Black History and Love Intertwine at These February Bay Area Concerts
Ticket Alert: Usher Is Coming to Oakland Arena in September
SZA, Snoh Aalegra, Kaytraminé to Headline Sol Blume
Thuy Makes a Stunning Return to the Bay, Inspires the ‘Most Wholesome Mosh Pit Ever’
Talking With Tony! Toni! Toné! About Finally Coming Back to Oakland — Together
Oakland’s Tony! Toni! Toné! Are Working On Their First New Album in Almost 30 Years
Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland
Sugar Pie DeSanto, the 87-Year-Old Firecracker of R&B, Plots Her Comeback
The ‘Soul Train’ Musical Explodes With Talent, Despite Following the Formula
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But the heart of winter also contains a holiday dedicated to romance, love and eros, and too little has been made of Black History Month’s coupling with Valentine’s Day, particularly given Black music’s essential role as the soundtrack for love in all its many manifestations. [aside postid='arts_13925077']\u003c/p>\n\u003cp>No force in American culture better evokes the jumbled, intermingled emotions, impulses and sensations we stuff into the Hermione’s handbag definition of love, which encompasses everything from carnal longing for a forbidden caress to desperate desire for unity with God. And in much the same way that classical Persian poets like Rumi and Hafez transmute spiritual ardor into the language of earthly passion, soul and R&B can transpose the ecstasy of Sunday morning worship into Saturday night revelry.\u003c/p>\n\u003cp>The Bay Area is blessed with a multitude of artists who are eloquent in these musical love languages, like the polymathic actor, songwriter, event curator and smoldering soulman Martin Luther McCoy. He’s celebrating Feb. 14 with a tribute to Sade at the SFJAZZ Center, “\u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/martin-luther-mccoy-sade-tribute/\">No Ordinary Love\u003c/a>,” a concert in which he’ll be slipping some of his original songs into the mix. (McCoy performs another Sade tribute on March 9 at \u003ca href=\"https://blackcatsf.turntabletickets.com/\">San Francisco’s Black Cat\u003c/a>, followed by a Prince tribute on March 10.)\u003c/p>\n\u003cp>Growing up in San Francisco, McCoy absorbed a broad sacred-to-secular spectrum of Black music, picking up Parliament from his older brother while “my parents were more into gospel and the church,” he said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=he3DB5AqKpw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The McCoy household resounded with the artists who pioneered the soul aesthetic, like Dinah Washington, Ray Charles and Sam Cooke, whose classic live album \u003cem>Sam Cooke at the Copa “\u003c/em>was playing on the car tape deck every time we’d go to church,” he recalled. While Sade’s music eschews gospel’s melismatic drama in favor of lithe, cool-toned lines, McCoy brings extroverted fervor to every musical situation, whether he’s in singer-songwriter mode, accompanying himself on acoustic guitar, or belting out Sly Stone anthems with the SFJAZZ Collective. He’s releasing a new album Feb. 14, \u003cem>Welcome Back Love\u003c/em>, making his own statement about the enduring power of romantic Black music. And on March\u003c/p>\n\u003cp>For suave, swoon-inducing old-school R&B, no Bay Area artist has carried the torch with more style than Nicolas Bearde, who performs at North Beach’s \u003ca href=\"https://keysjazzbistro.com/upcoming-shows/\">Keys Jazz Bistro Feb. 10\u003c/a>, \u003ca href=\"https://www.caltix.com/e/saturday-nicolas-bearde-valentines-special-2/tickets\">Mama Kins in San Jose\u003c/a> on Valentine’s Day and Oakland’s \u003ca href=\"https://piedmontpiano.com/calendar/2024/2/18/nicolas-bearde\">Piedmont Piano Company Feb. 18\u003c/a>. He brings a vast world of experience to the stage, from performances with Linda Tillery’s field-hollers-to-hip-hop Cultural Heritage Choir to Bobby McFerrin’s improvisation-laced a cappella Voicestra and its spin-off SoVoSó.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jOddHmSeQ5w\u003c/p>\n\u003cp>As a solo artist he earned an avid following crooning sophisticated R&B, but Bearde has evolved in recent years into a captivating jazz singer whose easy-going authority on ballads and mid-tempo swingers distinguished his 2019 album \u003cem>I Remember You: The Music of Nat King Cole.\u003c/em> He notes that the marriage of church and nightclub was “somewhat controversial at first.”\u003c/p>\n\u003cp>“The AME church I went to as a young person in Nashville would never have allowed a drum kit and electric bass,” he said. “That was devil music. The only thing you’d have is piano. Not even a tambourine. But the church a block away, when that band got to thumping sometimes I wished I could have got in there. It sounded like they were having a good time.”\u003c/p>\n\u003cp>When you’re looking for swaggering blues-drenched authority, Jamie Davis is the cat to call. He’s the headliner Feb. 17 at “\u003ca href=\"https://www.lesherartscenter.org/Home/Components/Calendar/Event/16606/3094\">Playing In the Key of Life\u003c/a>” at Walnut Creek’s Lesher Center for the Arts, where the Unity Music Foundation presents a fundraiser for scholarships supporting talented young musicians. A commanding baritone, Davis sings with a big band on a program that also includes performances by multi-instrumentalist Kyle Athayde, vocalist Clairdee and special guest drummer Greg Errico, a founding member of Sly and The Family Stone. [aside postid='arts_13951713']\u003c/p>\n\u003cp>One of the finest male vocalists in jazz, Davis can belt the blues, croon American Songbook ballads with a warm, burnished tone, and deliver Stevie Wonder hits with soulful authority. Born and raised in Ohio, he experienced music’s transporting power at his father’s Pentecostal church, where he first performed in the choir and then came into his own as a soloist. Always interested in a range of styles and idioms, he moved to San Francisco in the mid-1970s and established himself with top players like trumpeter Eddie Henderson and tenor saxophonist Pharoah Sanders.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v14m0fi2QSM\u003c/p>\n\u003cp>Davis got his big break when word reached him indirectly that he’d been hired for the Basie Orchestra in 2000. While legendary pianist and bandleader Count Basie died in 1984, the orchestra has continued to build on its storied history as a showcase for great jazz singers, from Jimmy Rushing and Billie Holiday in the 1930s to San Francisco great Mary Stallings in the 1970s. (The orchestra just won its first Grammy, taking home the best large jazz ensemble album trophy for \u003cem>Basie Swings the Blues.\u003c/em>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jJi3u-O4vwM\u003c/p>\n\u003cp>Speaking of Clairdee and Mary Stallings, they’re both playing Keys Jazz Bistro next week. A sparking vocalist who infuses even melancholy material with a sense of optimism, Clairdee plays a run of \u003ca href=\"https://keysjazzbistro.com/event/clairdees-valentines-show/\">four Valentine’s shows Feb. 14-15\u003c/a>. And Stallings, who has established Keys as a premiere venue for vocalists with monthly appearances, \u003ca href=\"https://keysjazzbistro.com/event/mary-stallings-10/\">returns on Feb. 16-17\u003c/a>. The fact that she sounds magnificent at 81 makes it tempting to joke about her deal with the devil, but Stallings found her calling at seven years old at the First African Methodist Episcopal Zion Church on Geary Street. [aside postid='arts_13951430']\u003c/p>\n\u003cp>Sitting in the upstairs pews looking down at a gospel choir from Chicago, “something hit me,” she told journalist Rich Scheinin in a \u003ca href=\"https://www.sfjazz.org/onthecorner/qa-with-mary-stallings\">2020 interview\u003c/a>. “You can’t separate the music from the religious aspect, the spiritual aspect. This music is a spiritual thing. I was a little girl of seven years old, and I was touched. And when I came home, I told my mother, ‘Mama, I want to be singer. I want to sing! I want to sing!’”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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\n","blocks":[],"excerpt":"Martin Luther McCoy, Mary Stallings and more offer a smooth soundtrack for Valentine's Day and Black History Month.","status":"publish","parent":0,"modified":1707354069,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1168},"headData":{"title":"Black History and Love Intertwine at February Bay Area Concerts | KQED","description":"Martin Luther McCoy, Mary Stallings and more offer a smooth soundtrack for Valentine's Day and Black History Month.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Black History and Love Intertwine at February Bay Area Concerts %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Black History and Love Intertwine at These February Bay Area Concerts","datePublished":"2024-02-08T00:18:11.000Z","dateModified":"2024-02-08T01:01:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951693/black-history-valentines-day-concerts-jazz-soul-sf-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m hardly the first person to note that setting aside the four weeks of February to celebrate Black history can feel a little backhanded, given that it’s shortest month of the year. But the heart of winter also contains a holiday dedicated to romance, love and eros, and too little has been made of Black History Month’s coupling with Valentine’s Day, particularly given Black music’s essential role as the soundtrack for love in all its many manifestations. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925077","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No force in American culture better evokes the jumbled, intermingled emotions, impulses and sensations we stuff into the Hermione’s handbag definition of love, which encompasses everything from carnal longing for a forbidden caress to desperate desire for unity with God. And in much the same way that classical Persian poets like Rumi and Hafez transmute spiritual ardor into the language of earthly passion, soul and R&B can transpose the ecstasy of Sunday morning worship into Saturday night revelry.\u003c/p>\n\u003cp>The Bay Area is blessed with a multitude of artists who are eloquent in these musical love languages, like the polymathic actor, songwriter, event curator and smoldering soulman Martin Luther McCoy. He’s celebrating Feb. 14 with a tribute to Sade at the SFJAZZ Center, “\u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/martin-luther-mccoy-sade-tribute/\">No Ordinary Love\u003c/a>,” a concert in which he’ll be slipping some of his original songs into the mix. (McCoy performs another Sade tribute on March 9 at \u003ca href=\"https://blackcatsf.turntabletickets.com/\">San Francisco’s Black Cat\u003c/a>, followed by a Prince tribute on March 10.)\u003c/p>\n\u003cp>Growing up in San Francisco, McCoy absorbed a broad sacred-to-secular spectrum of Black music, picking up Parliament from his older brother while “my parents were more into gospel and the church,” he said.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/he3DB5AqKpw'\n title='//www.youtube.com/embed/he3DB5AqKpw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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 McCoy household resounded with the artists who pioneered the soul aesthetic, like Dinah Washington, Ray Charles and Sam Cooke, whose classic live album \u003cem>Sam Cooke at the Copa “\u003c/em>was playing on the car tape deck every time we’d go to church,” he recalled. While Sade’s music eschews gospel’s melismatic drama in favor of lithe, cool-toned lines, McCoy brings extroverted fervor to every musical situation, whether he’s in singer-songwriter mode, accompanying himself on acoustic guitar, or belting out Sly Stone anthems with the SFJAZZ Collective. He’s releasing a new album Feb. 14, \u003cem>Welcome Back Love\u003c/em>, making his own statement about the enduring power of romantic Black music. And on March\u003c/p>\n\u003cp>For suave, swoon-inducing old-school R&B, no Bay Area artist has carried the torch with more style than Nicolas Bearde, who performs at North Beach’s \u003ca href=\"https://keysjazzbistro.com/upcoming-shows/\">Keys Jazz Bistro Feb. 10\u003c/a>, \u003ca href=\"https://www.caltix.com/e/saturday-nicolas-bearde-valentines-special-2/tickets\">Mama Kins in San Jose\u003c/a> on Valentine’s Day and Oakland’s \u003ca href=\"https://piedmontpiano.com/calendar/2024/2/18/nicolas-bearde\">Piedmont Piano Company Feb. 18\u003c/a>. He brings a vast world of experience to the stage, from performances with Linda Tillery’s field-hollers-to-hip-hop Cultural Heritage Choir to Bobby McFerrin’s improvisation-laced a cappella Voicestra and its spin-off SoVoSó.\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/jOddHmSeQ5w'\n title='//www.youtube.com/embed/jOddHmSeQ5w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a solo artist he earned an avid following crooning sophisticated R&B, but Bearde has evolved in recent years into a captivating jazz singer whose easy-going authority on ballads and mid-tempo swingers distinguished his 2019 album \u003cem>I Remember You: The Music of Nat King Cole.\u003c/em> He notes that the marriage of church and nightclub was “somewhat controversial at first.”\u003c/p>\n\u003cp>“The AME church I went to as a young person in Nashville would never have allowed a drum kit and electric bass,” he said. “That was devil music. The only thing you’d have is piano. Not even a tambourine. But the church a block away, when that band got to thumping sometimes I wished I could have got in there. It sounded like they were having a good time.”\u003c/p>\n\u003cp>When you’re looking for swaggering blues-drenched authority, Jamie Davis is the cat to call. He’s the headliner Feb. 17 at “\u003ca href=\"https://www.lesherartscenter.org/Home/Components/Calendar/Event/16606/3094\">Playing In the Key of Life\u003c/a>” at Walnut Creek’s Lesher Center for the Arts, where the Unity Music Foundation presents a fundraiser for scholarships supporting talented young musicians. A commanding baritone, Davis sings with a big band on a program that also includes performances by multi-instrumentalist Kyle Athayde, vocalist Clairdee and special guest drummer Greg Errico, a founding member of Sly and The Family Stone. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951713","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the finest male vocalists in jazz, Davis can belt the blues, croon American Songbook ballads with a warm, burnished tone, and deliver Stevie Wonder hits with soulful authority. Born and raised in Ohio, he experienced music’s transporting power at his father’s Pentecostal church, where he first performed in the choir and then came into his own as a soloist. Always interested in a range of styles and idioms, he moved to San Francisco in the mid-1970s and established himself with top players like trumpeter Eddie Henderson and tenor saxophonist Pharoah Sanders.\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/v14m0fi2QSM'\n title='//www.youtube.com/embed/v14m0fi2QSM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Davis got his big break when word reached him indirectly that he’d been hired for the Basie Orchestra in 2000. While legendary pianist and bandleader Count Basie died in 1984, the orchestra has continued to build on its storied history as a showcase for great jazz singers, from Jimmy Rushing and Billie Holiday in the 1930s to San Francisco great Mary Stallings in the 1970s. (The orchestra just won its first Grammy, taking home the best large jazz ensemble album trophy for \u003cem>Basie Swings the Blues.\u003c/em>)\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/jJi3u-O4vwM'\n title='//www.youtube.com/embed/jJi3u-O4vwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking of Clairdee and Mary Stallings, they’re both playing Keys Jazz Bistro next week. A sparking vocalist who infuses even melancholy material with a sense of optimism, Clairdee plays a run of \u003ca href=\"https://keysjazzbistro.com/event/clairdees-valentines-show/\">four Valentine’s shows Feb. 14-15\u003c/a>. And Stallings, who has established Keys as a premiere venue for vocalists with monthly appearances, \u003ca href=\"https://keysjazzbistro.com/event/mary-stallings-10/\">returns on Feb. 16-17\u003c/a>. The fact that she sounds magnificent at 81 makes it tempting to joke about her deal with the devil, but Stallings found her calling at seven years old at the First African Methodist Episcopal Zion Church on Geary Street. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951430","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sitting in the upstairs pews looking down at a gospel choir from Chicago, “something hit me,” she told journalist Rich Scheinin in a \u003ca href=\"https://www.sfjazz.org/onthecorner/qa-with-mary-stallings\">2020 interview\u003c/a>. “You can’t separate the music from the religious aspect, the spiritual aspect. This music is a spiritual thing. I was a little girl of seven years old, and I was touched. And when I came home, I told my mother, ‘Mama, I want to be singer. I want to sing! I want to sing!’”\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951693/black-history-valentines-day-concerts-jazz-soul-sf-bay-area","authors":["86"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_4096","arts_10278","arts_924","arts_2048","arts_3923"],"featImg":"arts_13951784","label":"arts"},"arts_13951713":{"type":"posts","id":"arts_13951713","meta":{"index":"posts_1591205157","site":"arts","id":"13951713","score":null,"sort":[1707267330000]},"guestAuthors":[],"slug":"ticket-alert-usher-oakland-arena-super-bowl-halftime-show","title":"Ticket Alert: Usher Is Coming to Oakland Arena in September","publishDate":1707267330,"format":"standard","headTitle":"Ticket Alert: Usher Is Coming to Oakland Arena in September | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The multi-platinum, Grammy Award-winning, mononymic R&B singer Usher stops by the Oakland Arena Sept. 28 and 29 on a North American tour titled “USHER: Past Present Future.” General tickets go on sale Feb. 12 at 10 a.m., with Citi and Verizon presales beginning 10 a.m. on Feb. 7.\u003c/p>\n\u003cp>For those who haven’t had a chance to be serenaded (aka \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/08/15/usher-keke-palmer-boyfriend-music-video/70595069007/\">question their own relationships\u003c/a>) during Usher’s sold-out two-year residency in Las Vegas, perhaps this tour is your chance. The 2024 tour marks 30 years of performing for the artist, who will release his ninth studio album, \u003ci>COMING HOME\u003c/i>, on Feb. 9. Days later, he’ll perform the halftime show at the 58th Super Bowl (go Niners!). \u003c/p>\n\u003cp>So if you’re on the fence about this one, you’ll have 12 to 14 minutes of Usher performing in an arena to help you decide about a longer show — and a heftier price tag. \u003c/p>\n\u003cp>Good luck to all the ticket seekers; find \u003ca href=\"https://www.livenation.com/artist/K8vZ9171bMV/usher-events\">more information on how to get them here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"How to get tickets for Usher, star of the Niners’ Super Bowl halftime show.","status":"publish","parent":0,"modified":1707267330,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":187},"headData":{"title":"Ticket Alert: Usher Is Coming to Oakland Arena in September | KQED","description":"How to get tickets for Usher, star of the Niners’ Super Bowl halftime show.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ticket Alert: Usher Is Coming to Oakland Arena in September","datePublished":"2024-02-07T00:55:30.000Z","dateModified":"2024-02-07T00:55:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951713/ticket-alert-usher-oakland-arena-super-bowl-halftime-show","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The multi-platinum, Grammy Award-winning, mononymic R&B singer Usher stops by the Oakland Arena Sept. 28 and 29 on a North American tour titled “USHER: Past Present Future.” General tickets go on sale Feb. 12 at 10 a.m., with Citi and Verizon presales beginning 10 a.m. on Feb. 7.\u003c/p>\n\u003cp>For those who haven’t had a chance to be serenaded (aka \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/08/15/usher-keke-palmer-boyfriend-music-video/70595069007/\">question their own relationships\u003c/a>) during Usher’s sold-out two-year residency in Las Vegas, perhaps this tour is your chance. The 2024 tour marks 30 years of performing for the artist, who will release his ninth studio album, \u003ci>COMING HOME\u003c/i>, on Feb. 9. Days later, he’ll perform the halftime show at the 58th Super Bowl (go Niners!). \u003c/p>\n\u003cp>So if you’re on the fence about this one, you’ll have 12 to 14 minutes of Usher performing in an arena to help you decide about a longer show — and a heftier price tag. \u003c/p>\n\u003cp>Good luck to all the ticket seekers; find \u003ca href=\"https://www.livenation.com/artist/K8vZ9171bMV/usher-events\">more information on how to get them here\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951713/ticket-alert-usher-oakland-arena-super-bowl-halftime-show","authors":["61"],"categories":["arts_1","arts_69"],"tags":["arts_1143","arts_924","arts_3842","arts_700","arts_4798"],"featImg":"arts_13951726","label":"arts"},"arts_13951430":{"type":"posts","id":"arts_13951430","meta":{"index":"posts_1591205157","site":"arts","id":"13951430","score":null,"sort":[1706900683000]},"guestAuthors":[],"slug":"sza-snoh-aalegra-kaytramine-sol-blume-2024-sacramento","title":"SZA, Snoh Aalegra, Kaytraminé to Headline Sol Blume","publishDate":1706900683,"format":"standard","headTitle":"SZA, Snoh Aalegra, Kaytraminé to Headline Sol Blume | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>This Sunday, we’ll find out if SZA will become the first Black woman in 25 years to \u003ca href=\"https://www.hollywoodreporter.com/news/music-news/szas-sos-could-make-history-black-women-grammys-2024-1235810407/\">win album of the year at the Grammys\u003c/a>. Whether or not \u003cem>SOS\u003c/em> wins the Recording Academy’s top honor, the New Jersey-raised singer made another big announcement today: she’ll headline \u003ca href=\"https://solblume.com/\">Sol Blume\u003c/a>, one of the West Coast’s biggest R&B festivals.\u003c/p>\n\u003cp>The independently produced event at Sacramento’s Discovery Park returns May 3-5 with an expanded three-day format and bigger stages. In addition to SZA, velvet-voiced singer Snoh Aalegra and house-rap duo Kaytraminé, a collaboration between dance music producer Kaytranada and rapper Aminé, top the bill.\u003c/p>\n\u003cfigure id=\"attachment_13905549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amin%C3%A9-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aminé Performs at Outside Lands on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup also includes an appearance from Doechii, a rapidly rising rapper and singer whose multifaceted sound pulls from jersey club, house music and R&B. (Doechii starred alongside Oakland’s \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia NoMore\u003c/a> in the acclaimed A24 film \u003ca href=\"https://www.kqed.org/forum/2010101893927/savannah-leafs-film-earth-mama-navigates-race-class-and-motherhood-in-oakland\">\u003cem>Earth Mama\u003c/em>\u003c/a>.) PinkPantheress, who blends hyperpop, garage and drum ‘n’ bass, also performs, along with genre-bending art-pop standouts Kelela and Omar Apollo. Also taking the stage is Ari Lennox, whose honest storytelling and arresting vocals do not miss, and singer-saxophone player Masego.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003cem>Sol Blume gets underway Friday–Sunday, May 3–5, at Discovery Park in Sacramento. Three-day passes go on sale Feb. 5. \u003ca href=\"https://solblume.com/\">Details and full lineup here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The independent festival returns to Sacramento's Discovery Park May 3-5. ","status":"publish","parent":0,"modified":1706900778,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":251},"headData":{"title":"SZA, Snoh Aalegra, Kaytraminé to Headline Sol Blume | KQED","description":"The independent festival returns to Sacramento's Discovery Park May 3-5. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SZA, Snoh Aalegra, Kaytraminé to Headline Sol Blume","datePublished":"2024-02-02T19:04:43.000Z","dateModified":"2024-02-02T19:06:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951430/sza-snoh-aalegra-kaytramine-sol-blume-2024-sacramento","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Sunday, we’ll find out if SZA will become the first Black woman in 25 years to \u003ca href=\"https://www.hollywoodreporter.com/news/music-news/szas-sos-could-make-history-black-women-grammys-2024-1235810407/\">win album of the year at the Grammys\u003c/a>. Whether or not \u003cem>SOS\u003c/em> wins the Recording Academy’s top honor, the New Jersey-raised singer made another big announcement today: she’ll headline \u003ca href=\"https://solblume.com/\">Sol Blume\u003c/a>, one of the West Coast’s biggest R&B festivals.\u003c/p>\n\u003cp>The independently produced event at Sacramento’s Discovery Park returns May 3-5 with an expanded three-day format and bigger stages. In addition to SZA, velvet-voiced singer Snoh Aalegra and house-rap duo Kaytraminé, a collaboration between dance music producer Kaytranada and rapper Aminé, top the bill.\u003c/p>\n\u003cfigure id=\"attachment_13905549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amin%C3%A9-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aminé Performs at Outside Lands on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup also includes an appearance from Doechii, a rapidly rising rapper and singer whose multifaceted sound pulls from jersey club, house music and R&B. (Doechii starred alongside Oakland’s \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia NoMore\u003c/a> in the acclaimed A24 film \u003ca href=\"https://www.kqed.org/forum/2010101893927/savannah-leafs-film-earth-mama-navigates-race-class-and-motherhood-in-oakland\">\u003cem>Earth Mama\u003c/em>\u003c/a>.) PinkPantheress, who blends hyperpop, garage and drum ‘n’ bass, also performs, along with genre-bending art-pop standouts Kelela and Omar Apollo. Also taking the stage is Ari Lennox, whose honest storytelling and arresting vocals do not miss, and singer-saxophone player Masego.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003cem>Sol Blume gets underway Friday–Sunday, May 3–5, at Discovery Park in Sacramento. Three-day passes go on sale Feb. 5. \u003ca href=\"https://solblume.com/\">Details and full lineup here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951430/sza-snoh-aalegra-kaytramine-sol-blume-2024-sacramento","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_3541","arts_924","arts_5779","arts_585"],"featImg":"arts_13951440","label":"arts"},"arts_13939645":{"type":"posts","id":"arts_13939645","meta":{"index":"posts_1591205157","site":"arts","id":"13939645","score":null,"sort":[1702931115000]},"guestAuthors":[],"slug":"thuy-makes-a-stunning-return-to-the-bay-inspires-the-most-wholesome-mosh-pit-ever","title":"Thuy Makes a Stunning Return to the Bay, Inspires the ‘Most Wholesome Mosh Pit Ever’","publishDate":1702931115,"format":"standard","headTitle":"Thuy Makes a Stunning Return to the Bay, Inspires the ‘Most Wholesome Mosh Pit Ever’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>With silky vocals, Bay Area throwbacks and a surprise \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\">P-Lo\u003c/a> feature, Thuy’s first headlining performance at San Francisco’s Warfield Theater solidified her as a rising R&B darling.\u003c/p>\n\u003cp>Throughout the evening on Saturday, Dec. 16, the Bay Area-born-and-raised singer — she grew up belting Britney Spears and Christina Aguilera lyrics in her garage in the East Bay town of Newark — delivered sparkling stage presence and powerful melodies. The sold-out crowd responded in kind, roaring Thuy’s lyrics back at her all night.\u003c/p>\n\u003cp>[aside postID='arts_13903701']Both of Thuy’s EPs, 2021’s\u003cem> I Hope U See This\u003c/em>, and her follow-up, 2022’s \u003cem>Girls Like Me Don’t Cry\u003c/em>, have garnered national attention. But this was a hometown party from the jump: Ahead of Thuy’s set, DJ Cook Beats set the regional tone with Too Short’s “Blow the Whistle,” while opener ASTN got the crowd in a holiday mood with his cover of “Last Christmas” and then Thuy opened with her glossy, upbeat track “I Got It,” a fitting anthem about self-confidence for an artist on the rise who’s been open about her insecurities.\u003c/p>\n\u003cp>“I got to step out and be more confident and love my body,” she told the crowd to mass cheering.\u003c/p>\n\u003cfigure id=\"attachment_13939644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939644 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield, in a hometown show that included several local surprise guests. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thuy also noted that the last time she was at the Warfield as an opener, she promised her team they’d be back as the headliner — and she manifested that in a big way.\u003c/p>\n\u003cp>Her community turned up to see it: the Bay Area’s pride for our own was the lifeblood of the show, which was also Thuy’s last performance of 2023. The crowd included Thuy’s actual uncles and aunties, as well as chosen family — plenty of her fellow local Millennials showed out.\u003c/p>\n\u003cp>One fan brought a South Vietnamese flag as a nod to Thuy’s heritage, which the artist pointed to mid-performance. “I want that flag up here!” she called out.\u003c/p>\n\u003cp>Thuy’s dad, in a gray wool blazer and an enormous smile, filmed the whole performance through his phone, repping proud immigrant dads everywhere. When Thuy asked the crowd if they were any “dog mommies and daddies,” her dad yelled back towards the stage, “I have a dog! I have a dog!”\u003c/p>\n\u003cfigure id=\"attachment_13939631\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939631 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In chunky silver hoops, a corset and mini skirt set and wooly black boots, Thuy shimmied through sultry tracks like “you should feel special” and “All Night Long.” But she also spent a fair amount of time in her bag, backdropped by visuals of swirly pink marbles and crystalline orchids.\u003c/p>\n\u003cp>“Even though I can be sassy, I’m a lover at heart,” she said.\u003c/p>\n\u003cp>[aside postID='arts_13936865']At one point she asked everyone to turn their phone flashlights into a makeshift halo around a couple in the crowd as they looked lovingly into each other’s eyes. They slow-danced as she sang “cause you are my universe, my everything, my sunset” from her 2021 song “universe,” quite possibly moving even the Grinch-iest of hearts in the audience.\u003c/p>\n\u003cp>“I can’t believe I did the most wholesome mosh pit ever!” she laughed.\u003c/p>\n\u003cp>Thuy’s Bay Area upbringing continued to take center stage throughout the performance, with the help of surprise appearances by Berkeley rapper Rexx Life Raj, who’s been on three tracks with her over the last couple years, as well as \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">Vallejo artist LaRussell\u003c/a>. The crowd met each surprise guest with deafening approval, especially Pinole rapper P-Lo, who roused the crowd with his dependable hit “Put Me On Somethin.’”\u003c/p>\n\u003cfigure id=\"attachment_13939629\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939629 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\" alt=\"A large crowd bathed in blue light cheers.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy fans cheer and sing along at the Warfield on Dec. 16, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Towards the end of her performance, Thuy sat on a barstool, heels dangling over the stage, to give a tearful monologue about her love for the Bay, her childhood and why she’s donating a portion of the concert’s proceeds to Toys for Tots.\u003c/p>\n\u003cp>“It’s about community and coming back to love,” she said. “And everytime I feel like I’ve lost myself, I know that when I come home here you guys always show me so much love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The rising R&B star’s sold-out San Francisco show paid tribute to her local roots with P-Lo and other surprise guests.","status":"publish","parent":0,"modified":1705002960,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":796},"headData":{"title":"Thuy Makes a Stunning Return to the Bay, Inspires the ‘Most Wholesome Mosh Pit Ever’ | KQED","description":"The rising R&B star’s sold-out San Francisco show paid tribute to her local roots with P-Lo and other surprise guests.","ogTitle":"Live Review: Thuy Stuns in Homecoming Show at the Warfield","ogDescription":"","ogImgId":"","twTitle":"Live Review: Thuy Stuns in Homecoming Show at the Warfield","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Thuy Makes a Stunning Return to the Bay, Inspires the ‘Most Wholesome Mosh Pit Ever’","datePublished":"2023-12-18T20:25:15.000Z","dateModified":"2024-01-11T19:56:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13939645/thuy-makes-a-stunning-return-to-the-bay-inspires-the-most-wholesome-mosh-pit-ever","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With silky vocals, Bay Area throwbacks and a surprise \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\">P-Lo\u003c/a> feature, Thuy’s first headlining performance at San Francisco’s Warfield Theater solidified her as a rising R&B darling.\u003c/p>\n\u003cp>Throughout the evening on Saturday, Dec. 16, the Bay Area-born-and-raised singer — she grew up belting Britney Spears and Christina Aguilera lyrics in her garage in the East Bay town of Newark — delivered sparkling stage presence and powerful melodies. The sold-out crowd responded in kind, roaring Thuy’s lyrics back at her all night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13903701","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Both of Thuy’s EPs, 2021’s\u003cem> I Hope U See This\u003c/em>, and her follow-up, 2022’s \u003cem>Girls Like Me Don’t Cry\u003c/em>, have garnered national attention. But this was a hometown party from the jump: Ahead of Thuy’s set, DJ Cook Beats set the regional tone with Too Short’s “Blow the Whistle,” while opener ASTN got the crowd in a holiday mood with his cover of “Last Christmas” and then Thuy opened with her glossy, upbeat track “I Got It,” a fitting anthem about self-confidence for an artist on the rise who’s been open about her insecurities.\u003c/p>\n\u003cp>“I got to step out and be more confident and love my body,” she told the crowd to mass cheering.\u003c/p>\n\u003cfigure id=\"attachment_13939644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939644 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield, in a hometown show that included several local surprise guests. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thuy also noted that the last time she was at the Warfield as an opener, she promised her team they’d be back as the headliner — and she manifested that in a big way.\u003c/p>\n\u003cp>Her community turned up to see it: the Bay Area’s pride for our own was the lifeblood of the show, which was also Thuy’s last performance of 2023. The crowd included Thuy’s actual uncles and aunties, as well as chosen family — plenty of her fellow local Millennials showed out.\u003c/p>\n\u003cp>One fan brought a South Vietnamese flag as a nod to Thuy’s heritage, which the artist pointed to mid-performance. “I want that flag up here!” she called out.\u003c/p>\n\u003cp>Thuy’s dad, in a gray wool blazer and an enormous smile, filmed the whole performance through his phone, repping proud immigrant dads everywhere. When Thuy asked the crowd if they were any “dog mommies and daddies,” her dad yelled back towards the stage, “I have a dog! I have a dog!”\u003c/p>\n\u003cfigure id=\"attachment_13939631\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939631 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In chunky silver hoops, a corset and mini skirt set and wooly black boots, Thuy shimmied through sultry tracks like “you should feel special” and “All Night Long.” But she also spent a fair amount of time in her bag, backdropped by visuals of swirly pink marbles and crystalline orchids.\u003c/p>\n\u003cp>“Even though I can be sassy, I’m a lover at heart,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936865","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At one point she asked everyone to turn their phone flashlights into a makeshift halo around a couple in the crowd as they looked lovingly into each other’s eyes. They slow-danced as she sang “cause you are my universe, my everything, my sunset” from her 2021 song “universe,” quite possibly moving even the Grinch-iest of hearts in the audience.\u003c/p>\n\u003cp>“I can’t believe I did the most wholesome mosh pit ever!” she laughed.\u003c/p>\n\u003cp>Thuy’s Bay Area upbringing continued to take center stage throughout the performance, with the help of surprise appearances by Berkeley rapper Rexx Life Raj, who’s been on three tracks with her over the last couple years, as well as \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">Vallejo artist LaRussell\u003c/a>. The crowd met each surprise guest with deafening approval, especially Pinole rapper P-Lo, who roused the crowd with his dependable hit “Put Me On Somethin.’”\u003c/p>\n\u003cfigure id=\"attachment_13939629\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939629 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\" alt=\"A large crowd bathed in blue light cheers.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy fans cheer and sing along at the Warfield on Dec. 16, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Towards the end of her performance, Thuy sat on a barstool, heels dangling over the stage, to give a tearful monologue about her love for the Bay, her childhood and why she’s donating a portion of the concert’s proceeds to Toys for Tots.\u003c/p>\n\u003cp>“It’s about community and coming back to love,” she said. “And everytime I feel like I’ve lost myself, I know that when I come home here you guys always show me so much love.”\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>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939645/thuy-makes-a-stunning-return-to-the-bay-inspires-the-most-wholesome-mosh-pit-ever","authors":["11872"],"categories":["arts_1","arts_74"],"tags":["arts_10278","arts_21808","arts_924","arts_21807"],"featImg":"arts_13939628","label":"arts"},"arts_13937961":{"type":"posts","id":"arts_13937961","meta":{"index":"posts_1591205157","site":"arts","id":"13937961","score":null,"sort":[1699977631000]},"guestAuthors":[],"slug":"tony-toni-tone-reunion-oakland-interview-paramount-theatre","title":"Talking With Tony! Toni! Toné! About Finally Coming Back to Oakland — Together","publishDate":1699977631,"format":"standard","headTitle":"Talking With Tony! Toni! Toné! About Finally Coming Back to Oakland — Together | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Earlier this year, when a cryptic announcement hit social media that all three original members of Tony! Toni! Toné! were going on tour, I, like a lot of people, immediately searched for more details. I even texted the number they said to text, and I normally avoid celebrity text sign-up promos. But this was \u003cem>Tony! Toni! Toné!\u003c/em> — and an extra special hometown show in Oakland was sure to come.\u003c/p>\n\u003cp>When tickets for a show at the Paramount were eventually announced, they quickly sold out. So the group added a second Paramount show (at press time, also nearly sold out). Which just proves the love that Oakland shares for Raphael Saadiq, D’Wayne Wiggins and Timothy Christian Riley, and the music they’ve produced while always repping their hometown.\u003c/p>\n\u003cp>And, as Raphael Saadiq and D’Wayne Wiggins shared when I caught up with them over Zoom before their Just Me and You Tour arrives at the Paramount Theatre in Oakland this week, it’ll be a dream come true to give that love right back.\u003c/p>\n\u003cp>[aside postID='arts_13935962']\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: You’re in the final days of this tour. How excited are you for these hometown shows? And knowing that you sold out the Paramount?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: It’s like living out a dream. The Paramount Theatre. I’ve watched many artists there. I met Cab Calloway there when I was a kid. Seeing Frankie Beverly every November. Historical events have been there. For us to be there.… and on stage with family? Oh my God.\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: I think my excitement will happen when we get to the venue, and then after we get dressed, and that moment we’re about to walk on. And that’s the craziest feeling we get in a place like the Paramount…. We did L.A. [last Saturday] and L.A. was something that we couldn’t even imagine. I don’t even want to think about what Oakland could be. I don’t know how to do that right now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fQd24h1ZDc4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I imagine there’s going to be a lot of family in the audience.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It’s going to be a lot of friends. A lot of family. A lot of people happy to see us together. And we’ll be happy to see them, too. It’s been a long time coming. The energy between us three and also the energy between the audience has been something that we couldn’t put together. Money couldn’t put it together. It’s just special. It’s like the perfect storm right now for us.\u003c/p>\n\u003cp>\u003cstrong>So was it easy to just drop back in and find the flow with each other on stage again?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It never changed.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: We’re comfortable on stage together like that… We know each other’s moves. We know each other’s vibes, we know each other’s style. You know, the history we have together. Certain licks we’ll do, certain turnarounds. Ray’ll change the show right before your eyes and say something in Tim’s ear. That’s the beauty of it. You know, it’s like we levitate together. We rise.\u003c/p>\n\u003cp>[aside postID='arts_13810633']\u003cstrong>Do you have any favorite memories of when you first started playing together? Like out in Oakland clubs?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: We’ve had our share of clubs, one being the \u003ca href=\"https://www.facebook.com/gmackeynurhyme/photos/a.474949895894297/499512880104665/\">Lucky Lion\u003c/a>. That was a place – I guess it would be like First Avenue in Minneapolis, for bands in Oakland. But playing outside in parks was the bigger thing in Oakland. We played a lot of parks. Arroyo Viejo Park, as well as Elmhurst Park on C Street and 98th — I think that was my first gig at a park. My best memories are of playing at parks, not at clubs.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: That’s great memories, too, because DeFremery Park, Sobrante Park, Arroyo Viejo Park, San Antonio Park. Maaan, every park we must have jammed at, you know?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e1YYqeKUp-M\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I read, Raphael, that when you kind of stealthily announced the tour, you wanted it to be very organic — not be leading with the business aspect, but with family. Is that right?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: Yeah… for a long time I was quoted as saying, ‘I’ll probably never do [Tony! Toni! Toné!] again.’ And I did say that, but I kind of said it knowing I can’t control that, right? But I knew I wanted to put the announcement out very beautifully. I wanted to see us look how we look. Get the right photos out, and \u003ca href=\"https://spinningplatters.com/2023/03/29/breaking-raphael-saadiq-is-touring-with-tony-toni-tone/\">throw a billboard up in the middle of East Oakland\u003c/a>, where we started. And not tell D’Wayne and not tell Tim. Not tell any management people. We felt like Oakland should know first.\u003c/p>\n\u003cfigure id=\"attachment_13937964\" class=\"wp-caption aligncenter\" style=\"max-width: 2504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg\" alt=\"Three Black men in semi-formal fashionable clothes stand in a row, looking into the camera\" width=\"2504\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg 2504w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1536x1045.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-2048x1394.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1920x1307.jpg 1920w\" sizes=\"(max-width: 2504px) 100vw, 2504px\">\u003cfigcaption class=\"wp-caption-text\">The image that Raphael Saadiq put on a billboard in Oakland to announce Tony! Toni! Toné!’s reunion tour. \u003ccite>(David 'Odiwams' Wright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know, we’ve not just played music in that city, but we’ve lost family members in that city. We ate a lot of cheeseburgers in that city. We ate a lot of donuts. We’ve had a lot of fights with people. We dodged bullets… We watched karate movies at Eastmont Mall at the Lux. We got to watch buildings go up and go down. We watched the whole city change from Black to what it is now. You know, we’ve seen a lot. We walked those streets so much. We watched our parents get old and, you know, watched our father [pass away]. So many people we said ‘good morning’ to that’s not there no more. Older people who taught us, that died a natural death, who had a good life.\u003c/p>\n\u003cp>So we have a lot ingrained in us that’s not just music. We’re not just music anymore. We’re feeling like this ancestor thing coming out. Spirit just took over. We’re just riding the wave. I really feel like that. And that’s how I’ve been feeling on the tour.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: The music is the score to our lives, you know. It helped us stay focused. We learned a lot. We still learn a lot. We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue and it took us a while to gather all of those thoughts and those passions. And when you see us on stage together, you can see we’ve been through a lot and it shines. And Oakland is our base, no matter what.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tony! Toni! Toné! plays the Paramount Theatre in Oakland on Nov. 14 and 15, and The Masonic in San Francisco on Nov. 17. \u003ca href=\"https://www.ticketmaster.com/tony-toni-tone-tickets/artist/874672\">Details and ticket info here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Raphael Saadiq and D'Wayne Wiggins discuss why their reunion shows at the Paramount Theatre are extra special: 'Oakland is our base, no matter what.'","status":"publish","parent":0,"modified":1705003102,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1233},"headData":{"title":"Talking With Tony! Toni! Toné! About Finally Coming Back to Oakland — Together | KQED","description":"Raphael Saadiq and D'Wayne Wiggins discuss why their reunion shows at the Paramount Theatre are extra special: 'Oakland is our base, no matter what.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Talking With Tony! Toni! Toné! About Finally Coming Back to Oakland — Together","datePublished":"2023-11-14T16:00:31.000Z","dateModified":"2024-01-11T19:58:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/70f0572b-c36a-41f0-b915-b0ba011427e4/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year, when a cryptic announcement hit social media that all three original members of Tony! Toni! Toné! were going on tour, I, like a lot of people, immediately searched for more details. I even texted the number they said to text, and I normally avoid celebrity text sign-up promos. But this was \u003cem>Tony! Toni! Toné!\u003c/em> — and an extra special hometown show in Oakland was sure to come.\u003c/p>\n\u003cp>When tickets for a show at the Paramount were eventually announced, they quickly sold out. So the group added a second Paramount show (at press time, also nearly sold out). Which just proves the love that Oakland shares for Raphael Saadiq, D’Wayne Wiggins and Timothy Christian Riley, and the music they’ve produced while always repping their hometown.\u003c/p>\n\u003cp>And, as Raphael Saadiq and D’Wayne Wiggins shared when I caught up with them over Zoom before their Just Me and You Tour arrives at the Paramount Theatre in Oakland this week, it’ll be a dream come true to give that love right back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935962","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: You’re in the final days of this tour. How excited are you for these hometown shows? And knowing that you sold out the Paramount?\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>\u003cstrong>D’Wayne Wiggins\u003c/strong>: It’s like living out a dream. The Paramount Theatre. I’ve watched many artists there. I met Cab Calloway there when I was a kid. Seeing Frankie Beverly every November. Historical events have been there. For us to be there.… and on stage with family? Oh my God.\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: I think my excitement will happen when we get to the venue, and then after we get dressed, and that moment we’re about to walk on. And that’s the craziest feeling we get in a place like the Paramount…. We did L.A. [last Saturday] and L.A. was something that we couldn’t even imagine. I don’t even want to think about what Oakland could be. I don’t know how to do that right now.\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/fQd24h1ZDc4'\n title='//www.youtube.com/embed/fQd24h1ZDc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I imagine there’s going to be a lot of family in the audience.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It’s going to be a lot of friends. A lot of family. A lot of people happy to see us together. And we’ll be happy to see them, too. It’s been a long time coming. The energy between us three and also the energy between the audience has been something that we couldn’t put together. Money couldn’t put it together. It’s just special. It’s like the perfect storm right now for us.\u003c/p>\n\u003cp>\u003cstrong>So was it easy to just drop back in and find the flow with each other on stage again?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It never changed.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: We’re comfortable on stage together like that… We know each other’s moves. We know each other’s vibes, we know each other’s style. You know, the history we have together. Certain licks we’ll do, certain turnarounds. Ray’ll change the show right before your eyes and say something in Tim’s ear. That’s the beauty of it. You know, it’s like we levitate together. We rise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13810633","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Do you have any favorite memories of when you first started playing together? Like out in Oakland clubs?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: We’ve had our share of clubs, one being the \u003ca href=\"https://www.facebook.com/gmackeynurhyme/photos/a.474949895894297/499512880104665/\">Lucky Lion\u003c/a>. That was a place – I guess it would be like First Avenue in Minneapolis, for bands in Oakland. But playing outside in parks was the bigger thing in Oakland. We played a lot of parks. Arroyo Viejo Park, as well as Elmhurst Park on C Street and 98th — I think that was my first gig at a park. My best memories are of playing at parks, not at clubs.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: That’s great memories, too, because DeFremery Park, Sobrante Park, Arroyo Viejo Park, San Antonio Park. Maaan, every park we must have jammed at, you know?\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/e1YYqeKUp-M'\n title='//www.youtube.com/embed/e1YYqeKUp-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I read, Raphael, that when you kind of stealthily announced the tour, you wanted it to be very organic — not be leading with the business aspect, but with family. Is that right?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: Yeah… for a long time I was quoted as saying, ‘I’ll probably never do [Tony! Toni! Toné!] again.’ And I did say that, but I kind of said it knowing I can’t control that, right? But I knew I wanted to put the announcement out very beautifully. I wanted to see us look how we look. Get the right photos out, and \u003ca href=\"https://spinningplatters.com/2023/03/29/breaking-raphael-saadiq-is-touring-with-tony-toni-tone/\">throw a billboard up in the middle of East Oakland\u003c/a>, where we started. And not tell D’Wayne and not tell Tim. Not tell any management people. We felt like Oakland should know first.\u003c/p>\n\u003cfigure id=\"attachment_13937964\" class=\"wp-caption aligncenter\" style=\"max-width: 2504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg\" alt=\"Three Black men in semi-formal fashionable clothes stand in a row, looking into the camera\" width=\"2504\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg 2504w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1536x1045.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-2048x1394.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1920x1307.jpg 1920w\" sizes=\"(max-width: 2504px) 100vw, 2504px\">\u003cfigcaption class=\"wp-caption-text\">The image that Raphael Saadiq put on a billboard in Oakland to announce Tony! Toni! Toné!’s reunion tour. \u003ccite>(David 'Odiwams' Wright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know, we’ve not just played music in that city, but we’ve lost family members in that city. We ate a lot of cheeseburgers in that city. We ate a lot of donuts. We’ve had a lot of fights with people. We dodged bullets… We watched karate movies at Eastmont Mall at the Lux. We got to watch buildings go up and go down. We watched the whole city change from Black to what it is now. You know, we’ve seen a lot. We walked those streets so much. We watched our parents get old and, you know, watched our father [pass away]. So many people we said ‘good morning’ to that’s not there no more. Older people who taught us, that died a natural death, who had a good life.\u003c/p>\n\u003cp>So we have a lot ingrained in us that’s not just music. We’re not just music anymore. We’re feeling like this ancestor thing coming out. Spirit just took over. We’re just riding the wave. I really feel like that. And that’s how I’ve been feeling on the tour.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: The music is the score to our lives, you know. It helped us stay focused. We learned a lot. We still learn a lot. We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue and it took us a while to gather all of those thoughts and those passions. And when you see us on stage together, you can see we’ve been through a lot and it shines. And Oakland is our base, no matter what.\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>\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>\u003cem>Tony! Toni! Toné! plays the Paramount Theatre in Oakland on Nov. 14 and 15, and The Masonic in San Francisco on Nov. 17. \u003ca href=\"https://www.ticketmaster.com/tony-toni-tone-tickets/artist/874672\">Details and ticket info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre","authors":["11296"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_10342","arts_10278","arts_1143","arts_21734","arts_924","arts_1146","arts_21733","arts_21735","arts_585"],"featImg":"arts_13937992","label":"arts"},"arts_13935962":{"type":"posts","id":"arts_13935962","meta":{"index":"posts_1591205157","site":"arts","id":"13935962","score":null,"sort":[1696616411000]},"guestAuthors":[],"slug":"tony-toni-tone-say-reuniting-feels-good-so-theyre-working-on-something-new","title":"Oakland’s Tony! Toni! Toné! Are Working On Their First New Album in Almost 30 Years","publishDate":1696616411,"format":"standard","headTitle":"Oakland’s Tony! Toni! Toné! Are Working On Their First New Album in Almost 30 Years | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>D’Wayne Wiggins and Timothy Christian Riley didn’t realize that Raphael Saadiq was planting the seeds for a Tony! Toni! Toné! reunion when he arranged a photoshoot earlier this year.\u003c/p>\n\u003cp>“He said a few times before, so we never paid that much attention to it until this fool put up a big-ass billboard in Oakland, and I had to see it through social media,” said vocalist and bass guitarist Wiggins, who wondered if the image was Photoshopped. “I thought someone was playing tricks, morphing our picture.”\u003c/p>\n\u003cp>[aside postid='arts_13935776']Saadiq, the lead singer and guitarist of the beloved R&B group, gathered the trio together, free of any outside influence.\u003c/p>\n\u003cp>“I didn’t tell any of the managers or team or anybody because I just wanted it to be us … I wanted to be in a room where the only power structure was one, two and three,” said Saadiq of his bandmates who are also family: Wiggins is his brother and Riley is their cousin. “We have to be us first before we could talk to anybody because that’s what happened the last time.”\u003c/p>\n\u003cp>Cut to last month, when Tony! Toni! Toné! kicked off their ‘Raphael Saddiq Revisits Tony! Toni! Tone! Just Me And You Tour 2023,’ the first road trip featuring the three original members in nearly 30 years. The trio, who grew up in Oakland and have remained influential in its music scene, will perform three shows in the Bay Area: Nov. 14 and 15 at Oakland’s Paramount Theatre, and Nov. 17 at the Masonic in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s been really cool, like rehearsals and the actual shows, just playing together again on a stage,” said Riley, who plays drums and keyboard. “A lot of times, we do production and studio work. But just actually being together, you feel the energy, you feel the love.”\u003c/p>\n\u003cp>That’s not all: the Tonyies, as they call themselves, are currently planning a new project.\u003c/p>\n\u003cp>[aside postid='arts_13935441']“There’s going to be another album … but I thought we need to really hone in on what we’re doing for touring and then go home and then take like two days off, and then start on the album,” said Saadiq, who once served as a member of Prince’s touring band.\u003c/p>\n\u003cp>“We got a lot of material and now we just want to make sure that we put out the right energy through our music,” added Wiggins, who founded an Oakland recording studio and helped develop some of the biggest names in modern R&B.\u003c/p>\n\u003cp>Blending R&B, jazz and traces of gospel, the trio — all alumni of Castlemont High School — burst onto the music scene with their 1988 debut album, \u003cem>Who?,\u003c/em> featuring songs like “Baby Doll” and “Little Walter.” But it was their 1990 New Jack Swing-infused track “Feels Good,” off their sophomore LP, \u003cem>The Revival\u003c/em>, that gave the group mainstream success, peaking at No. 9 on Billboard’s Hot 100 chart.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jfoxsfhi-kk\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThey released two more studio projects together, with party hits like “Let’s Get Down,” featuring DJ Quik, and timeless slow jams including “Whatever You Want,” “It Never Rains (In Southern California),” “(Lay Your Head on My) Pillow” and “Anniversary,” a standard in the Black music romance canon.\u003c/p>\n\u003cp>“I’ve always wanted a song like ‘Chestnuts’ like Nat King Cole, something that everybody played at some point, and ‘Anniversary’ was that type of song. I knew the subject matter wasn’t one that I thought was dated, but you couldn’t tell me that it was going to be this type of song,” said Saadiq. “When it comes on and couples grab each other, we know that it took on a whole different life that we couldn’t see.”\u003c/p>\n\u003cp>The blood relatives also couldn’t predict how their success would affect their relationship. The Tonyies went their separate ways after their fourth album, 1996’s platinum-selling \u003cem>House of Music\u003c/em>. Fame, finances, miscommunication and creative differences were unsustainable for the group. However, Saadiq is hesitant to use the word “breakup.”\u003c/p>\n\u003cp>[aside postid='arts_13810633']“I didn’t call them and go, ‘I quit! I’m mad at you guys!’ It wasn’t even like that. We’d been around each other our whole life,” said Saadiq. “What everybody saw as a breakup wasn’t really a breakup; we just noticed that we weren’t making music at that time.”\u003c/p>\n\u003cp>Wiggins and Riley toured under the group’s name between 1998 and 2018, with Amar Khalil taking over lead singing duties. Riley played on tracks for artists like Will Smith and Alicia Keys, and still collaborated with Saadiq on various songs.\u003c/p>\n\u003cp>Wiggins, meanwhile, opened his West Oakland recording studio House of Music, where he produced and helped grow young artists who would become some of today’s brightest young stars, including Zendaya, H.E.R., Kehlani and even Destiny’s Child: he signed the group to his label Grass Roots Entertainment in 1994, back when they were known as Girls’ Tyme. He’s also worked with some of the biggest names in Bay Area hip-hop, including Too Short, Messy Marv and The Coup.\u003c/p>\n\u003cp>Saadiq achieved remarkable solo success with five solo studio albums, fashioning hits like “Ask of You,” “Be Here” featuring D’Angelo, “Get Involved” with Q-Tip and “Love That Girl.” He produced big records like Erykah Badu’s “Love of My Life” and two of D’Angelo’s biggest songs, “Lady” and “Untitled (How Does It Feel),” and also worked with Whitney Houston, Mary J. Blige and TLC. In 2000, he joined En Vogue’s Dawn Robinson and Ali Shaheed Muhammad from A Tribe Called Quest to form the supergroup Lucy Pearl, resulting in the popular song “Dance Tonight.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dYWuAw_aCZY\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nSaadiq has also had hits with both Beyoncé and Solange Knowles: In 2016, he executive produced Solange’s critically acclaimed album \u003cem>A Seat at the Table\u003c/em>. And earlier this year, he was involved in Beyoncé’s \u003cem>Renaissance\u003c/em> project, helping write and produce “PURE/HONEY” and the Grammy-winning “CUFF IT” (its funky guitar rhythm was originally created for a potential Tony! Toni! Toné song, he has said).\u003c/p>\n\u003cp>While their careers have thrived separately, Saadiq and Riley, both 57, and Wiggins, 62, say they’re relishing in their reunion. The family members vow not to let outside influences like managers, record executives and the entertainment business as a whole drive them apart again, realizing that time — at least in the professional sense — is no longer a luxury.\u003c/p>\n\u003cp>“I think it’s been really cool to hear younger kids sample our music and make new songs with our music,” Riley said. “It’s like it lives on and you have a whole new generation that actually knows about you.”\u003c/p>\n\u003cp>Saadiq agrees and is trying to live in the moment.\u003c/p>\n\u003cp>“We did always feel the love from our peers and fans and people just in general — it felt really good,” he said. “But it feels different now — we feel the love. We can actually step outside of who we are, and then actually smell the roses.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">Emma Silvers contributed reporting.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The legendary R&B trio's reunion tour hits the Bay Area, where it all began, from Nov. 14–17.","status":"publish","parent":0,"modified":1705003270,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1339},"headData":{"title":"Oakland’s Tony! Toni! Toné! Are Working On Their First New Album in Almost 30 Years | KQED","description":"The legendary R&B trio's reunion tour hits the Bay Area, where it all began, from Nov. 14–17.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oakland’s Tony! Toni! Toné! Are Working On Their First New Album in Almost 30 Years","datePublished":"2023-10-06T18:20:11.000Z","dateModified":"2024-01-11T20:01:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Gary Gerard Hamilton\u003cbr>Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13935962/tony-toni-tone-say-reuniting-feels-good-so-theyre-working-on-something-new","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>D’Wayne Wiggins and Timothy Christian Riley didn’t realize that Raphael Saadiq was planting the seeds for a Tony! Toni! Toné! reunion when he arranged a photoshoot earlier this year.\u003c/p>\n\u003cp>“He said a few times before, so we never paid that much attention to it until this fool put up a big-ass billboard in Oakland, and I had to see it through social media,” said vocalist and bass guitarist Wiggins, who wondered if the image was Photoshopped. “I thought someone was playing tricks, morphing our picture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935776","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Saadiq, the lead singer and guitarist of the beloved R&B group, gathered the trio together, free of any outside influence.\u003c/p>\n\u003cp>“I didn’t tell any of the managers or team or anybody because I just wanted it to be us … I wanted to be in a room where the only power structure was one, two and three,” said Saadiq of his bandmates who are also family: Wiggins is his brother and Riley is their cousin. “We have to be us first before we could talk to anybody because that’s what happened the last time.”\u003c/p>\n\u003cp>Cut to last month, when Tony! Toni! Toné! kicked off their ‘Raphael Saddiq Revisits Tony! Toni! Tone! Just Me And You Tour 2023,’ the first road trip featuring the three original members in nearly 30 years. The trio, who grew up in Oakland and have remained influential in its music scene, will perform three shows in the Bay Area: Nov. 14 and 15 at Oakland’s Paramount Theatre, and Nov. 17 at the Masonic in San Francisco.\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>“It’s been really cool, like rehearsals and the actual shows, just playing together again on a stage,” said Riley, who plays drums and keyboard. “A lot of times, we do production and studio work. But just actually being together, you feel the energy, you feel the love.”\u003c/p>\n\u003cp>That’s not all: the Tonyies, as they call themselves, are currently planning a new project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935441","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“There’s going to be another album … but I thought we need to really hone in on what we’re doing for touring and then go home and then take like two days off, and then start on the album,” said Saadiq, who once served as a member of Prince’s touring band.\u003c/p>\n\u003cp>“We got a lot of material and now we just want to make sure that we put out the right energy through our music,” added Wiggins, who founded an Oakland recording studio and helped develop some of the biggest names in modern R&B.\u003c/p>\n\u003cp>Blending R&B, jazz and traces of gospel, the trio — all alumni of Castlemont High School — burst onto the music scene with their 1988 debut album, \u003cem>Who?,\u003c/em> featuring songs like “Baby Doll” and “Little Walter.” But it was their 1990 New Jack Swing-infused track “Feels Good,” off their sophomore LP, \u003cem>The Revival\u003c/em>, that gave the group mainstream success, peaking at No. 9 on Billboard’s Hot 100 chart.\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/Jfoxsfhi-kk'\n title='//www.youtube.com/embed/Jfoxsfhi-kk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThey released two more studio projects together, with party hits like “Let’s Get Down,” featuring DJ Quik, and timeless slow jams including “Whatever You Want,” “It Never Rains (In Southern California),” “(Lay Your Head on My) Pillow” and “Anniversary,” a standard in the Black music romance canon.\u003c/p>\n\u003cp>“I’ve always wanted a song like ‘Chestnuts’ like Nat King Cole, something that everybody played at some point, and ‘Anniversary’ was that type of song. I knew the subject matter wasn’t one that I thought was dated, but you couldn’t tell me that it was going to be this type of song,” said Saadiq. “When it comes on and couples grab each other, we know that it took on a whole different life that we couldn’t see.”\u003c/p>\n\u003cp>The blood relatives also couldn’t predict how their success would affect their relationship. The Tonyies went their separate ways after their fourth album, 1996’s platinum-selling \u003cem>House of Music\u003c/em>. Fame, finances, miscommunication and creative differences were unsustainable for the group. However, Saadiq is hesitant to use the word “breakup.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13810633","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I didn’t call them and go, ‘I quit! I’m mad at you guys!’ It wasn’t even like that. We’d been around each other our whole life,” said Saadiq. “What everybody saw as a breakup wasn’t really a breakup; we just noticed that we weren’t making music at that time.”\u003c/p>\n\u003cp>Wiggins and Riley toured under the group’s name between 1998 and 2018, with Amar Khalil taking over lead singing duties. Riley played on tracks for artists like Will Smith and Alicia Keys, and still collaborated with Saadiq on various songs.\u003c/p>\n\u003cp>Wiggins, meanwhile, opened his West Oakland recording studio House of Music, where he produced and helped grow young artists who would become some of today’s brightest young stars, including Zendaya, H.E.R., Kehlani and even Destiny’s Child: he signed the group to his label Grass Roots Entertainment in 1994, back when they were known as Girls’ Tyme. He’s also worked with some of the biggest names in Bay Area hip-hop, including Too Short, Messy Marv and The Coup.\u003c/p>\n\u003cp>Saadiq achieved remarkable solo success with five solo studio albums, fashioning hits like “Ask of You,” “Be Here” featuring D’Angelo, “Get Involved” with Q-Tip and “Love That Girl.” He produced big records like Erykah Badu’s “Love of My Life” and two of D’Angelo’s biggest songs, “Lady” and “Untitled (How Does It Feel),” and also worked with Whitney Houston, Mary J. Blige and TLC. In 2000, he joined En Vogue’s Dawn Robinson and Ali Shaheed Muhammad from A Tribe Called Quest to form the supergroup Lucy Pearl, resulting in the popular song “Dance Tonight.”\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/dYWuAw_aCZY'\n title='//www.youtube.com/embed/dYWuAw_aCZY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nSaadiq has also had hits with both Beyoncé and Solange Knowles: In 2016, he executive produced Solange’s critically acclaimed album \u003cem>A Seat at the Table\u003c/em>. And earlier this year, he was involved in Beyoncé’s \u003cem>Renaissance\u003c/em> project, helping write and produce “PURE/HONEY” and the Grammy-winning “CUFF IT” (its funky guitar rhythm was originally created for a potential Tony! Toni! Toné song, he has said).\u003c/p>\n\u003cp>While their careers have thrived separately, Saadiq and Riley, both 57, and Wiggins, 62, say they’re relishing in their reunion. The family members vow not to let outside influences like managers, record executives and the entertainment business as a whole drive them apart again, realizing that time — at least in the professional sense — is no longer a luxury.\u003c/p>\n\u003cp>“I think it’s been really cool to hear younger kids sample our music and make new songs with our music,” Riley said. “It’s like it lives on and you have a whole new generation that actually knows about you.”\u003c/p>\n\u003cp>Saadiq agrees and is trying to live in the moment.\u003c/p>\n\u003cp>“We did always feel the love from our peers and fans and people just in general — it felt really good,” he said. “But it feels different now — we feel the love. We can actually step outside of who we are, and then actually smell the roses.”\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>\u003ci data-stringify-type=\"italic\">Emma Silvers contributed reporting.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935962/tony-toni-tone-say-reuniting-feels-good-so-theyre-working-on-something-new","authors":["byline_arts_13935962"],"categories":["arts_1","arts_11615","arts_69","arts_75"],"tags":["arts_8054","arts_1143","arts_924"],"featImg":"arts_13935968","label":"arts"},"arts_13935225":{"type":"posts","id":"arts_13935225","meta":{"index":"posts_1591205157","site":"arts","id":"13935225","score":null,"sort":[1695387625000]},"guestAuthors":[],"slug":"ballerina-misty-copeland-to-premiere-flower-in-oakland","title":"Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland","publishDate":1695387625,"format":"standard","headTitle":"Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The only voices heard in \u003cem>Flower\u003c/em>, a 28-minute film produced by world-renowned ballet dancer \u003ca href=\"https://mistycopeland.com/\">Misty Copeland\u003c/a>, belong to three unhoused residents of an RV encampment in West Oakland.\u003c/p>\n\u003cp>The choice was very much intentional — Copeland herself experienced housing and food insecurity for much of her childhood. “It can happen to anyone,” she says in an interview. “So many Americans are one paycheck away from losing their home.”\u003c/p>\n\u003cp>A film about a woman struggling to hang on to the family home she shares with her dementia-stricken mother, \u003cem>Flower\u003c/em> screens on Friday, Sept. 29, as part of Oakland Ballet’s season opener at the Paramount Theatre. Copeland will be on stage to present.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FuiMrxuSR2o\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Copeland hopes \u003cem>Flower\u003c/em> not only highlights the housing affordability crisis, but challenges the tropes of what homelessness looks like.\u003c/p>\n\u003cp>The film is the first for Copeland’s production company, \u003ca href=\"https://www.instagram.com/lifeinmotionproductions/\">Life in Motion\u003c/a>, which she co-founded with ballerina Leyla Fayyaz, an Emmy-winning producer. Also behind the scenes of \u003cem>Flower\u003c/em> is a who’s-who of Bay Area-bred stars. Grammy-winning artist Raphael Saadiq composed the score, with a stirring, repeated refrain of “I’m heeeeere now” that won’t soon leave the viewer’s memory.\u003c/p>\n\u003cp>Street dancers-turned-choreographers to the stars Rich and Tone Talauega, aka \u003ca href=\"https://www.richandtoneproductions.com/\">Rich + Tone\u003c/a>, contribute their moves. Raised in Richmond, the brothers were discovered by one of Michael Jackson’s choreographers while freestyling at an Oakland club in the early ’90s. And \u003ca href=\"https://linesballet.org/lines-ballet-mission-and-purpose/alonzo-king/\">Alonzo King\u003c/a> (of San Francisco’s Alonzo King LINES Ballet), who’s known Copeland since she was a teen, also choreographs.\u003c/p>\n\u003cfigure id=\"attachment_13935226\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-2.jpg\" alt=\"A man and woman float in repose against a black background\" width=\"980\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-768x321.jpg 768w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland with co-star Babatunji Johnson in the short film ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local talent shines on screen, as well. Bay Area dancer \u003ca href=\"https://babatunjijohnson.com/\">Babatunji Johnson\u003c/a> co-stars with Copeland; turf dancers – including Algerion “Krow” Bryant – perform in the film; and Oakland Ballet youth appear as students in a scene where Copeland’s character teaches a ballet class.\u003c/p>\n\u003cp>“It was important that we had people [who] are from the community,” says Copeland, whose husband, Olu Evans, was born and raised in Oakland. “Not necessarily for the world, but for that community to say, ‘we know that person,’ [or] ‘there’s that place – Mama’s Royal Café.’ That’s our community. That’s really us. It’s not this Hollywood facade.”\u003c/p>\n\u003cfigure id=\"attachment_13935227\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-1.jpg\" alt=\"A woman in a black top and hair pulled back looks up as older houses stand in the background\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1536x643.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland in ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same intention also went into incorporating the real experiences of the three unhoused community members in the West Oakland RV encampment.\u003c/p>\n\u003cp>“It made sense to use that one opportunity where people speak, to give that opportunity to people who are often voiceless or overlooked,” Copeland says. “I feel like it really is the glue that brings the story together in a powerful way.”\u003c/p>\n\u003cp>[aside postID='arts_11230644']The Sept. 29 event at the Paramount Theatre also features live dance performances by Johnson, Krow, turf dancers, \u003ca href=\"https://destinyarts.org/\">Destiny Arts\u003c/a> youth and ballerina \u003ca href=\"https://www.sfballet.org/artist/angela-watson-2/\">Angela Watson\u003c/a> from Oakland. Highlights from the Oakland Ballet Company shows Luna Mexicana, Dancing Moons Festival and The Nutcracker round out the program.\u003c/p>\n\u003cp>“It’s super exciting,” Copeland says of the long-awaited Oakland premiere. “We hope that we did the community justice.”\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>\u003c/p>\n\u003cp>\u003cem>‘Flower,’ starring Misty Copeland, premieres at the Paramount Theatre in Oakland on Sept. 29 at 7 p.m. The film premiere is accompanied by live performances by Oakland Ballet and others. \u003ca href=\"https://oaklandballet.org/flower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With a 28-minute film addressing housing insecurity, Copeland kicks off Oakland Ballet’s new season. \r\n","status":"publish","parent":0,"modified":1705003336,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":626},"headData":{"title":"Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland | KQED","description":"With a 28-minute film addressing housing insecurity, Copeland kicks off Oakland Ballet’s new season. \r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland","datePublished":"2023-09-22T13:00:25.000Z","dateModified":"2024-01-11T20:02:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/7bf58925-6050-4602-8d1c-b08c014d45d6/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13935225/ballerina-misty-copeland-to-premiere-flower-in-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only voices heard in \u003cem>Flower\u003c/em>, a 28-minute film produced by world-renowned ballet dancer \u003ca href=\"https://mistycopeland.com/\">Misty Copeland\u003c/a>, belong to three unhoused residents of an RV encampment in West Oakland.\u003c/p>\n\u003cp>The choice was very much intentional — Copeland herself experienced housing and food insecurity for much of her childhood. “It can happen to anyone,” she says in an interview. “So many Americans are one paycheck away from losing their home.”\u003c/p>\n\u003cp>A film about a woman struggling to hang on to the family home she shares with her dementia-stricken mother, \u003cem>Flower\u003c/em> screens on Friday, Sept. 29, as part of Oakland Ballet’s season opener at the Paramount Theatre. Copeland will be on stage to present.\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/FuiMrxuSR2o'\n title='//www.youtube.com/embed/FuiMrxuSR2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \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>Copeland hopes \u003cem>Flower\u003c/em> not only highlights the housing affordability crisis, but challenges the tropes of what homelessness looks like.\u003c/p>\n\u003cp>The film is the first for Copeland’s production company, \u003ca href=\"https://www.instagram.com/lifeinmotionproductions/\">Life in Motion\u003c/a>, which she co-founded with ballerina Leyla Fayyaz, an Emmy-winning producer. Also behind the scenes of \u003cem>Flower\u003c/em> is a who’s-who of Bay Area-bred stars. Grammy-winning artist Raphael Saadiq composed the score, with a stirring, repeated refrain of “I’m heeeeere now” that won’t soon leave the viewer’s memory.\u003c/p>\n\u003cp>Street dancers-turned-choreographers to the stars Rich and Tone Talauega, aka \u003ca href=\"https://www.richandtoneproductions.com/\">Rich + Tone\u003c/a>, contribute their moves. Raised in Richmond, the brothers were discovered by one of Michael Jackson’s choreographers while freestyling at an Oakland club in the early ’90s. And \u003ca href=\"https://linesballet.org/lines-ballet-mission-and-purpose/alonzo-king/\">Alonzo King\u003c/a> (of San Francisco’s Alonzo King LINES Ballet), who’s known Copeland since she was a teen, also choreographs.\u003c/p>\n\u003cfigure id=\"attachment_13935226\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-2.jpg\" alt=\"A man and woman float in repose against a black background\" width=\"980\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-768x321.jpg 768w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland with co-star Babatunji Johnson in the short film ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local talent shines on screen, as well. Bay Area dancer \u003ca href=\"https://babatunjijohnson.com/\">Babatunji Johnson\u003c/a> co-stars with Copeland; turf dancers – including Algerion “Krow” Bryant – perform in the film; and Oakland Ballet youth appear as students in a scene where Copeland’s character teaches a ballet class.\u003c/p>\n\u003cp>“It was important that we had people [who] are from the community,” says Copeland, whose husband, Olu Evans, was born and raised in Oakland. “Not necessarily for the world, but for that community to say, ‘we know that person,’ [or] ‘there’s that place – Mama’s Royal Café.’ That’s our community. That’s really us. It’s not this Hollywood facade.”\u003c/p>\n\u003cfigure id=\"attachment_13935227\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-1.jpg\" alt=\"A woman in a black top and hair pulled back looks up as older houses stand in the background\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1536x643.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland in ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same intention also went into incorporating the real experiences of the three unhoused community members in the West Oakland RV encampment.\u003c/p>\n\u003cp>“It made sense to use that one opportunity where people speak, to give that opportunity to people who are often voiceless or overlooked,” Copeland says. “I feel like it really is the glue that brings the story together in a powerful way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11230644","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The Sept. 29 event at the Paramount Theatre also features live dance performances by Johnson, Krow, turf dancers, \u003ca href=\"https://destinyarts.org/\">Destiny Arts\u003c/a> youth and ballerina \u003ca href=\"https://www.sfballet.org/artist/angela-watson-2/\">Angela Watson\u003c/a> from Oakland. Highlights from the Oakland Ballet Company shows Luna Mexicana, Dancing Moons Festival and The Nutcracker round out the program.\u003c/p>\n\u003cp>“It’s super exciting,” Copeland says of the long-awaited Oakland premiere. “We hope that we did the community justice.”\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>\u003c/p>\n\u003cp>\u003cem>‘Flower,’ starring Misty Copeland, premieres at the Paramount Theatre in Oakland on Sept. 29 at 7 p.m. The film premiere is accompanied by live performances by Oakland Ballet and others. \u003ca href=\"https://oaklandballet.org/flower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935225/ballerina-misty-copeland-to-premiere-flower-in-oakland","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_74"],"tags":["arts_3245","arts_10278","arts_1355","arts_7321","arts_19306","arts_6387","arts_1143","arts_924","arts_585"],"featImg":"arts_13935228","label":"arts_140"},"arts_13934476":{"type":"posts","id":"arts_13934476","meta":{"index":"posts_1591205157","site":"arts","id":"13934476","score":null,"sort":[1694527233000]},"guestAuthors":[],"slug":"8-over-80-sugar-pie-desanto","title":"Sugar Pie DeSanto, the 87-Year-Old Firecracker of R&B, Plots Her Comeback","publishDate":1694527233,"format":"aside","headTitle":"Sugar Pie DeSanto, the 87-Year-Old Firecracker of R&B, Plots Her Comeback | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13934573\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut.jpg\" alt=\"An 87-year-old woman with a pink top and sequined hat poses in front of flowers.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sugar Pie DeSanto poses for a portrait with her record, ‘Down in the Basement’ outside her home in Oakland, Calif., on Friday, Sept. 8, 2023. DeSanto, 87, released her latest album ‘Sugar’s Suite’ in 2018. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This story is part of the series \u003ca href=\"http://kqed.org/8over80\">8 Over 80\u003c/a>, celebrating artists and cultural figures over the age of 80 who continue to shape the greater Bay Area.\u003c/i>\u003c/p>\n\u003cp>[dropcap]S[/dropcap]ugar Pie DeSanto has always had guts. At 15, she snuck out of her parents’ house to sing in clubs, with baseballs in her bra to make herself look older. At 26, she quit her gig as James Brown’s opening act to headline her own show. And at 84, she was regularly on stage doing backflips, and singing upside down with her legs wrapped around the waist of a lucky gentleman from the audience.\u003c/p>\n\u003cp>She might be temporarily retired due to health issues — key word: temporarily — but DeSanto is plotting her comeback. “The maker’s been good to me, you know, and I pray every day because I want him to bring me back to turn that backflip for ’em one more time,” says the singer, now 87, then cackles. “They’ll have a heart attack.”\u003c/p>\n\u003cp>That bold streak marks DeSanto’s approach to, well, just about everything, and her singing talents and gumption have taken her to some incredible places in her almost-nine decades.\u003c/p>\n\u003cfigure id=\"attachment_13934571\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sugar Pie DeSanto, 87, poses for a portrait outside her home in Oakland, Calif., on Friday, Sept. 8, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How Umpeylia became Sugar Pie\u003c/h2>\n\u003cp>Born Umpeylia Balinton to a Filipino father and Black mother in Brooklyn in 1935, DeSanto grew up in San Francisco’s Fillmore District as the oldest girl of 10 siblings. At the time, the Fillmore was a multicultural neighborhood where Black, Chinese and Italian families lived side by side.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The good thing about it, we could all mix with each other,” she says. “You know, it’s not like now with a bunch of crap going on. The kids would come to your house and just walk in and say, ‘Hey, mom.’ … There wasn’t no locking no doors.”\u003c/p>\n\u003cp>One of those neighborhood kids was Etta James, who was three years younger. She was raised by foster parents and relatives, and came over often to sing with the Balinton girls on the back porch. She and DeSanto developed a lifelong friendship that would result in two classic soul duets: 1965’s “\u003ca href=\"https://youtu.be/uBw9g-t5MQI?si=eGF08VfjzN4wqCQA\">Do I Make Myself Clear\u003c/a>” and 1966’s “\u003ca href=\"https://youtu.be/8IpxDTK8HIg?si=lrg1rRraxSxnx_8c\">In the Basement\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13934574\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut.jpg\" alt=\"A concert poster from Sugar Pie DeSanto's show at the Littlefield in Brooklyn in 2014.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Posters and memorabilia hang on Sugar Pie DeSanto’s wall in in Oakland, Calif., on Friday, Sept. 8, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before DeSanto made chart-topping singles, she honed her skills singing live at jazz and blues clubs in the Fillmore, known back then as the \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">Harlem of the West\u003c/a>. After Black Americans from the South moved to California port cities during World War II, the music scene in San Francisco and Oakland flourished. DeSanto, who grew up playing classical piano, fell in love with the sound.\u003c/p>\n\u003cp>[aside tag='8over80' label='More 8 Over 80']Her mother supported her musical ambitions, but her father wasn’t having it. One night, he showed up to a club during one of her performances — and pulled her off the stage by her ear. “‘Who told you you could shake your booty?’” DeSanto remembers him chastising her in his Filipino accent. “That was funny,” she chuckles, then pauses: “Wasn’t funny then, though.”\u003c/p>\n\u003cp>Still, DeSanto was undeterred. One night in 1954, when she competed in a talent show at the Ellis Theater, Johnny Otis was in the audience. The Vallejo-born, Greek American musician known as the “godfather of rhythm and blues” had discovered 13-year-old Etta James three years earlier, and he was taken by 19-year-old DeSanto’s powerful voice and irrepressible charisma.\u003c/p>\n\u003cp>Otis convinced her to go with him to Los Angeles, where she recorded her first singles, the lovesick slow-dance number “\u003ca href=\"https://youtu.be/sEd8HF5PguM?si=lOYbxGpZXEDy47JD\">Please Be True\u003c/a>” and uptempo doo-wop track “\u003ca href=\"https://youtu.be/M5itQV8Chmg?si=WWE8EP2U4NY1DDX4\">Boom Diddy Wawa Baby\u003c/a>.” She was still going by her birth name, Umpeylia Balinton. “‘We can’t put that on no record,’” she recalls Otis saying. “‘You’re so little and cute, you could be Sugar Pie.’ And that’s how I got my name.”\u003c/p>\n\u003cp>Despite her youth and 4-foot-11-inch stature, DeSanto became a force to be reckoned with. Did she ever have to fight for respect as a female musician in the 1950s? She says no. “I took over the studio, honey,” she tells me. “And a couple of times I put the drums over their head, you know, hittin’ ’em across their head ’cause they pissed me off. I’ve always been very technical about my music.”\u003c/p>\n\u003cfigure id=\"attachment_13934572\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934572\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut.jpg\" alt=\"An 87-year-old woman with a pink top and sequined hat poses with her hands on her hips, looking assertively yet playfully at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sugar Pie DeSanto, 87, poses for a portrait outside her home in Oakland, Calif., on Friday, Sept. 8, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>James Moore, DeSanto’s longtime manager, says he’s heard stories of how exacting she could be from other musicians, including the late Maurice White of Earth, Wind & Fire. “Some guy hit a wrong note,” Moore recalls White telling him. “He said Sugar Pie started using curse words that he’d never heard before, and paint started peeling off the walls.”\u003c/p>\n\u003cp>By 1959, DeSanto arrived on the national stage with her hit single “\u003ca href=\"https://youtu.be/CyNUAWZiDQE?si=MVNKvolXjeEPo-Z6\">I Want to Know\u003c/a>,” a danceable, piano-driven kiss-off to a former lover she co-wrote with legendary Oakland blues producer Bob Geddins and performed with first husband, bandleader Pee Wee Kingsley. The song hit No. 4 on the Billboard R&B chart.\u003c/p>\n\u003cp>The record began opening doors, and DeSanto was invited to perform at New York’s famed Apollo Theater, where James Brown was the headliner. Though he was a big name, DeSanto didn’t let on that she was impressed when he invited her to open for him on tour. She remembers him saying, “‘I want you, you little girl.’” “You want me for what?” she shot back. “‘To open my show. You really good,’” she recalls Brown growling, to which she replied coolly: “Oh?”\u003c/p>\n\u003cp>DeSanto and Brown hit the road with their raucous live show. DeSanto sang while jumping over the piano into a split, earning her the nickname “the Lady James Brown.” Her memory of the exact tour dates is a little spotty, but newspaper records reveal advertisements for her concerts with Brown in cities like Philadelphia, Charlotte, Oklahoma City and Phoenix in 1960 and 1961.\u003c/p>\n\u003cfigure id=\"attachment_13934560\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/sugar-pie-concert-poster.jpg\" alt=\"\" width=\"600\" height=\"783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/sugar-pie-concert-poster.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/sugar-pie-concert-poster-160x209.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A poster from Sugar Pie DeSanto’s 1961 concert with James Brown in Olympia, Washington.\u003c/figcaption>\u003c/figure>\n\u003cp>This was during the civil rights movement, and DeSanto was shocked when she arrived from the multicultural Bay Area to the segregated South. Because she was racially ambiguous, with straight hair, venues would invite her to dine inside their restaurants but relegate her band to the barrels out back. She found this unacceptable. “Are you losing your mind?” she’d spit.\u003c/p>\n\u003cp>“‘If they can’t eat where I eat, then I ain’t eatin’ at all, and they ain’t either,’” DeSanto would tell the white venue staff before storming out. “Boy, they was pissed off,” she remembers. “But they wouldn’t start no stuff because they knew we weren’t gonna take it.”\u003c/p>\n\u003cp>But despite her hard exterior, “that hurt my soul,” she says.\u003c/p>\n\u003cp>Still, DeSanto thrived on tour, and eventually decided to split off from Brown to headline her own concerts, much to his displeasure. “He said, ‘You can’t leave me.’ The hell I can,” she recounts with that mischievous cackle, noting that the two later reconciled during a night of gambling in Reno.\u003c/p>\n\u003ch2>Challenges in the music industry\u003c/h2>\n\u003cp>Her success eventually took her to Chicago, where she spent most of the ’60s at Chess Records. In 1964, her seductive, bluesy single “\u003ca href=\"https://youtu.be/2cBmk9I_jLA?si=iK8oC-uj54NgVb5l\">Slip-In Mules\u003c/a>” hit No. 10 on Billboard. With a track record of writing her own hits, she became a staff songwriter at Chess, where she collaborated often with her songwriting partner, Shena DeMell. In her time there, DeSanto penned over 100 songs for musical greats like Minnie Riperton, Fontella Bass and The Whispers.\u003c/p>\n\u003cp>It was during this era that DeSanto’s profile grew internationally. There’s a video of her belting out “Rock Me Baby” — a suggestive, slinky tune — at the 1964 American Folk Blues Festival in England, her powerful voice erupting like a geyser as her body twists with each note. The audience was floored. “They tore down the walls and everything,” she says. “They jumped up and started dancing and howling.”\u003c/p>\n\u003cp>Her time in the U.K. clearly made a lasting impression. In 1966, the \u003cem>Thanet Times and East Kent Pictorial\u003c/em>, a British newspaper, called her “America’s top female blues singer.”\u003c/p>\n\u003cp>https://youtu.be/pagqJxGR33I?si=y3hmaKCy0AMHMwZZ\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>For DeSanto and many of her peers, popularity didn’t always equal financial success in the music industry. Record companies often took advantage of young, Black artists’ eagerness to record their music, and weren’t transparent when it came to rights and royalties. They’d pay for things like hotels and cars (in DeSanto’s case, a tan Cadillac that matched her dog).\u003c/p>\n\u003cp>“But as far as giving you a statement saying, ‘We sold 10,000 records, we’re paying you 5% or whatever, you know, so this is how much money you have.’ She never got that,” says her manager, Moore, adding that he’s still tracking down her royalties from when her songs were featured in the hit series \u003cem>The Handmaid’s Tale \u003c/em>and the Oscar-nominated 1999 film \u003cem>\u003ci>The Hurricane\u003c/i>.\u003c/em>\u003c/p>\n\u003cp>“Talk about reparations — that’s where the reparations should start,” Moore says. “The record labels made hundreds of millions of dollars and [the artists] didn’t make anything, comparatively speaking. Music is America’s greatest export to the rest of the world. … it was all started in the Black community.”\u003c/p>\n\u003cfigure id=\"attachment_13934576\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut.jpg\" alt=\"Three trophies on Sugar Pie DeSanto's shelf include her 2020 Arhoolie\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Awards and honors are displayed on Sugar Pie DeSanto’s wall in in Oakland, Calif., on Friday, Sept. 8, 2023. She was given the prestigious Arhoolie Award in 2020. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yearning to return to the stage\u003c/h2>\n\u003cp>By the ’70s, DeSanto returned to Oakland, and kept up a rigorous performance schedule that lasted for five decades. Her fierceness never extinguished, even in the face of immense challenges. In 2006, she lost her husband Jesse Earl Davis in a house fire that destroyed her belongings. They were together off and on for 27 years and married twice.\u003c/p>\n\u003cp>In 2012, she lost her childhood friend Etta James, who was 73 years old when she passed away from leukemia and other health complications. She and DeSanto had grown apart over the decades because of James’ struggles with drug addiction, but there was always love there. “That was my girl,” DeSanto says. “That really hurt me deeply that she passed.”\u003c/p>\n\u003cp>These days, DeSanto is focused on her own health. After being treated for cancer in her neck, she continues to struggle with respiratory issues. Still, her feisty spirit is strong as ever.\u003c/p>\n\u003cp>“I run this place,” she says with a sly wink when I visit her outside her senior apartment building.\u003c/p>\n\u003cp>“Hey, big guy!” she calls after a bearded man passing by, cracking up at her own antics.\u003c/p>\n\u003cp>DeSanto’s most recent album, \u003ca href=\"http://sugarpiedesanto.com/music/\">\u003cem>Sugar’s Suite\u003c/em>\u003c/a>, came out in 2018, and in 2020 she received the \u003ca href=\"https://oaklandside.org/2020/12/01/legendary-rb-singer-sugar-pie-desanto-to-be-honored-next-week/\">Arhoolie Award\u003c/a> for extraordinary individuals who preserve traditional music. She’s still writing songs from her bed, and is determined to one day make it back to the stage. She was crushed when she couldn’t go to Chicago on June 10, when she received a mayoral proclamation for her contributions to the blues.\u003c/p>\n\u003cp>“It ain’t about the money, honey,” she says. “It’s about me singing to the people and making everybody happy.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You don’t know how bad I miss it,” she continues. “When you’ve been given all those years to the public that I have, I miss my people.”\u003c/p>\n\n","blocks":[],"excerpt":"The artist looks back on her incredible, hitmaking legacy, and vows to backflip on stage one more time.","status":"publish","parent":0,"modified":1705005043,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":2192},"headData":{"title":"R&B Firecracker Sugar Pie DeSanto Plots Her Comeback | KQED","description":"The artist looks back on her incredible, hitmaking legacy, and vows to backflip on stage one more time.","ogTitle":"Sugar Pie DeSanto, the 87-Year-Old Firecracker of R&B, Plots Her Comeback","ogDescription":"","ogImgId":"arts_13934573","twTitle":"Sugar Pie DeSanto, the 87-Year-Old Firecracker of R&B, Plots Her Comeback","twDescription":"","twImgId":"arts_13934573","socialTitle":"R&B Firecracker Sugar Pie DeSanto Plots Her Comeback %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sugar Pie DeSanto, the 87-Year-Old Firecracker of R&B, Plots Her Comeback","datePublished":"2023-09-12T14:00:33.000Z","dateModified":"2024-01-11T20:30:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"8 Over 80","sourceUrl":"https://www.kqed.org/8over80","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13934476/8-over-80-sugar-pie-desanto","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13934573\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut.jpg\" alt=\"An 87-year-old woman with a pink top and sequined hat poses in front of flowers.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-02-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sugar Pie DeSanto poses for a portrait with her record, ‘Down in the Basement’ outside her home in Oakland, Calif., on Friday, Sept. 8, 2023. DeSanto, 87, released her latest album ‘Sugar’s Suite’ in 2018. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This story is part of the series \u003ca href=\"http://kqed.org/8over80\">8 Over 80\u003c/a>, celebrating artists and cultural figures over the age of 80 who continue to shape the greater Bay Area.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>ugar Pie DeSanto has always had guts. At 15, she snuck out of her parents’ house to sing in clubs, with baseballs in her bra to make herself look older. At 26, she quit her gig as James Brown’s opening act to headline her own show. And at 84, she was regularly on stage doing backflips, and singing upside down with her legs wrapped around the waist of a lucky gentleman from the audience.\u003c/p>\n\u003cp>She might be temporarily retired due to health issues — key word: temporarily — but DeSanto is plotting her comeback. “The maker’s been good to me, you know, and I pray every day because I want him to bring me back to turn that backflip for ’em one more time,” says the singer, now 87, then cackles. “They’ll have a heart attack.”\u003c/p>\n\u003cp>That bold streak marks DeSanto’s approach to, well, just about everything, and her singing talents and gumption have taken her to some incredible places in her almost-nine decades.\u003c/p>\n\u003cfigure id=\"attachment_13934571\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-13-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sugar Pie DeSanto, 87, poses for a portrait outside her home in Oakland, Calif., on Friday, Sept. 8, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How Umpeylia became Sugar Pie\u003c/h2>\n\u003cp>Born Umpeylia Balinton to a Filipino father and Black mother in Brooklyn in 1935, DeSanto grew up in San Francisco’s Fillmore District as the oldest girl of 10 siblings. At the time, the Fillmore was a multicultural neighborhood where Black, Chinese and Italian families lived side by side.\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 good thing about it, we could all mix with each other,” she says. “You know, it’s not like now with a bunch of crap going on. The kids would come to your house and just walk in and say, ‘Hey, mom.’ … There wasn’t no locking no doors.”\u003c/p>\n\u003cp>One of those neighborhood kids was Etta James, who was three years younger. She was raised by foster parents and relatives, and came over often to sing with the Balinton girls on the back porch. She and DeSanto developed a lifelong friendship that would result in two classic soul duets: 1965’s “\u003ca href=\"https://youtu.be/uBw9g-t5MQI?si=eGF08VfjzN4wqCQA\">Do I Make Myself Clear\u003c/a>” and 1966’s “\u003ca href=\"https://youtu.be/8IpxDTK8HIg?si=lrg1rRraxSxnx_8c\">In the Basement\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13934574\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut.jpg\" alt=\"A concert poster from Sugar Pie DeSanto's show at the Littlefield in Brooklyn in 2014.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-17-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Posters and memorabilia hang on Sugar Pie DeSanto’s wall in in Oakland, Calif., on Friday, Sept. 8, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before DeSanto made chart-topping singles, she honed her skills singing live at jazz and blues clubs in the Fillmore, known back then as the \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">Harlem of the West\u003c/a>. After Black Americans from the South moved to California port cities during World War II, the music scene in San Francisco and Oakland flourished. DeSanto, who grew up playing classical piano, fell in love with the sound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"8over80","label":"More 8 Over 80 "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Her mother supported her musical ambitions, but her father wasn’t having it. One night, he showed up to a club during one of her performances — and pulled her off the stage by her ear. “‘Who told you you could shake your booty?’” DeSanto remembers him chastising her in his Filipino accent. “That was funny,” she chuckles, then pauses: “Wasn’t funny then, though.”\u003c/p>\n\u003cp>Still, DeSanto was undeterred. One night in 1954, when she competed in a talent show at the Ellis Theater, Johnny Otis was in the audience. The Vallejo-born, Greek American musician known as the “godfather of rhythm and blues” had discovered 13-year-old Etta James three years earlier, and he was taken by 19-year-old DeSanto’s powerful voice and irrepressible charisma.\u003c/p>\n\u003cp>Otis convinced her to go with him to Los Angeles, where she recorded her first singles, the lovesick slow-dance number “\u003ca href=\"https://youtu.be/sEd8HF5PguM?si=lOYbxGpZXEDy47JD\">Please Be True\u003c/a>” and uptempo doo-wop track “\u003ca href=\"https://youtu.be/M5itQV8Chmg?si=WWE8EP2U4NY1DDX4\">Boom Diddy Wawa Baby\u003c/a>.” She was still going by her birth name, Umpeylia Balinton. “‘We can’t put that on no record,’” she recalls Otis saying. “‘You’re so little and cute, you could be Sugar Pie.’ And that’s how I got my name.”\u003c/p>\n\u003cp>Despite her youth and 4-foot-11-inch stature, DeSanto became a force to be reckoned with. Did she ever have to fight for respect as a female musician in the 1950s? She says no. “I took over the studio, honey,” she tells me. “And a couple of times I put the drums over their head, you know, hittin’ ’em across their head ’cause they pissed me off. I’ve always been very technical about my music.”\u003c/p>\n\u003cfigure id=\"attachment_13934572\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934572\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut.jpg\" alt=\"An 87-year-old woman with a pink top and sequined hat poses with her hands on her hips, looking assertively yet playfully at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-05-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sugar Pie DeSanto, 87, poses for a portrait outside her home in Oakland, Calif., on Friday, Sept. 8, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>James Moore, DeSanto’s longtime manager, says he’s heard stories of how exacting she could be from other musicians, including the late Maurice White of Earth, Wind & Fire. “Some guy hit a wrong note,” Moore recalls White telling him. “He said Sugar Pie started using curse words that he’d never heard before, and paint started peeling off the walls.”\u003c/p>\n\u003cp>By 1959, DeSanto arrived on the national stage with her hit single “\u003ca href=\"https://youtu.be/CyNUAWZiDQE?si=MVNKvolXjeEPo-Z6\">I Want to Know\u003c/a>,” a danceable, piano-driven kiss-off to a former lover she co-wrote with legendary Oakland blues producer Bob Geddins and performed with first husband, bandleader Pee Wee Kingsley. The song hit No. 4 on the Billboard R&B chart.\u003c/p>\n\u003cp>The record began opening doors, and DeSanto was invited to perform at New York’s famed Apollo Theater, where James Brown was the headliner. Though he was a big name, DeSanto didn’t let on that she was impressed when he invited her to open for him on tour. She remembers him saying, “‘I want you, you little girl.’” “You want me for what?” she shot back. “‘To open my show. You really good,’” she recalls Brown growling, to which she replied coolly: “Oh?”\u003c/p>\n\u003cp>DeSanto and Brown hit the road with their raucous live show. DeSanto sang while jumping over the piano into a split, earning her the nickname “the Lady James Brown.” Her memory of the exact tour dates is a little spotty, but newspaper records reveal advertisements for her concerts with Brown in cities like Philadelphia, Charlotte, Oklahoma City and Phoenix in 1960 and 1961.\u003c/p>\n\u003cfigure id=\"attachment_13934560\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/sugar-pie-concert-poster.jpg\" alt=\"\" width=\"600\" height=\"783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/sugar-pie-concert-poster.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/sugar-pie-concert-poster-160x209.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A poster from Sugar Pie DeSanto’s 1961 concert with James Brown in Olympia, Washington.\u003c/figcaption>\u003c/figure>\n\u003cp>This was during the civil rights movement, and DeSanto was shocked when she arrived from the multicultural Bay Area to the segregated South. Because she was racially ambiguous, with straight hair, venues would invite her to dine inside their restaurants but relegate her band to the barrels out back. She found this unacceptable. “Are you losing your mind?” she’d spit.\u003c/p>\n\u003cp>“‘If they can’t eat where I eat, then I ain’t eatin’ at all, and they ain’t either,’” DeSanto would tell the white venue staff before storming out. “Boy, they was pissed off,” she remembers. “But they wouldn’t start no stuff because they knew we weren’t gonna take it.”\u003c/p>\n\u003cp>But despite her hard exterior, “that hurt my soul,” she says.\u003c/p>\n\u003cp>Still, DeSanto thrived on tour, and eventually decided to split off from Brown to headline her own concerts, much to his displeasure. “He said, ‘You can’t leave me.’ The hell I can,” she recounts with that mischievous cackle, noting that the two later reconciled during a night of gambling in Reno.\u003c/p>\n\u003ch2>Challenges in the music industry\u003c/h2>\n\u003cp>Her success eventually took her to Chicago, where she spent most of the ’60s at Chess Records. In 1964, her seductive, bluesy single “\u003ca href=\"https://youtu.be/2cBmk9I_jLA?si=iK8oC-uj54NgVb5l\">Slip-In Mules\u003c/a>” hit No. 10 on Billboard. With a track record of writing her own hits, she became a staff songwriter at Chess, where she collaborated often with her songwriting partner, Shena DeMell. In her time there, DeSanto penned over 100 songs for musical greats like Minnie Riperton, Fontella Bass and The Whispers.\u003c/p>\n\u003cp>It was during this era that DeSanto’s profile grew internationally. There’s a video of her belting out “Rock Me Baby” — a suggestive, slinky tune — at the 1964 American Folk Blues Festival in England, her powerful voice erupting like a geyser as her body twists with each note. The audience was floored. “They tore down the walls and everything,” she says. “They jumped up and started dancing and howling.”\u003c/p>\n\u003cp>Her time in the U.K. clearly made a lasting impression. In 1966, the \u003cem>Thanet Times and East Kent Pictorial\u003c/em>, a British newspaper, called her “America’s top female blues singer.”\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/pagqJxGR33I'\n title='//www.youtube.com/embed/pagqJxGR33I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>For DeSanto and many of her peers, popularity didn’t always equal financial success in the music industry. Record companies often took advantage of young, Black artists’ eagerness to record their music, and weren’t transparent when it came to rights and royalties. They’d pay for things like hotels and cars (in DeSanto’s case, a tan Cadillac that matched her dog).\u003c/p>\n\u003cp>“But as far as giving you a statement saying, ‘We sold 10,000 records, we’re paying you 5% or whatever, you know, so this is how much money you have.’ She never got that,” says her manager, Moore, adding that he’s still tracking down her royalties from when her songs were featured in the hit series \u003cem>The Handmaid’s Tale \u003c/em>and the Oscar-nominated 1999 film \u003cem>\u003ci>The Hurricane\u003c/i>.\u003c/em>\u003c/p>\n\u003cp>“Talk about reparations — that’s where the reparations should start,” Moore says. “The record labels made hundreds of millions of dollars and [the artists] didn’t make anything, comparatively speaking. Music is America’s greatest export to the rest of the world. … it was all started in the Black community.”\u003c/p>\n\u003cfigure id=\"attachment_13934576\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut.jpg\" alt=\"Three trophies on Sugar Pie DeSanto's shelf include her 2020 Arhoolie\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230908-SugarPieDeSanto-20-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Awards and honors are displayed on Sugar Pie DeSanto’s wall in in Oakland, Calif., on Friday, Sept. 8, 2023. She was given the prestigious Arhoolie Award in 2020. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Yearning to return to the stage\u003c/h2>\n\u003cp>By the ’70s, DeSanto returned to Oakland, and kept up a rigorous performance schedule that lasted for five decades. Her fierceness never extinguished, even in the face of immense challenges. In 2006, she lost her husband Jesse Earl Davis in a house fire that destroyed her belongings. They were together off and on for 27 years and married twice.\u003c/p>\n\u003cp>In 2012, she lost her childhood friend Etta James, who was 73 years old when she passed away from leukemia and other health complications. She and DeSanto had grown apart over the decades because of James’ struggles with drug addiction, but there was always love there. “That was my girl,” DeSanto says. “That really hurt me deeply that she passed.”\u003c/p>\n\u003cp>These days, DeSanto is focused on her own health. After being treated for cancer in her neck, she continues to struggle with respiratory issues. Still, her feisty spirit is strong as ever.\u003c/p>\n\u003cp>“I run this place,” she says with a sly wink when I visit her outside her senior apartment building.\u003c/p>\n\u003cp>“Hey, big guy!” she calls after a bearded man passing by, cracking up at her own antics.\u003c/p>\n\u003cp>DeSanto’s most recent album, \u003ca href=\"http://sugarpiedesanto.com/music/\">\u003cem>Sugar’s Suite\u003c/em>\u003c/a>, came out in 2018, and in 2020 she received the \u003ca href=\"https://oaklandside.org/2020/12/01/legendary-rb-singer-sugar-pie-desanto-to-be-honored-next-week/\">Arhoolie Award\u003c/a> for extraordinary individuals who preserve traditional music. She’s still writing songs from her bed, and is determined to one day make it back to the stage. She was crushed when she couldn’t go to Chicago on June 10, when she received a mayoral proclamation for her contributions to the blues.\u003c/p>\n\u003cp>“It ain’t about the money, honey,” she says. “It’s about me singing to the people and making everybody happy.”\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>“You don’t know how bad I miss it,” she continues. “When you’ve been given all those years to the public that I have, I miss my people.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13934476/8-over-80-sugar-pie-desanto","authors":["11387"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_21553","arts_10342","arts_10278","arts_10422","arts_9726","arts_924"],"featImg":"arts_13934614","label":"source_arts_13934476"},"arts_13934433":{"type":"posts","id":"arts_13934433","meta":{"index":"posts_1591205157","site":"arts","id":"13934433","score":null,"sort":[1694112854000]},"guestAuthors":[],"slug":"soul-train-musical-review-hippest-trip-san-francisco","title":"The ‘Soul Train’ Musical Explodes With Talent, Despite Following the Formula","publishDate":1694112854,"format":"standard","headTitle":"The ‘Soul Train’ Musical Explodes With Talent, Despite Following the Formula | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In the early 1970s, Don Cornelius broke ground on national television with \u003cem>Soul Train\u003c/em>. Yet as days turned into years, that same broken ground was unable to stabilize beneath him, the beauty of his calling ultimately unfolding into tragedy borne of his ambition.\u003c/p>\n\u003cp>In the long-awaited, monumental world premiere of \u003cem>Hippest Trip: The Soul Train Musical\u003c/em> at American Conservatory Theater, the grandiloquent celebration of Black music and dance shoots fire through every nook and cranny of the theater. With its commitment to largesse, along with a mostly solid penning of Cornelius’ complicated legacy by Dominique Morisseau, the show’s future is laser-focused on Broadway, despite flaws that compromise the show’s organicity.\u003c/p>\n\u003cfigure id=\"attachment_13934446\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_119.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Amber Iman (Pam Brown) and Quentin Earl Darrington (Don Cornelius) in ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chicago south sider and local television host Don Cornelius (Quentin Earl Darrington) is a golden-throated visionary, convincing his bosses at WCIU in Chicago to support a Black version of Dick Clark’s popular \u003cem>American Bandstand\u003c/em>, a show with minimal interactions with Black artists. While those bosses ultimately approve the move, with the first episode premiering in 1970, none feel it necessary to own a piece of the pie, making Cornelius the overnight owner of a franchise that would last for 35 years and become the nation’s epicenter for Black culture and entertainment. \u003c/p>\n\u003cp>[aside postID='arts_10795181']The ascendance of Cornelius ushers in problematic relationships with many in his orbit, including wife Delores (Angela Birchett), manager Pam Brown (Amber Iman) and son Tony (Sidney Dupont). As time goes on, wars are waged with the evolution of music itself as Cornelius rails against “fuckin’ disco” and “fuckin’ hip-hop,” turning the very name of the show, \u003cem>Soul Train\u003c/em>, into an anachronism. Those battles expand to a mind and body that begins to fail him, leading to a self-inflicted death by gunshot in 2012.\u003c/p>\n\u003cp>The music — drawing on dozens of hits from the ’70s, ’80s and ’90s — is, of course, great, shaped by Kenny Seymour’s terrific arrangements. Director Kamilah Forbes has oodles of talent to work with, and the collection of dancers shaped by Camille A. Brown’s choreography that cooks with butane are the heartbeat of the show. The ubiquity of the \u003cem>Soul Train\u003c/em> dance line and the evolution of popular movement that informed parties and dance halls around the world are given royal treatment here, assisted mightily by Dede Ayite’s multi-decade costume plot, Jason Sherwood’s gargantuan scenic design and the luminous lighting of Jen Schriever. \u003c/p>\n\u003cfigure id=\"attachment_13934450\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_003.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>Soul Train\u003c/em>‘s highs and lows are prominently displayed in the narrative. While the early 1970s brought the forces of \u003cem>Soul Train\u003c/em> and Motown into Los Angeles, where the hippest dancers and musicians splashed California sun all over their midwest artistic creations, booking talent was still difficult. Even Dick Clark recognized the evolving purchase power of Black viewers, starting his own ill-fated knockoff named \u003cem>Soul Unlimited\u003c/em>, which, thanks to a Cornelius ally named Jesse Jackson, proved to be very limited. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While dance is the star of the show, it’s the story of Cornelius itself that compels. As time marches forward, Cornelius finds his influence slipping away, his abilities to serve as kingmaker giving way to new genres like rap and New Jack Swing. Finding ways for an old soul man to interact with the uncompromising power of Public Enemy or the visceral smoldering of “My Prerogative” (a scalding number that garnered a standing ovation) pushes Cornelius deeper into a King Lear-like tragedy. \u003c/p>\n\u003cfigure id=\"attachment_13934452\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_294.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Kayla Davion (Jody Watley) and the cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is not without its flaws. Based on the tried-and-true formula that many jukebox musicals follow, \u003cem>Hippest Trip\u003c/em> doesn’t break any new ground. Many elements of the blueprint are instantly recognizable, including problems introduced and solved with glaring rapidity. While songs like the Five Stairsteps’ “O-o-h Child” and Al Green’s “Tired of Being Alone” weave into the storyline, the majority of its big numbers, despite talent overflowing from the stage, are in the service of nostalgia.\u003c/p>\n\u003cp>Amber Iman, as brilliant a musical theater performer as they come, plays a role that feels underdeveloped. And Angela Birchett, as the ill-fated Delores, seems as if she was given minimal stage directions which probably say something like, “stand here and sing sadly.” \u003c/p>\n\u003cp>The show finds more success when it barrels down and dives deeply into what made Cornelius the man he was, Darrington passionately channeling the weight of Cornelius on his powerful shoulders. Cornelius invokes figures like Martin Luther King Jr., Fred Hampton, the Last Poets and the Black Arts Movement in too-brief passing mentions that nonetheless signify his place among them. \u003c/p>\n\u003cfigure id=\"attachment_13934447\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_359.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are plenty of historical figures that come along and change the world, and Cornelius is on the short list of those who have. Coming out of the explosive images and harmful media depictions of Black people in the 1960s, it was Cornelius and his vision that put a people on his back in the 1970s and beyond, showcasing the beauty of Black culture and self-expression, providing agency and careers to massively talented artists. \u003c/p>\n\u003cp>The brilliant multi-hyphenate Gil Scott-Heron, who makes brief appearances in \u003cem>Hippest Trip\u003c/em>, was incorrect about one small detail – every Saturday morning for 35 years, the revolution of Don Cornelius was most certainly televised.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003c/p>\n\u003cp>\u003cem>‘Hippest Trip: The Soul Train Musical runs through Oct. 8, 2023, at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n","blocks":[],"excerpt":"In 'Hippest Trip: The Soul Train Musical,' Don Cornelius' story is interwoven with flash and nostalgia.","status":"publish","parent":0,"modified":1705005054,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1001},"headData":{"title":"The ‘Soul Train’ Musical Explodes With Talent, Despite Following the Formula | KQED","description":"In 'Hippest Trip: The Soul Train Musical,' Don Cornelius' story is interwoven with flash and nostalgia.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The ‘Soul Train’ Musical Explodes With Talent, Despite Following the Formula","datePublished":"2023-09-07T18:54:14.000Z","dateModified":"2024-01-11T20:30:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"David John Chávez","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13934433/soul-train-musical-review-hippest-trip-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1970s, Don Cornelius broke ground on national television with \u003cem>Soul Train\u003c/em>. Yet as days turned into years, that same broken ground was unable to stabilize beneath him, the beauty of his calling ultimately unfolding into tragedy borne of his ambition.\u003c/p>\n\u003cp>In the long-awaited, monumental world premiere of \u003cem>Hippest Trip: The Soul Train Musical\u003c/em> at American Conservatory Theater, the grandiloquent celebration of Black music and dance shoots fire through every nook and cranny of the theater. With its commitment to largesse, along with a mostly solid penning of Cornelius’ complicated legacy by Dominique Morisseau, the show’s future is laser-focused on Broadway, despite flaws that compromise the show’s organicity.\u003c/p>\n\u003cfigure id=\"attachment_13934446\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_119.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Amber Iman (Pam Brown) and Quentin Earl Darrington (Don Cornelius) in ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chicago south sider and local television host Don Cornelius (Quentin Earl Darrington) is a golden-throated visionary, convincing his bosses at WCIU in Chicago to support a Black version of Dick Clark’s popular \u003cem>American Bandstand\u003c/em>, a show with minimal interactions with Black artists. While those bosses ultimately approve the move, with the first episode premiering in 1970, none feel it necessary to own a piece of the pie, making Cornelius the overnight owner of a franchise that would last for 35 years and become the nation’s epicenter for Black culture and entertainment. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_10795181","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The ascendance of Cornelius ushers in problematic relationships with many in his orbit, including wife Delores (Angela Birchett), manager Pam Brown (Amber Iman) and son Tony (Sidney Dupont). As time goes on, wars are waged with the evolution of music itself as Cornelius rails against “fuckin’ disco” and “fuckin’ hip-hop,” turning the very name of the show, \u003cem>Soul Train\u003c/em>, into an anachronism. Those battles expand to a mind and body that begins to fail him, leading to a self-inflicted death by gunshot in 2012.\u003c/p>\n\u003cp>The music — drawing on dozens of hits from the ’70s, ’80s and ’90s — is, of course, great, shaped by Kenny Seymour’s terrific arrangements. Director Kamilah Forbes has oodles of talent to work with, and the collection of dancers shaped by Camille A. Brown’s choreography that cooks with butane are the heartbeat of the show. The ubiquity of the \u003cem>Soul Train\u003c/em> dance line and the evolution of popular movement that informed parties and dance halls around the world are given royal treatment here, assisted mightily by Dede Ayite’s multi-decade costume plot, Jason Sherwood’s gargantuan scenic design and the luminous lighting of Jen Schriever. \u003c/p>\n\u003cfigure id=\"attachment_13934450\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_003.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>Soul Train\u003c/em>‘s highs and lows are prominently displayed in the narrative. While the early 1970s brought the forces of \u003cem>Soul Train\u003c/em> and Motown into Los Angeles, where the hippest dancers and musicians splashed California sun all over their midwest artistic creations, booking talent was still difficult. Even Dick Clark recognized the evolving purchase power of Black viewers, starting his own ill-fated knockoff named \u003cem>Soul Unlimited\u003c/em>, which, thanks to a Cornelius ally named Jesse Jackson, proved to be very limited. \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>While dance is the star of the show, it’s the story of Cornelius itself that compels. As time marches forward, Cornelius finds his influence slipping away, his abilities to serve as kingmaker giving way to new genres like rap and New Jack Swing. Finding ways for an old soul man to interact with the uncompromising power of Public Enemy or the visceral smoldering of “My Prerogative” (a scalding number that garnered a standing ovation) pushes Cornelius deeper into a King Lear-like tragedy. \u003c/p>\n\u003cfigure id=\"attachment_13934452\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_294.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Kayla Davion (Jody Watley) and the cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is not without its flaws. Based on the tried-and-true formula that many jukebox musicals follow, \u003cem>Hippest Trip\u003c/em> doesn’t break any new ground. Many elements of the blueprint are instantly recognizable, including problems introduced and solved with glaring rapidity. While songs like the Five Stairsteps’ “O-o-h Child” and Al Green’s “Tired of Being Alone” weave into the storyline, the majority of its big numbers, despite talent overflowing from the stage, are in the service of nostalgia.\u003c/p>\n\u003cp>Amber Iman, as brilliant a musical theater performer as they come, plays a role that feels underdeveloped. And Angela Birchett, as the ill-fated Delores, seems as if she was given minimal stage directions which probably say something like, “stand here and sing sadly.” \u003c/p>\n\u003cp>The show finds more success when it barrels down and dives deeply into what made Cornelius the man he was, Darrington passionately channeling the weight of Cornelius on his powerful shoulders. Cornelius invokes figures like Martin Luther King Jr., Fred Hampton, the Last Poets and the Black Arts Movement in too-brief passing mentions that nonetheless signify his place among them. \u003c/p>\n\u003cfigure id=\"attachment_13934447\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_359.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are plenty of historical figures that come along and change the world, and Cornelius is on the short list of those who have. Coming out of the explosive images and harmful media depictions of Black people in the 1960s, it was Cornelius and his vision that put a people on his back in the 1970s and beyond, showcasing the beauty of Black culture and self-expression, providing agency and careers to massively talented artists. \u003c/p>\n\u003cp>The brilliant multi-hyphenate Gil Scott-Heron, who makes brief appearances in \u003cem>Hippest Trip\u003c/em>, was incorrect about one small detail – every Saturday morning for 35 years, the revolution of Don Cornelius was most certainly televised.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003c/p>\n\u003cp>\u003cem>‘Hippest Trip: The Soul Train Musical runs through Oct. 8, 2023, at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13934433/soul-train-musical-review-hippest-trip-san-francisco","authors":["byline_arts_13934433"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_69","arts_235","arts_75","arts_967","arts_990"],"tags":["arts_1175","arts_10278","arts_831","arts_924","arts_769","arts_585"],"featImg":"arts_13934451","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. 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. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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