: System of a Down, Deftones Concert Presale Code in SF | KQED","description":"How to score tickets before the general onsale for System of a Down and Deftones in San Francisco's Golden Gate Park.","ogTitle":"System of a Down, Deftones to Headline San Francisco Concert After Outside Lands","ogDescription":"","ogImgId":"","twTitle":"System of a Down, Deftones to Headline San Francisco Concert After Outside Lands","twDescription":"","twImgId":"","socialTitle":"Ticket Alert: System of a Down, Deftones Concert Presale Code in SF %%page%% %%sep%% KQED","socialDescription":"How to score tickets before the general onsale for System of a Down and Deftones in San Francisco's Golden Gate Park."},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955656/deftones-system-of-a-down-tickets-presale-code-san-francisco-golden-gate-outside-lands","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deftones, System of a Down and The Mars Volta will play in San Francisco’s Golden Gate Park this August, inaugurating a new annual event on the same site as the Outside Lands music festival.\u003c/p>\n\u003cp>The one-day concert will take place in Golden Gate Park’s Polo Fields on Aug. 17, 2024 for an audience of up to 65,000 people. The lineup also includes Swedish punks \u003ca href=\"https://www.vboysstockholm.com/\">Viagra Boys\u003c/a> and Australian industrial rockers \u003ca href=\"https://www.vowwsband.com/\">VOWWS\u003c/a>. The concert is expected to be the only West Coast date for System of a Down in 2024 outside of this month’s \u003ca href=\"https://www.sicknewworldfest.com/\">Sick New World\u003c/a> festival in Las Vegas.\u003c/p>\n\u003cp>Presented by Another Planet Entertainment, which also produces Outside Lands, the single-stage concert will take place on the weekend following Outside Lands. The concert’s proximity to Outside Lands means it will utilize much of the infrastructure from the weekend before, not unlike the country music-oriented Stagecoach festival, which takes place in Indio on the weekend following Coachella, or Napa’s Latin-music themed Festival La Onda, which this year follows the BottleRock music festival.\u003c/p>\n\u003cp>\u003ca href=\"https://goldengateparkconcerts.com/\">Tickets for the festival\u003c/a> are priced at $169 for general admission and $399 for VIP tickets plus fees. VIP guests will get expedited entry and have access to a closer views of the stage, lounges and upgraded bathrooms. Tickets officially go on sale on April 12, but \u003ca href=\"https://www.ticketmaster.com/event/1C006084BF4C4CF8?camefrom=CFC_ANOTHERPLANET_GGPCWEB&brand=anotherplanet\">Another Planet’s presale\u003c/a> starts on April 11 at 10 a.m. using the presale code \u003cstrong>golden\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11960570","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Deftones and VOWWS last appeared in San Francisco together at a sold-out show at Bill Graham Civic Auditorium in April 2022 — a concert that was twice delayed by the COVID pandemic. Though Sacramento heroes Deftones are well-versed in playing for huge crowds at European festivals like Rock Am Ring and Reading/Leeds, this will be their biggest Bay Area concert to date.\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>The concert is the first to be produced under Another Planet’s newly formed Golden Gate Park Concerts banner. In September of 2023, \u003ca href=\"https://www.kqed.org/news/11960570/sfs-golden-gate-park-may-soon-host-new-concert-series-from-producers-of-outside-lands\">San Francisco’s Board of Supervisors approved additional concerts in Golden Gate Park\u003c/a>, with the stipulation that Another Planet produce three free concerts at the Civic Center, Union Square and the Embarcadero. The city also granted Another Planet exclusive rights to producing ticketed concerts in Golden Gate Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are excited to be bringing such an iconic lineup to the city,” Allen Scott, Another Planet’s president of concerts and festivals, said in a statement. “We are expecting fans from not just the Bay Area but from across the US and internationally.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955656/deftones-system-of-a-down-tickets-presale-code-san-francisco-golden-gate-outside-lands","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_69","arts_75"],"tags":["arts_2427","arts_994","arts_1694","arts_905","arts_585","arts_700"],"featImg":"arts_13955665","label":"arts_140"},"arts_13955633":{"type":"posts","id":"arts_13955633","meta":{"index":"posts_1591205157","site":"arts","id":"13955633","score":null,"sort":[1712682684000]},"guestAuthors":[],"slug":"beyonce-first-black-woman-to-top-billboard-country-albums-chart","title":"Beyoncé Becomes First Black Woman to Hit No. 1 on Country Albums Chart","publishDate":1712682684,"format":"standard","headTitle":"Beyoncé Becomes First Black Woman to Hit No. 1 on Country Albums Chart | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Beyoncé has made history once again. Her latest album, the epic \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Act ll: Cowboy Carter\u003c/em>\u003c/a>, hit No. 1 on the Billboard country albums chart, making her the first Black woman to top the chart since its 1964 inception.\u003c/p>\n\u003cp>[aside postid='arts_13955021']The album also topped the all-genres Billboard 200, marking her eighth No. 1 album. According to Luminate, the industry data and analytics company, \u003cem>Cowboy Carter\u003c/em> totaled 407,000 equivalent album units, a combination of pure album sales and on-demand streams, earned in the U.S. in its first week.\u003c/p>\n\u003cp>As a Black woman reclaiming country music, Beyoncé stands in opposition to stereotypical associations of the genre with whiteness. Conversation surrounding Beyoncé’s country music explorations began when she arrived at the 2024 Grammy Awards in full cowboy regalia — making a statement without saying a word. Then, \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl, she dropped two hybrid country songs\u003c/a>: “Texas Hold ’Em” and “16 Carriages,” eventually leading to the release of “Cowboy Carter.”\u003c/p>\n\u003cp>In February, “Texas Hold ’Em” reached No. 1 on the country airplay chart, making her the first Black woman to top that chart as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Since its 1964 inception, a Black woman has never topped the Billboard country albums chart before.","status":"publish","parent":0,"modified":1712682684,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":205},"headData":{"title":"Beyoncé First Black Woman to Top Country Albums Chart | KQED","description":"Since its 1964 inception, a Black woman has never topped the Billboard country albums chart before.","ogTitle":"Beyoncé Becomes First Black Woman to Hit No. 1 on Country Albums Chart","ogDescription":"","ogImgId":"","twTitle":"Beyoncé Becomes First Black Woman to Hit No. 1 on Country Albums Chart","twDescription":"","twImgId":"","socialTitle":"Beyoncé First Black Woman to Top Country Albums Chart%%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Maria Sherman, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955633/beyonce-first-black-woman-to-top-billboard-country-albums-chart","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé has made history once again. Her latest album, the epic \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Act ll: Cowboy Carter\u003c/em>\u003c/a>, hit No. 1 on the Billboard country albums chart, making her the first Black woman to top the chart since its 1964 inception.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955021","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The album also topped the all-genres Billboard 200, marking her eighth No. 1 album. According to Luminate, the industry data and analytics company, \u003cem>Cowboy Carter\u003c/em> totaled 407,000 equivalent album units, a combination of pure album sales and on-demand streams, earned in the U.S. in its first week.\u003c/p>\n\u003cp>As a Black woman reclaiming country music, Beyoncé stands in opposition to stereotypical associations of the genre with whiteness. Conversation surrounding Beyoncé’s country music explorations began when she arrived at the 2024 Grammy Awards in full cowboy regalia — making a statement without saying a word. Then, \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl, she dropped two hybrid country songs\u003c/a>: “Texas Hold ’Em” and “16 Carriages,” eventually leading to the release of “Cowboy Carter.”\u003c/p>\n\u003cp>In February, “Texas Hold ’Em” reached No. 1 on the country airplay chart, making her the first Black woman to top that chart as well.\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/13955633/beyonce-first-black-woman-to-top-billboard-country-albums-chart","authors":["byline_arts_13955633"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_1686","arts_7534"],"featImg":"arts_13955025","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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